Anniversary Collaboration with Anna Bergonzini
ST95 Anniversary Collaboration: 1995 > 2025
The ST95 x Anna Bergonzini T-shirt collaboration marks the brand’s 30th anniversary through a collaboration that returns to its graphic origins. Anna Bergonzini was the first graphic designer to work alongside ST95 founder Massimo Osti, creating the original ST95 visual assets at the brand’s inception. This capsule reunites that foundational partnership.
As part of the launch, we talk to Anna about her involvement with the launch of ST95 back in the 90's and about the designs she has created for this new collection. 
The clear Marine inspiration is presumably linked to Massimo Osti’s love of sailing, or is it a more direct connection with the sea and sailing?
To design these graphics I had initially imagined five different worlds: water, air, earth, numbers and signs. Later, however, the theme of water prevailed over the others. I then thought of graphic signs characterized by multifaceted lines, which brought to mind Massimo Osti's research work and his passion for sailing, from which he drew inspiration for Marina-style collections, thinking back to the lives of sailors, their habits and their way of dressing, linked to daily fishing activities.
From this reference I drew inspiration to reconstruct a marine style reinterpreted in a contemporary key: water, expressed in shades of blue and air blue, becomes the main element in defining a clean, essential and modern style.
What was your involvement in ST95 in the early days of the brand?
The ST95 brand, I saw it born from the search for the name to the design and finalization of the lettering and logo. I remember studying the inside garment labels, in addition to size, we studied the height and weight range, relating to that product, all summarized in the inside garment label, with also a description of the material used. Each garment had his own personalized, ad-hoc labellig. I was in charge of the graphic part, the creation of the packaging or graphics present in the collection, I 1a salso in charge of the visual communication part, that is, coordination of the photographic shoots, or creation of still-life of the most representative garments and subsequent layout of the catalogue.
What was working with Massimo Osti like? And what was his vision for ST95?
I remember that period, as a time of great learning and professional growth, from Massimo Osti I learned the working method, where style and the search for details were the prerogative to carry out innovative and cutting-edge projects, it led us to reason and create connections different from the usual.
His vision of the ST95 brand was to develop a product with technical and innovative materials and practical in outdoor use. A STRUCTURED collection (and hence the abbreviation for ST lettering, derived from STRUCTURE), and 95 the year of the collection's birth, a number that provided many ideas for creative developments in graphics and applications.
The camouflage and water inspired designs are sublime, was that the intention from the beginning to merge those themes and was that inspired by the military influences that permeate much of the early ST95 designs and wider Osti design work?
I tried to blend water and earth, bringing the typical military green camouflage, with marine hues and an abstract pattern, more similar to water spots. This is part of Massimo Osti's school, starting from research and transforming an idea or object into another functionality or color.
Your early work involved documenting numerous items such as workwear, sportswear, military and air force clothing, did that have an impact on your work — is that experience and process still a source of inspiration today?
When I work or when I need to create new projects, whether product or communication, I always start with extensive research, inspired by ideas from the past, try to understand how ideas were realized in the past, then translate everything into a contemporary and modern message. I still like using pencils, I like drawing, I still choose colors using Pantone paper dowels… then everything magically gets digitized and inserted into the devices used today.
On my desk is the intersection of the past and the modern. You can find pencils, old teams, cutters, and all kinds of paper for mock-ups, as well as an old black-and-white copier, flanked by a splendid I-Mac, laptops, and state-of-the-art laser printers that allow me to develop and implement my ideas.
Were you involved in the creation of the ST95 branding? Please tell us more about the genesis of the branding, that experience and the fact that the Globe icon is still widely used today.
Yes, I was directly involved in the creation of ST95. The brand was born with the idea of building a recognizable identity more than just a brand. The project developed through experimentation, ongoing comparisons, and a clear vision that combined functionality, attitude, and meaning.
The Globe icon best represents this vision: a symbol of connection and movement, designed to evolve over time. Seeing it still used and reinterpreted today is one of the most rewarding aspects of that experience.
ST95 was designed as a brand for the younger age demographic. We very much resonate with that, how do you think ST95 connected with youth then and do you see a place for those principals in this current era?
ST95 was designed for young people because it was born of young people. It wasn't a brand trying to chase a target, but the natural expression of a generation that wanted to recognize itself in something authentic, without compromise.
At the time, ST95 worked because it spoke a clear language, had a precise attitude, and did not ask permission. Young people felt it close because it was not built for pleasure, but to represent a point of view. It was identity before it was produced.
I believe there is still room for those principals even today. The codes change, but the need to recognize oneself, to belong, to choose brands that have a position does not change. If those values are respected and reinterpreted in a contemporary way, ST95 can continue to dialogue with the new generations without losing its credibility.
Grazie Anna
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