We sit down with Andrej Gronau to speak about everything from nostalgia and tenderness to star-cut boots, playful contrasts, and the ideal muse, dead or alive. His world is soft yet sharp, romantic yet restless, stitched together with playful instinct.
Andrej Gronau is a German-born designer and multidisciplinary artist currently based between London and Berlin. He completed his MA in Fashion at Central Saint Martins, specialising in knitwear. In 2022 he officially launched his eponymous ready to wear line, which explores the tension between youthful naïveté and refinement, fusing nostalgic references with contemporary aesthetics. His collections often feature bows, star cutouts, stripes, gingham, rich knitwear, and playful, gender fluid silhouettes.
His graduate collection was ordered by SSENSE shortly after its debut, and he has since exhibited at Berlin Fashion Week, where his voice has emerged as one of the most distinct of his generation.
In recent seasons, he has been praised for reimagining forgotten or sentimental objects such as heirlooms, trinkets, and decorative fragments, transforming them into garments that feel emotional and personal while remaining technically refined. His F/W25 collection, for example, turned metallic textures, wrinkled finishes, and star cutouts into a kind of visual diary of memory and wonder.
Firstly, who is your biggest style icon?
That’s a difficult one. I don’t think I could ever truly decide on just one person, but if I had to, I’d say Miuccia Prada. The way she makes both men and women look chic yet effortlessly youthful is incredible, and I admire that about her. There’s a timelessness to her vision that always feels alive. Though, if you’d asked me this question ten years ago, I probably would have said Grimes. Her chaotic, untamed style during the Art Angels era had me in a chokehold. At that time I would have paired my daily looks with a pastel pink feathered cowboy hat, which in a way isn’t that far from something Miuccia might have come up with. Non?
Any designer will tell you this job is no easy feat. When and how did you decide you wanted to design clothes?
It never felt like a single clear decision, more something that evolved naturally. I was studying Fine Art and Design, originally with the intention of becoming a fashion photographer, but I kept finding myself drawn to the fashion courses, to the tactile side of creating rather than just observing. By the end of my studies, I wanted to see if there was a real path forward in fashion for me, so I applied for the MA programme at Central Saint Martins and got in on my first try. I took that as a sign, and that’s when I knew this was what I wanted.
There’s one accessory that really stands out at Andrej Gronau. How did you come up with the cut-out star design for your boots?
The idea came about while I was developing my MA graduate collection. I was working on a lot of knitwear at the time, stockings, socks, delicate pieces, and during the lineups, shoes became this constant conversation. I didn’t want to cover up all the styling elements, but I also couldn’t have the models walking barefoot or in socks. While going through piles of scanned research, I found and remembered this photograph of Marcel Duchamp with a star shaved into the back of his head. It was rough and almost childlike, and that sense of naïve imperfection fit perfectly with the tone of the collection I was going for. So we started cutting awkward little stars into old rubber boots, and that’s how these boots were born.
After the MA Show, when the collection went up on Vogue, I received an email from SSENSE less than 24 hours later. They wanted to secure the boots exclusively for their store, which surprised me at the time considering I’d basically made them in a very DIY way. That’s when I began collaborating with my first shoe manufacturer to create a proper leather version. It took several prototypes, and the challenge was keeping the shape intact despite all the cutouts. We ended up using two layers of leather and upholstering the entire boot. Considering how different the original idea was, I’d say I was lucky to trust my gut.
After the MA Show, when the collection went up on Vogue, I received an email from SSENSE less than 24 hours later. They wanted to secure the boots exclusively for their store, which surprised me at the time considering I’d basically made them in a very DIY way. That’s when I began collaborating with my first shoe manufacturer to create a proper leather version. It took several prototypes, and the challenge was keeping the shape intact despite all the cutouts. We ended up using two layers of leather and upholstering the entire boot. Considering how different the original idea was, I’d say I was lucky to trust my gut.
Who would you love to dress (dead or alive)?
