There was a time when summer sensuality was synonymous with excess: body-hugging dresses, exposed skin, aesthetic codes designed to attract attention before expressing any sense of personality. Summer 2026, however, seems to be moving in a different, almost quiet direction. The new sensuality does not shout; it suggests. It is not about performance, but presence.

After years dominated by hyper-exposed aesthetics—where the body became content and fashion was designed to survive the scrutiny of a smartphone screen—something is changing. Fashion, or at least certain collections such as Crida’s Spring/Summer collection, is telling a very different story about sensuality: one rooted in a desire for authentic lightness, a tactile connection with fabrics, and freedom of movement.

Silhouettes are becoming softer. Clothes no longer constrict the body; they accompany it. Cuts glide along the figure with almost liquid fluidity, while fabrics become an integral part of the garment’s emotional narrative. Weightless chiffon, delicate georgette, crisp cotton and soft silk: tactile sensation matters just as much as visual impact.

Crida’s summer fashion is not about building seductive armor, but about creating sophisticated comfort. Even the concept of “naked dressing” is speaking a new language. Sheer fabrics are no longer provocative statements but instruments of balance. A translucent top worn against bare skin, a sheer skirt layered over essential culottes, a shirt left open to the evening breeze. Contemporary sensuality seems to exist precisely in the space between what is seen and what remains hidden. It is a game that is more psychological than exhibitionist.

This transformation also reflects a deeper cultural shift. In recent years, fashion has gradually moved away from the idea of a single, codified form of sensuality. Today, seduction is no longer about conforming to a specific ideal but about feeling completely at ease within one’s own personal image. This is why summer trends speak in many different languages: Mediterranean minimalism, bohemian romanticism, deconstructed tailoring and refined sportswear. There is no longer a single way to appear desirable.

But make no mistake: clothing alone is not enough. Today’s new sensuality is above all about attitude, gestures and imperfect details. A black swimsuit worn beneath an oversized linen shirt. Salt-kissed hair left to dry in the sun. Gold jewelry that looks as though it was collected during a journey. Delicate sandals worn smooth by summer. It is an aesthetic that rejects excessive construction and favors the impression of something spontaneous, almost lived-in.

Colors follow this emotional direction as well. Replacing aggressive tropical palettes are softer, more sensual shades: warm ivory, cocoa brown, pomegranate red, faded olive green, champagne and midnight blue. Colors that evoke sunsets, sun-kissed skin and stone warmed by the sun. The imagery moves away from the artificial glamour of ultra-luxurious beach clubs and toward a more intimate, cinematic dimension.

It is no surprise, then, that many of this season’s most powerful fashion images seem suspended in time. Campaigns are filled with empty terraces, curtains moved by the wind and hotel rooms illuminated by the golden light of late afternoon. Sensuality no longer emerges from digital perfection but from atmosphere—from the possibility of imagining a story behind a look.

In this context, the body itself takes on a new role. It no longer needs to be transformed, corrected or exaggerated in order to be desirable. Summer fashion 2026 finally seems interested in celebrating the natural movement of real people. Clothes follow the rhythm of the body rather than disciplining it. It is a subtle difference, yet a radical one.

Perhaps this is the true essence of the new sensuality: the idea that elegance and desire can coexist effortlessly. Without ostentation. Without the need to prove anything. In an era dominated by visual overexposure, fashion is rediscovering the power of restraint and reminding us that what lingers most vividly in the mind is rarely what is fully revealed, but rather what is merely suggested.

Cristina and Daniela

In 2006, one scene was enough — a coat thrown onto a desk — to redefine the concept of power, style… and saying good morning in the newsroom. The Devil Wears Prada wasn’t just a film. It was a manifesto. And above all, it taught us one thing: cerulean is never just a color.

