Massimo Osti’s name doesn’t need any introduction around here. It rings out like a gunshot in a church for anyone who’s into jackets, fabrics, or the dark arts of garment innovation. A true alchemist of outerwear, the man essentially wrote the blueprint for what we now call technical fashion, before it was even a phrase. But behind every icon is a team, and behind that team, someone quietly putting in graft where others weren’t even looking.
Anna Bergonzini is a prime example of one of those quiet grafters, a name you probably don’t know—but should. Graphic designer, photographer, and long-time collaborator of Osti’s at Stone Island, C.P. Company, ST-95 and beyond, Anna was there during some of the most formative, experimental years of the whole operation. She wasn’t just knocking out labels either, she was instrumental in shaping the visual identity of garments that would go on to become cult classics.
We caught up with Anna to talk about what it was really like working with the man himself, what went on behind the scenes at Studio Osti, and how some of the most futuristic garments in fashion history were born out of second-hand markets, photocopiers, and old sailing manuals.
Hi Anna, how are you? Where are you? And can you provide a bit of background about your career?
Hi Henry, I’m fine thanks, it’s a pleasure to meet you. I live and work as a graphic designer and photographer in Bologna. I started working for Massimo Osti when I was 20 years old, and working with him I enjoyed 13 years of incredible experience and growth alongside cutting-edge professionals. I took care of the graphics, labeling, packaging, badges, graphics for t-shirts, and layout of the catalogs.
How did you first meet Massimo Osti?
In 1988, Studio Osti was looking for a person who could use a graphic computer to capture photographs of more than 10.000 archival items and process them. I had just finished school where I had been trained to use that tool – at the time that computer was very rare to find in Italy.
Nowadays, all this can be done very simply with an iPad, but back then, it was one of the first devices with photo and image processing programs. This presented my first contact with Massimo Osti, which would then turn into the job that launched my career.
What was the first piece of work you did for Massimo Osti?
One of the first jobs I had was creating all-over prints for floral-inspired shirts. Because I knew how to use the graphic equipment, it allowed me to immediately work closely with the team, they gave me inputs starting from their research made through books. In the studio, there was a large library with a wide variety of topics from graphics, to style, design, sailing, history and current affairs, as well as new and vintage magazines.
The team’s inspiration could also come from images taken from films or old photographs. I would then process these and make a graphic in line with their expectations, which could then be transmitted to printers.
A series of beautiful C.P. Company shirts were then born from our work.
What was Massimo Osti like to work with?
He worked uniquely with items found in second-hand markets around the world, and from these he developed and designed unique designs. He took inspiration from everything around him, if he saw a worker in the street he would speak to them about the details of their work jacket to inform new models.
Everything for him started with the choice of fabrics and the creation of new materials, he studied new fabric mixtures and different variations every season, he used unique, specially made colours and special dyeing processes on each different fabric intended for the collection. To inform the colours he wanted, he took inspiration from any kind of object – paper, sheets, old books and pages of magazines,
What was Massimo Osti like outside of work?
We mainly had a working relationship. He was a great teacher, taught me my job with passion and consistency, he was a great worker and used to spend a lot of additional time in the studio. Outside of work, he enjoyed spending time with his family & friends and had a great passion for his sailing boat, a passion that was transmitted in his collections, through symbols, shapes, accessories or elements referencing the marine world.
Are you okay to tell us about the archive that Massimo Osti worked with?
Yes there was a huge archive.
Initially, we kept the clothes in the studio, in a large area with mezzanines upstairs, but then there was not enough space, so we arranged to create container cupboards in the garden of the studio.
When I arrived, there were about 11,000 garments, over the time I worked there, that number more than doubled. There was everything: astronaut suits, wetsuits, work clothes of any kind, golf bags, tennis bags, all manner of sportswear, baseball t-shirts, amphibious vests, military & air force clothing, helmets and aviator goggles.
There were accessories and clothing from anywhere and everywhere in the world. Every single research item that entered the studio was photographed in detail (with a camera connected to the computer) these were then accompanied by a description that contained notes on the origin, the type of fabric and the location to be able to find it physically. This was so the designers could consult the computer archive and quickly do targeted research. Once visually identified, the physical recovery of the garment was carried out, and it then served as a sample for modelling and prototyping.
Can you share any specific stories from working alongside Osti that stand out to you?
Once, I was entrusted with the graphic design of the new brand, Massimo Osti Production. I remember Massimo brought me an old notebook with a colour chart of the ‘40s, the cover was made of leather with an engraved symbol that resembled a circle and an M. This object alone gave me the impetus to create the pictogram of his new collection.
He asked me to develop the labelling and packaging for all the individual products including outerwear, pants, knitwear, etc. I took the first prototypes and put them on the colour copier and created very different still-life images to print on plastic bags.
I remember that I wallpapered the wall and floor of the studio with the photocopies of the jackets, shirts, pants and knitwear on opaque acetate paper, this was to simulate PVC. When I presented the project, I sensed that he very much liked what he was seeing. He looked amazed and, in his view, was beginning to reap the benefits of his teaching. I had learned and understood his taste and style. That day, I remember being very emotional.
How did your design process evolve during your time with Massimo Osti?
