Exclusive Interview: Inside Marta Andreassi’s Creative Journey – Passion, Perseverance, and the Future of Fashion Design

Marta, an Italian footwear designer, has built an impressive career in high fashion, contributing her creative vision to renowned brands such as Santoni, Doucal’s, and Dolce&Gabbana. Her deep-rooted passion for design can be traced back to her childhood, where she was inspired by her grandfather—a self-taught painter whose discipline and artistry left a lasting impression. With a strong aesthetic sense and a vivid imagination, Marta knew early on that she would pursue a career in fashion, and over the years, she has carved a unique place for herself in the world of luxury footwear.

In this exclusive interview, Marta takes us through her extraordinary journey. She shares insights into how her upbringing shaped her creative process, her approach to designing with both functionality and beauty in mind, and the evolving demands of the fashion world. Marta also opens up about her forward-thinking vision, emphasizing how technology and sustainability are becoming key drivers in the future of design, offering a glimpse into what lies ahead for the industry.

Can you tell us a bit about your background? How did design come to have such an important role in your life and where has it taken you over the years?

I cannot recall a single day in my life when I did not want to do this job. I believe I made my decision at the age of six while watching “Donna sotto le stelle,” a television show that concluded Rome Fashion Week with runway displays from Armani, Versace, Ferré, Valentino, Fendi, Krizia, and Ferragamo. Designing is for me a form of escape, a journey into different places with my mind. Design has given me so much, leading me to the deepest corners of my mind, continuously challenging me, and allowing me to communicate with others who differ from me in terms of nationality, gender, passions, and views. Design has broadened my worldview and continues to do so.

What would you say is your personal design philosophy? How has this philosophy evolved throughout your years in the high-fashion footwear industry?

Young people assume that fashion is doing what they enjoy and that because they have good taste, everyone will appreciate it. Fashion, like society, is constantly changing, and not everyone shares your preferences. My role as a designer is to strive to fit into this dynamic context by interpreting, anticipating, and representing, through products, the growth of customer needs and societal changes.

Growing up with a painter as a father, how did his artistic influence shape your approach to design? Are there specific elements of his work that you incorporate into your designs?

My grandfather was the painter, but that’s fine since my grandparents are second parents. My grandfather was a self-taught, incredibly persistent and disciplined individual; I learned discipline and consistency when I began studying fashion at the age of nineteen. As a child, I mixed colors for him. All of this came back to me in Santoni when I encountered hand-colored shoes . Colors are essential to me because they communicate better than words.

You’ve worked with iconic brands like Santoni, Doucal’s, and Dolce & Gabbana, what have been some of the main challenges and learning experiences you’ve encountered?

The challenges were diverse and progressive in nature Santoni was the first job and the hardest thing was to understand how to create a shoe and the steps it has to become one . At Dolce&Gabbana, communication and the ability to assert my ideas and designs, was the hardest challenge.

Can you describe the creative process you follow when starting a new collection?

The first critical aspect to consider is who the collection is intended for. I conduct research on products, merchandise, positioning, creative, materials, and components. Following that, I do a lot of mockups, both real and digital. Only when the concept is clear do I create the drawing,
design, and technical package for delivery to the factory.

In an industry that often focuses on trends, how do you stay up to date and ensure that there’s always a bit of “you” in each collection?

I read a lot, listen, watch movies, and chat to people who have been doing this profession for a long time. Curiosity is essential for the development of identity; otherwise, it is difficult to leave a stamp on the product. It is not always the case that the customer or the brand wants an imprint; we must be sufficiently mature to create a product that does not represent us but rather the brand.

Your career must have given you many good stories and projects that make you the perfect guest at any dinner. Could you share a particularly memorable experience from your work that you still think about to this day?

My first involvement in Milan Fashion Week with the company Santoni was a memorable experience. I was twenty-four years old and felt like Andrea Sachs from “The Devil Wears Prada.” And it was just like that: uncool clothes, adrenaline, five hours of sleep per night, up and down all
day, phones ringing even when you were in the bathroom. But everything was great, and I’d do it again.

As a jury member for the Global Footwear Awards, what do you prioritise when evaluating designs? What advice would you give to aspiring designers who look up to you?

It depends on the category; in general, I consider the project’s functionality first, followed by aesthetics. Because it makes no sense to proceed with a well-designed but technically unfeasible product. That is why, at an early stage, I advise young designers to spend more time in a factory rather than a design office.

What do you envision for the future, both for yourself and for the broader design community?

I believe that technology and sustainability will become fundamental components of design work. Design will become increasingly real through the use of 3-D programs and artificial intelligence; hand sketching will be phased out, except for artistic representations. Sustainability will be essential for pursuing and completing a project.