Today, twenty years later, the devil is back — along with a fair amount of hype and impeccable communication: from the cover of Vogue US, featuring Anna Wintour and Meryl Streep as the iconic Miranda Priestly, blurring the line between reality and fiction, to the announcement of highly anticipated cameos such as Donatella Versace — alongside a soundtrack by Lady Gaga and Doechii.

Runway returns, along with its protagonists. In 2006, Miranda Priestly embodied a vertical, absolute, almost untouchable form of power: sharp heels, bold palettes, structured silhouettes. Power was visible. Audible. Intimidating. Today, she returns in icy coats, softer lines, a quieter elegance. Less display, more control. Because in 2026, power no longer needs to shout. It has become subtle, almost invisible — yet even more incisive.

Then there’s Andy. Andy Sachs. If in the first film she was the outsider — the one who “wasn’t interested in fashion” — today she is the exact opposite: minimalist, essential, impeccable. Andy no longer chases fashion. She controls it.

And finally, Emily. Emily Charlton. From stressed assistant to leading presence. Sharp cuts, constructed looks, strong stage presence. Less need for approval, more self-awareness. If before she wanted to be noticed… today she is impossible to ignore.

But the real shift isn’t just in the characters. It’s in the world around them.

In 2006, fashion was vertical: magazines decided, runways dictated, the audience observed. Today, everything is different. Fashion is a continuous flow — it’s born, transforms, and is consumed in real time. It’s no longer flipped through, but scrolled. Power hasn’t disappeared — it has simply moved. It lives in algorithms, in numbers, in the ability to remain relevant. And in knowing how to adapt… without losing identity.

The Devil Wears Prada 2 isn’t just a sequel. It’s a mirror. It shows us how much fashion has changed: more inclusive, faster, more accessible. But it also reminds us of something essential: true style doesn’t follow the noise — it moves through it. And maybe that’s the point. Today you can wear sneakers, oversized blazers, even break every rule…

But if there’s one thing that never changes, it’s that look. Miranda’s. Still capable of stopping time — and making us think, even just for a moment, that yes… the devil still wears Prada.

Cristina and Daniela

There is a thin, yet increasingly visible thread linking high fashion to daily consumption. Lately, two news items have piqued my interest due to the heated debate they generated: on one hand, John Galliano’s collaboration with Zara; on the other, the consistent success of Massimo Piombo at OVS. Two significant names, two different paths, but one common point: the choice to cross—or perhaps tear down—the boundary between luxury and accessibility.

For decades, fashion built its myth on distance: exclusivity, ever-increasing prices, and limited distribution. In this way, desire was born from impossibility. Today, however, the paradigm seems to be flipping. When a designer like Galliano, a symbol of theatricality and experimentation (decidedly suited for the few), enters the Zara universe, he brings a complex aesthetic into a rapid, global industrial system. The result is a democratization of imagery: garments inspired by haute couture suddenly become available to a vast audience.

But this operation is not without its ambiguities. I wonder: is it truly democratization, or rather a simplification of creative language? The risk is that the genius of this irreverent and hyper-innovative designer becomes diluted to fit the rhythms and logic of fast fashion. So, sure, now I can buy it at Zara for an easy price, but in reality, I am purchasing a garment that no longer possesses the identity or the couture craftsmanship of the true Galliano.

The Spanish giant’s interest in promoting a polished and virtuous image is clear, but hiring a fashion genius for a gold’s weight is not enough to earn a sustainability certificate.

Different yet equally significant is the case of Massimo Piombo. His work with OVS is not an episodic collaboration but a well-structured, consistent project. After being a luxury brand for many years, Piombo eventually decided to collaborate with OVS, entering into a partnership with the company and, for eight years now, creating affordable yet quality collections suitable for the stores of this chain, which is expanding more and more abroad. Piombo does not “step down” into accessible fashion; he rethinks it from within, maintaining a strong identity—especially an attention to fabrics—while respecting price and production constraints (though all manufacturing obviously comes from Bangladesh and India…). In this way, however, democratization is not a shock, as it is with Galliano for Zara, but a viable process.