It might come as a surprise, but I would love to dress Kirsten Dunst. There’s something inherently melancholic about her that fascinates me. She embodies eternal youth. I recently rewatched The Virgin Suicides, and there’s that constant bittersweet awareness that we all grow older, but something about her looks reminds us of lighter, more uncertain times. I might have to give the credit to Sofia Coppola, but she’s someone I’d love to dress. There’s also Uma Thurman, and Audrey Hobert, who I recently discovered. If you haven’t listened to Hobert’s debut album, please do — Bowling alley is a bop.
Your designs feature a lot of prints, stripes, stars, recurring symbols. What draws you to these patterns, and what role do you think repetition plays in building a visual language?
I believe symbols and graphic elements, like stripes or broken lines, have the ability to bring a sense of order and modularity to a design. They let you play with colour or contrast in unexpected ways, and I enjoy trying those combinations whether it’s a patchwork of colour, texture, or both. When thinking of motifs such as stars, gingham, or the flowers we used recently, these are all part of a universal visual language. They’re classic forms of iconography that everyone understands and can instinctively connect with. You can use those built-in meanings to layer a story or emotion into a garment. I know, “florals for Spring” — but it works.
As for repetition, I do believe it helps build a visual language. Yayoi Kusama’s polka dots are one of my favourite examples. Through repetition, she created something instantly and eternally recognisable. Same with Takashi Murakami. Both collaborated with Louis Vuitton, and you can always tell it’s their work even decades later. Fashion works similarly. Being consistent helps create a kind of lore for a brand, which makes it easier for the customer to connect with. From a creative perspective, repeating an idea, colour, or look gives a collection cohesion. Without it, it can end up looking like a collection of random ideas without direction.
However, there’s a fine line. Many emerging brands end up repeating themselves until it becomes formulaic. I’ve been looking back at collections from the 90s, and I miss when designers reinvented themselves each season. Personally, I get bored easily, so I’ve been moving toward a new direction, evolving the language without erasing it. In the end, both I and my audience are growing up, and that evolution is essential. You don’t want to feel stuck in one place forever.
As for repetition, I do believe it helps build a visual language. Yayoi Kusama’s polka dots are one of my favourite examples. Through repetition, she created something instantly and eternally recognisable. Same with Takashi Murakami. Both collaborated with Louis Vuitton, and you can always tell it’s their work even decades later. Fashion works similarly. Being consistent helps create a kind of lore for a brand, which makes it easier for the customer to connect with. From a creative perspective, repeating an idea, colour, or look gives a collection cohesion. Without it, it can end up looking like a collection of random ideas without direction.
However, there’s a fine line. Many emerging brands end up repeating themselves until it becomes formulaic. I’ve been looking back at collections from the 90s, and I miss when designers reinvented themselves each season. Personally, I get bored easily, so I’ve been moving toward a new direction, evolving the language without erasing it. In the end, both I and my audience are growing up, and that evolution is essential. You don’t want to feel stuck in one place forever.
Do you design with an ideal wearer in mind?
I don’t think it matters whether you’re a boy or a girl. When I imagine the people wearing my pieces, they’re soft, melancholic, and a little tender. Chic but gentle. I love the idea of someone who’s glamorous yet kind to strangers and unafraid to show a bit of vulnerability. When we do castings for a presentation or imagery, we always look for people who embody that softness — people who look sweet, approachable, and yes, tender.
There’s a playfulness in your work, but it’s set against hard, metallic edges. Is that tension deliberate?
Yes, absolutely. I believe contrast in all its forms is essential to a visual language. Whether it’s colours clashing or textures colliding — leather with knitwear, lace with velvet — those opposites create energy. Contrast elevates any look. Too much glitter and kitsch can slip into chaos, but too much restraint, all poplin and grey, becomes lifeless. The beauty lies in the balance between the two.
It’s the same with art or interior design. You’d never decorate your flat using only one colour or texture. It’s the unexpected combinations, the tension between softness and structure, that make something truly interesting. At least for me.
It’s the same with art or interior design. You’d never decorate your flat using only one colour or texture. It’s the unexpected combinations, the tension between softness and structure, that make something truly interesting. At least for me.
