Munich-based designer Federico Agnelli, a TDK 2025 Award winner in Graphic Design/Branding, brings a systems-thinking approach shaped by his studies at NABA Milan and Cooper Union. With roots in computer science applied to music, he blends structure, sound, and visual identity into cohesive, expressive ecosystems. Federico’s work is grounded in intention, experimentation, and a deep connection to contemporary design culture.
Tell us about where you study/studied and some of your highlights and favourite lecturers and if you are self taught, how did you do it?!
I studied at NABA in Milan for two years, where I met lecturers who shaped the way I understand and build visual systems. Among them, Annalisa Gatto, a former student of A.G. Fronzoni, had a major influence on how I think about form, structure, and intention.
It was during this period that I discovered branding. The branding course was led by Davide Bignotti, the designer behind the Juventus rebrand. I became fascinated not just with designing graphics, but with creating full ecosystems – identities that bring together visuals, sound, atmosphere, and whatever a project needs to communicate. Coming from a background in computer science applied to music, and being deeply connected to music culture and sound design, it felt like a natural extension of my way of thinking: combining multiple worlds into one coherent system.
Alongside school, I started experimenting through personal and freelance projects, learning how to bend or break the rules when the concept called for it. I think that’s the beauty of branding: every project is different, and each outcome has its own character.
If I have to think about the highlights in my education, they definitely sit in my time attending the Condensed Type Design Program at Cooper Union in New York. During this course we visited the NYPL and the Met to consult and study historical typographic artifacts. It remains one of my most meaningful academic experiences.
Tell us about your tools / what tech, programs, equipment and environment do you do your best work in?
I can work almost anywhere as long as I have my laptop and Adobe Illustrator – that’s really the essential. Everything else is a plus.
In my ideal setup, I also have the full Adobe Suite (even if I’m slowly trying to move away from it as good – cheaper – alternatives come out), internet, and a pen and paper. Sometimes I really like to step away from the screen to sketch lettering, quick ideas, or even useless scribbles, just to ease my mind.
Talking about the environment, there are two things that are extremely important for me: natural light and people. I don’t enjoy artificial light much, and I work much better when I can talk, ask for opinions, or simply get distracted for a moment. That human exchange is very important for my creative process.
And if we consider it a tool… I absolutely need coffee. Espresso, of course.
Tell us some of your favourite, creative professionals and inspiring places in your city!
Right now I live in Munich, so I have to mention Mirko Borsche. His work speaks for itself, and I think he is one of the designers who is still shaping the contemporary graphic design scene, especially in the art, music and fashion worlds.
Another reality I really love here is Public Possession. I don’t even know how to describe them properly – they are a mix of music events, graphic design, fashion and many other things, all with a very unique approach. I just love what they do.
Other local studios worth following are Parat.cc, Herburg Weiland and WVH. And I’m sure I follow many more creatives without even knowing they are from Munich.
From my hometown, Bergamo in Italy, I would mention Studio Temp. They helped define the modern fashion and streetwear aesthetic through their collaborations with Virgil Abloh. I still think their logo for Off-White is one of the most interesting in the last years.
What are your biggest hopes and dreams for 2026, both for the world and your career?
I have many hopes for the world, especially in the dramatic climate we’re living through. Of course I’d love to say “peace,” “real action against climate change,” and a better balance of wealth, even if the future doesn’t look so positive. Still, lately I’ve noticed that people seem more aware. I also feel like we finally started understanding that, together, we can make a change. It happened in the past, so I believe we can still do it. So yes, my biggest hope is that this direction keeps growing.
For my career, I’ve always had the dream of working in New York – that one stays constant, and who knows, maybe 2026 will finally open a door in that direction.
More in general, what I wish for is the chance to work on even more diverse projects, especially in the cultural field, where experimentation is welcomed and where design can give something back to society, even if in small ways.
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