It is precisely in this difference that the meaning of the phenomenon lies. Galliano represents the intrusion of luxury into daily life, whereas Piombo represents the construction of a more refined daily life. Two opposite strategies, both children of an era in which fashion’s boundaries are becoming more blurred, perhaps due to the excessive gap between luxury brands and fast fashion.

So, what does democratic fashion mean? It is not just a matter of price; it is, rather, a cultural shift: the idea that design, quality, and even a certain aesthetic vision should not be the privilege of the few. At the same time, however, this openness imposes new responsibilities, such as sustainability, transparency, and respect for labor.

These are all goals that we at Crida—positioned right in the middle between extreme luxury and fast fashion—have always kept at the forefront of our work, which is built on true “Made in Italy” values, craftsmanship, and natural fabrics.

We believe that today’s real challenge is not just making fashion accessible, but doing so without emptying it of meaning.

The experiences of Galliano and Piombo move within this fragile balance. And perhaps it is precisely here, in this tension between the elite and the masses, that the future of the fashion system will be decided.

Cristina and Daniela

Crida’s new Spring-Summer collection has arrived. You can find it online and in many Italian stores. It is called Florescence—blooming—not only because flowers are the protagonists of very special fabrics, but because of the deep roots that bind us to our territory.

We start from the earth, the most important asset we have and to which we owe respect and love. We strive to make it bloom in the best possible way. Creating a collection is like planting seeds in a field. There are ideas, sensations, and trends that we feel around us and that we follow, nurture, and nourish until we transform them into a harmonious whole that reflects our idea of style. Always in full respect of sustainability and “Made in Italy” values, the essential foundations of Crida.

The Spring-Summer 26 collection is called Florescence because it is our flowery meadow. Fine silks and Albini cottons are colored in the shades of flowers and timeless stripes to give life to romantic, refined dresses suitable for every moment of the day. There is also a brand-new pinstripe fabric in linen and cotton that becomes the passe-partout for tailored suits, for day and night, blending a masculine fabric with the femininity of impeccably cut jackets and redingotes.

Polka dots are not missing either, blooming on chiffon in dresses, very wide skirts, and sophisticated shirts, while denim-colored polka dots appear on weightless organza—the unmistakable hallmark of our style. In fact, for the first time in this new collection, there is denim, making Crida’s elegance even more contemporary and effortless.

As always, Daniela and I wanted to create a wardrobe suited to what women like us seek and want from fashion. Not overly flashy outfits to be used only once, but dresses, suits, skirts, and trousers that represent attainable luxury, refined and contemporary elegance, and above all, a style suitable for those who love fashion and know how to interpret it with modern awareness.

Cristina and Daniela

What will happen to fashion following the passing of Giorgio Armani and Valentino Garavani? Their departure from the scene represents more than just the loss of two historical figures; it could mark the symbolic end of an idea of fashion that the current system seems no longer able to sustain.

With them goes a generation of creators who conceived fashion as a discipline, a responsibility, and a cultural vision—not as content to be rapidly consumed.

Armani and Valentino were not merely protagonists; they were architects of language. The former deconstructed authority by softening silhouettes, freeing the body from formal cages, and teaching us that elegance is balance, measure, and respect. The latter elevated fashion to an absolute gesture, a celebration of beauty as a non-negotiable value, a ritual capable of suspending time. Two opposite poles, both necessary. Together, they defined the alphabet of Italian elegance.

Above all, they represented the value of slowness in a world that today lives on hysterical accelerations. They built collections like chapters of a coherent, recognizable discourse intended to last. The current system, by contrast, devours everything: designers, aesthetics, archives, even legacies. Creative directors are rotated at an industrial pace, collections are designed more for the algorithm than for the body, and historic brands are reduced to empty vessels for “moments” rather than ideas.