As mentioned, my work started with the photographic archive, that was my main job, but I then learnt to work alongside the clothing designers through visual and graphic presentation, from the creation of internal labels for garments, descriptions of particular fabrics, embroidery designs to be applied to t-shirts, and the creation of catalogues.
Within the firm, I grew professionally, thanks to the trust of my colleagues and the culture that was created. Each day was different from the last.
How did the country of Italy and city of Bologna influence the Massimo Osti’s design?
I think he was very attentive to local people’s habits, he understood what they wanted to wear. He was obviously very connected to the city of Bologna, but also took inspiration from the outside world and the ways of living overseas. He took inspiration in a global way.
Was there a particular project or piece you worked on that you’re particularly proud of?
I remember when they first invented the Ice Jacket, a jacket made of a material that changed colour with the thermal range of 22° to 31°. For the launch of these limited-edition jackets, we had to show the difference when the material was exposed to low or high temperatures. With the colour copier, I scanned the jackets and shorts, and as the light and heat from the scanner would pass over the garment, the fabric beneath it would produce different colours.
Do you remember any challenges you faced during design?
We were part of a very close-knit team, everyone who worked there carried out Osti’s work with passion. He transmitted his unique tastes and made us participate in the creation of his innovative ideas.
How did the identities of Stone Island and C.P. Company evolve during your time with the brands?
When I started working in the studio, the brands were already desirable, but only to a niche of people. The garments were predominantly viewed as cutting edge, something that could be a part of everyday wear, but would be transformative to the person’s life. Each garment was tested for months prior to production.
I saw the company grow from a tightknit family with only a few people working there, to an international brand.
Did you work on ST-95? Would you be able to explain Osti’s thought process behind the label and how it differed from his other brands?
ST-95, was born with the idea of being able to dress someone for all of their ages, from a teenage boy to an adult. The clothing was casual, sporty and detailed – complete collections were produced in very refined materials.
Left-Hand was launched prior to ST-95 with the introduction of a new material called MICRO, the first microfiber material, which was ecological and technological at the same time. Later Left-Hand would introduce THERMOJOINT, only applied to outer garments. There were 16 THERMOJOINT models with 6 different interchangeable interiors.
What does ST-95’s ‘Jump and the earth will rise to meet you’ tagline mean?
The tagline was designed to link the brand to the outside world, connecting it with a positive vision tied to the world of sport.
What was your process behind designing the ST-95 globe logo? What was the significance of the globe?
ST95 was designed to be a global brand with a modern and innovative vision. At that time we began to hear about the Internet and the World Wide Web which inspired us to proceed with experiments of worlds ang globes in the logos and graphic traits.
The tag was created with different details for each product family, depicting, cities, horizons and people on the street.
How successful was ST-95 at reaching the desired younger audience?
ST-95 was immediately appreciated for its innovative details that made it particularly attractive to a young and trend-conscious audience
Is there one Osti design in particular you think was very much ahead of its time?
The goggle jacket originally invented for the Mille Miglia. At the time it was incredibly futuristic.
Over the years, Stone Island has grown into a cultural icon. How did you see the brand’s relationship with youth culture and streetwear develop, and how did that impact your work?
Stone Island is an example of how a brand can evolve from a technical niche to a global cultural icon. Since the 1980s, the brand has had a strong bond with youth subcultures, who have adopted its look for its functional and distinctive aesthetic. The badge on the sleeve has become a symbol of belonging and identity.
How do you think design has changed since the ‘80s, would Osti’s processes still work in today’s world?
Design has undergone significant transformations since the 1980s, both in process and cultural references.
During the ‘80s, Massimo Osti revolutionised the industry with an experimental and almost engineering-driven approach, introducing techniques like garment dyeing and the use of innovative materials.
His methods were deeply analogue, relying on textile research and direct manipulation of materials.
Would these processes still be effective today? Both yes and no. Material experimentation remains fundamental, consider the use of recycled or bio-engineered fabrics, but digital tools have radically changed the design process. Artificial intelligence, 3D printing, and computer-aided design have made certain aspects of Osti’s work more efficient, allowing for quicker testing and continuous iterations.
That said, his empirical and artisanal approach remains irreplaceable for those aiming for true innovation. Many brands inspired by his work strive to maintain that spirit of research while adapting it to modern technologies.
Was Osti ever concerned about the people who were wearing his clothes? Would he ever change his design processes to become more commercial?
The creative side and the commercial side, were in parallel. He was in close contact with the sellers or shops that bought the products, and was always attentive to the sales of each item in the individual color variations, if something did not work, it evolved and changed direction.
How did working at Stone Island and C.P. Company influence your personal style and wardrobe?
My style and way of dressing were influenced a lot, even now I have some old C.P. Company clothes originally bought in Ravarino, which I keep with extreme care.
Do you see any of your personal design principles reflected in the broader fashion world today?
Perhaps the way of photographing and portraying still-life clothing, clothes hanging from a hanger or hook, or photographed on the ground, without a model wearing them. The absence of the person in photographs speaks only of the product and its details. For me, that was a way to see the true image of sportswear.
In today’s advertising I still see people choosing to portray their products this way.
Thanks for chatting Anna!
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