Antonio D’Anna

Antonio D’Anna is a fashion designer whose principal public leadership role was at Krizia during the post-2014 revival. Before joining the house he worked at Frankie Morello and later at MSGM, where he held a design-coordination role. He began working alongside Krizia president and creative director Zhu Chongyun in October 2016 and was publicly introduced as the house's head designer in February 2017.

D’Anna became the visible collection designer for the Autumn/Winter 2017–18 runway and continued through Spring/Summer 2018 and Autumn/Winter 2018–19. Contemporary coverage and his own interview identify him as head of design working under Zhu's creative or art direction. The arrangement gave him direct responsibility for translating the Mandelli archive into new collections while preserving Zhu's higher-level creative authority.

Resort 2019 is the last Krizia collection credited to D’Anna as head designer. His work at the house concentrated on pleating, archive animal imagery, fabric development and the adjustment of 1980s Krizia proportions to a lighter contemporary wardrobe. His later Krizia tenure and departure date remain unknown.

D’Anna approached Krizia through its archive of construction and material experiment. He identified pleating, inlay, embroidery and architectural modelling as central house codes and used them as practical starting points for new garments. The aim was to retain the physical logic of the original work while reducing stiffness and weight for contemporary dressing.

Pleats were frequently transferred into softer fabrics, creating fluid movement from structures that had once been more rigid. Animal imagery returned through print, jacquard and unexpected placement, while plastics and other materials associated with Krizia accessories moved into embroidery and clothing applications.

Fabric development was a major part of his method. D’Anna described working from yarn selection through custom textiles, complex garment construction and embroidery made from unusual material combinations. For Spring/Summer 2018 he extended the repetition of pleats into optical geometry and combined Japanese fabrics with shapes that fused tailored jackets and kimono references.

His collections were developed through continual work with the archive and discussions with Zhu Chongyun. This made his Krizia role one of translation and renewal, using technical development and a lighter silhouette to reconnect Mandelli's experimental codes with the needs of a current ready-to-wear collection.