Words by Elena Kaempfe

Fräulein Talents: Anna Onorato

Born in Milan in 1998, Anna Onorato grew up between a small Catholic village in northern Italy and Switzerland before moving to Berlin in 2016. Those early atmospheres - structured, symbolic, slightly otherworldly - still resonate through her work today. She first emerged online through J’ADORABLE, a platform where she curated and resold vintage and gradually introduced her own handmade pieces. Through this, the foundations of her visual language became visible: sculptural knitwear, distressed textures, and a way of creating without patterns, guided by intuition and the slow unfolding of the material.

Now based in Berlin, Anna designs under her brand annina and shares glimpses of her world through her Instagram persona @anninathermopolisrinaldi. Working from her home studio, she forms one-of-one garments directly on the body - intimate pieces shaped by the friends and figures who move through her universe.

Elena Kaempfe: Did you grow up in a space that encouraged creativity, or was making art something you had to claim for yourself?

Anna Onorato: I always had space to express myself creatively. I started sketching clothing very young, and at 14 I chose to attend tailoring school. It felt like the right balance between technique and imagination, and that mix has shaped the way I work ever since.

Looking back at your earliest pieces, which intuitive choices already hinted at the designer you would become?

Even in my earliest work, I was drawn to shaping and enhancing the silhouette. With knitwear especially, I wanted to push it away from the usual cozy or oversized associations and give it a more feminine, sculpted identity.

Was there a moment in your youth when you first understood clothing as emotional or symbolic?

Growing up in a fairly strict Catholic environment, clothing had a very clear meaning. For ceremonies like communion and confirmation, we wore white, almost bridal dresses – symbols of purity and restraint.

At the same time, I was seeing a more liberated way of dressing around me. That contrast made me realise that clothing can be a form of expression and freedom, not just something imposed.

How has living in Berlin shaped your practice?

Berlin gave me a sense of freedom. Coming from a small place, it felt refreshing to be in a city where you can blend in and focus on your own world. Having that distance from where I grew up helped me see things more clearly and gave me the space to develop my work in my own way.

Your work often feels surrounded by nuns, fairies, and mystical women. When did this fascination begin?

Growing up in a small Catholic village surrounded by nature shaped a lot of my imagination. I spent time in the convent with the nuns, and that quiet, enclosed world stayed with me. Those symbols and atmospheres naturally became part of my work. Designing for women feels instinctive — my mother and sisters have always been my biggest inspiration.

Men, on the other hand, still feel a bit mysterious to me, which makes menswear harder to approach. Martino gives me a way into that world. He’s my muse when it comes to design and the reason I hope to explore menswear more in the future.

On Instagram you reveal a lot but not your full process. Why?

I like keeping some mystery. Some things feel more special when they stay private.

Who are the people that gravitate toward your work?

Baddies.

Your studio is inside your home. What is it like inviting clients into such a personal space?

I like it when it happens. Meeting clients in person helps me understand what they want, and fittings are important because my work is very focused on the silhouette. I only do it for special pieces tho.

Was anyone a mentor figure for you while developing your practice?

Yes, Romy. We started J’ADORABLE together in 2018, and from there we both began our own projects – her brand @eithne.padraigin.ni.bhraonain and mine. We inspired each other a lot throughout our creative journeys. She’s a big part of why I’m able to do what I do now, and we still collaborate often.

When you create, how do you understand your pieces? Do they feel like fashion to you, or more like sculpture, art, or something ritualistic?

I don’t like to define it too much. Many of my pieces aren’t typical ready-to-wear. When I first started, I wasn’t thinking about practicality. I just wanted to bring the ideas in my head into something physical. My first presentation in Paris in July felt more like storytelling, almost like a small performance. I want to explore that direction more and show the work in a physical space, not only online.

When you imagine the place your work should hold in this world, what do you hope it will stand for?

If the clothes create reactions or conversations – even mixed ones – that already means something. I hope my work stands for the freedom to hold many versions of yourself at once, without having to reduce or simplify who you are.

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