If you could describe your work in three words, what would they be?
Playful, tender, nostalgic.
What’s one fabric, print, or material you refuse to ever work with?
Anything that reads boho-chic and dip-dye.
Which musicians or songs do you imagine soundtracking your collections?
Honestly, it changes every season. Last season, we were listening to a lot of Kate Bush, Grimes, Aphex Twin, and some of Michael Nyman’s classical compositions. This season, it’s the complete opposite: old Madonna, Sofia Coppola’s Marie Antoinette soundtrack, and (don’t judge!) Addison Rae. I love her energy. When you compare those, you can already sense that the direction for the next collection is shifting — more pop-y, softer, and a little more romantic.
If your work was translated into another art form, from film, painting or architecture, what would it look like?
I’ve recently been diving back into painting and drawing, and I’m exploring ceramics and glasswork. If I had all the time and money in the world, I’d love to expand even more into those mediums. I used to photograph a lot, and I could see myself directing short films or creating sculptures. Sometimes I wonder if there’s actually more freedom in those disciplines. Sculptures and paintings can exist in absurd, surreal worlds without worrying about practicality. They don’t need to be worn to the office or on a red carpet. So if my work were translated into another art form, it would be colourful, textured, and probably end up as a kind of immersive installation or even home décor, because I doubt I’d ever be able to choose just one medium.
Tell me, what’s your process for fashion design?
Usually, I start by collecting images, photographs, stills from films, fragments of things that resonate, and setting an initial theme. That theme tends to evolve for weeks. Once there are piles of images, texts, and references, I begin narrowing them down, selecting what truly stands out. From there, it becomes clear which ideas belong to the current season and which might be saved for later. We actually save a lot for future seasons.
At the same time, I begin drawing, mostly abstract sketches to understand colour, silhouette, and proportion. We also start swatching quite early on. The studio is full of yarns and colour books, so we usually find the right palette quickly. Styling sessions often happen in parallel, accessories and shoes tend to be the first elements we decide on.
Once the colours, fabrics, and swatches are set, we move into pattern cutting, sampling, and refining. Some looks are cancelled, others evolve unexpectedly. And toward the end, there’s always this stage of restyling, mixing and matching until the vision feels right. The most exciting pieces are often the ones that appear by accident during the process, the ones you didn’t plan for but can’t imagine the collection without. We have them each season.
At the same time, I begin drawing, mostly abstract sketches to understand colour, silhouette, and proportion. We also start swatching quite early on. The studio is full of yarns and colour books, so we usually find the right palette quickly. Styling sessions often happen in parallel, accessories and shoes tend to be the first elements we decide on.
Once the colours, fabrics, and swatches are set, we move into pattern cutting, sampling, and refining. Some looks are cancelled, others evolve unexpectedly. And toward the end, there’s always this stage of restyling, mixing and matching until the vision feels right. The most exciting pieces are often the ones that appear by accident during the process, the ones you didn’t plan for but can’t imagine the collection without. We have them each season.
And, what would be the outfit you’d die in?
If it has to be something I’ve designed, then definitely something knitted, preferably in mohair, paired with very short shorts, boots, and, at the moment, a gold metallic leather jacket. And big sunglasses. Always big sunglasses.
Any exciting projects coming up that we should know about? Collaborations, shows, collections in the works?
We’re currently in the early research and development stages of the next collection, which we plan to present in both Paris and Berlin again, so the pressure is already on. There are a few collaborations in the works and some surprises I can’t reveal just yet. We’re introducing new accessory categories next season, and I’ll be receiving our first handbag prototype in a few weeks. We’re also expanding our shoe universe once more, which I’m very excited about.
While it might sound like something every designer says, I believe this next season will be our most important. We’re setting a new mood, a more grown-up, refined version of the brand, and slowly parting ways with some earlier elements. January is going to be an incredibly exciting month for us.
While it might sound like something every designer says, I believe this next season will be our most important. We’re setting a new mood, a more grown-up, refined version of the brand, and slowly parting ways with some earlier elements. January is going to be an incredibly exciting month for us.
