The first floor at 514 Broadway housed Dr. Cella's medical offices and the formal family rooms, while the dressmaking business occupied all of the second floor and part of the third. The remainder of the third floor was set aside for the family living quarters. Upon entering the house, Anna's clients would be ushered past the formal parlor/music room and up a flight of stairs. The second floor - housing showroom, fitting rooms, office, and stock rooms - was the public face of the shop, where customers interacted with Anna, Laura, and, less often, their employees. Anna filled the showroom/billiard room with her precious silk velvets, brocaded lames, and laces [fig. 13]. The billiard table was often covered with artistically draped bolts of fabric for customers to admire. Husbands would also wait in this room and, according to Dr. Cella, Jr., would at times uncover the table and pass the time using it for its intended purpose. The two fitting rooms, called the "red" room and the "blue" room after the colors of the carpets [fig. 14], were more comfortably furnished than the billiard room and were probably where clients discussed their orders with Anna and/or had their fittings. The office and stock rooms occupied the back of the second floor. Anna employed a secretary/bookkeeper, who corresponded with suppliers and billed clients. It was also in the office that Anna would meet with the traveling salesmen, called "drummers," sent by the many New York importers and manufacturers from whom she purchased her stock. During the early years of the business, the drummers spread their textiles, laces, and trims on a large table in one corner of the office. Later, they tempted Anna and Laura with model dresses, ready-to-wear, and accessories. Dr. Cella, Jr., remembered hiding under this big oak table with its thick spiral legs during such visits and listening to his aunt and mother "Ooh" and "Aah" over the offerings. The remainder of the floor was used to house stock, with a few sewing machines located in one of the rooms to accomplish quick repairs.

The third floor of the house contained the workrooms and the family living quarters. Two rooms at the front were occupied by the shop [fig. 15]. A large closet off the larger of the two rooms served as storage for Anna's dress forms, sized to the most loyal customers. The workrooms were furnished with tables, one in the smaller room and three in the larger. A sizable table in the bigger room was used to lay out and cut fabric. A small chest/table placed at one end of the large table was heavily padded and used for ironing. In the middle of the chest/table sat a gas burner on which the irons were heated. Fine handwork was done in each room at a table under a window. A low cabinet with four large drawers occupied the space along the north wall of the large room. Anna stored bolts of fabric in these drawers - chiffons, georgettes, nets, laces, and crepes - and on top of the cabinet were placed on end the brocaded silks, velvets, and lames that were too wide to fit in the drawers and so were rolled on tubes. At night the rolls were covered to keep off the dust, but during day they must have created a luxurious atmosphere in which to work.

Between the years 1915 and 1931, Anna employed an average of twelve to sixteen "girls," as they referred to themselves. At peak times the girls would spread out through the entire third floor. Dr. Cella, Jr., remembered going into his bedroom on the third floor and finding someone sitting in front of his window sewing. The girls who worked in the shop were assigned tasks according to their abilities and experience. Those who had been there longest did the more complicated work, while the less skilled were accorded the simpler jobs. Mary Rosa Traverso worked for Anna as a sewer between 1932 and 1936. She executed relatively easy needlework such as basting and overcasting seams, stitchery that would not have been visible on the face of the finished garment. The more experienced girls would take on exacting tasks that probably included the pressing and preparation of delicate fabrics or those difficult to work with, such as chiffon and velvet; the actual sewing together of the garment; and decorative needlework. Traverso recalled that the complicated procedure of steaming velvet was done by the more experienced girls, whom she assisted. Mary Rosa would hold upside-down an iron covered with a damp cloth to create steam. The velvet would be held above it and the pile of the velvet carefully brushed down. Laura's role in the shop was similar to that of the other girls, according to Traverso, but Laura also joined Anna during fittings and participated in the design process. She appears to have been the more practical of the two sisters and provided commentary and suggestions relative to the appropriateness or flattering qualities of Anna's designs, according to Emily Valcarenghi Martinelli.