In this context, the absence of Armani and Valentino must make us reflect. Their existence represented a limit, a natural brake on excess. Armani didn’t need to shout; Valentino didn’t need to justify his grandeur. Their authority was not born of clamor, but of consistency. Today, however, fashion seems to have replaced authority with visibility, thought with performance, and identity with marketing strategy.

I have the impression that the contemporary fashion system talks constantly about the future but struggles to build it. It lives on citations, revivals, and reboots, while quickly consuming those who truly try to propose a vision. If you pay attention, you can see how the archive has become a creative life-jacket rather than a tool for knowledge. Without Armani and Valentino to guard the sense of history, the risk is that memory becomes purely aesthetic, emptied of ethics. The concept of “Made in Italy” is also more under scrutiny today than ever before. For Armani and Valentino, it was a process, a method, a profound dialogue with artisans, materials, real bodies—garments they knew not only how to design, but also how to cut, sew, and create. I have seen them working with (Italian) seamstresses to adjust precious details on evening gowns. Today, Made in Italy is often reduced to storytelling, while production becomes fragmented, outsourced, and dematerialized.

This is why their legacy poses an uncomfortable question to the system: can we continue to sell luxury without a culture of craftsmanship that truly supports it? The theme of elegance most highlights this crisis. Armani taught the power of subtraction, Valentino the power of absolute beauty. Today, elegance has been replaced by impact, short-term provocation, and visual noise. Everything must be “strong,” “iconic,” or “viral.” Nothing seems intended to last. In this scenario, the absence of the masters is not just nostalgic: it is structural.

Yet, their passing also leaves a precise responsibility. Not to look for new “solitary geniuses” to idolize, but the need to rethink a system that currently consumes creativity faster than it can produce it. Armani and Valentino demonstrate that fashion can be silent power, rigorous beauty, and a long-term project. All of which seem incompatible with today’s market rhythms.

I hope that in the near future, the fashion world does not limit itself to celebrating them with exhibitions, events, and anniversaries. I believe their teaching cannot be reduced to a heritage to be exploited, but must represent a model from which to restart. Because without them, the system will finally be forced to look at itself in the mirror.

The question we must ask ourselves, then, is not who the “new Armani” or “new Valentino” will be. The real question is whether contemporary fashion is still capable of supporting figures of that stature, or if it has definitively chosen to do without them. And this, more than any trend, will be its true statement of style.

Cristina and Daniela

And here we are in 2026… like every beginning of the year, this is the time for those resolutions and constructive thoughts we all need. Since you are fashion enthusiasts following Crida, allow me to share a few reflections with you. In this new year, I believe we must start again with simple yet powerful gestures. Fashion can be a language of love: toward ourselves, toward others, and toward the planet. Choose garments that last, responsible materials, and authentic craftsmanship. It’s not just a purchase: it’s a statement.

So, here are a few fashion-conscious resolutions:

• Buy less, choose better.
• Prioritize transparent brands and “Made in Italy” excellence.
• Repair, reuse, reinvent.
• Donate what we don’t use: it benefits the recipient and lightens our own load.
• Consider the impact of every action, from packaging to transport.
• Support those who protect labor rights and the environment.

The fashion of the future is an act of daily responsibility. An invitation to shine, yes, but with a conscience. And the most beautiful gift we can give ourselves is knowing that every choice reflects the best version of who we are. All of us at Crida wish you a wonderful 2026, lived with elegance and awareness.

Cristina and Daniela

I recently read a very interesting article about the current crisis in the fashion industry. I’d like to share its core message with you and offer my own perspective. Once, there was a clear distinction in fashion between what represented luxury—reserved for the few—and products accessible to everyone. The language was clear, identity-driven, and non-commercial. Not anymore. Today, this structure has collapsed, and fashion itself has transformed into one giant melting pot played out on a global stage.

For a long time, fashion functioned as a cultural code—a way to mark belonging and tell the story of who we were, beyond just selling products. Clothes were wearable stories, roots, and projections of desire. But luxury had its own discretion: it didn’t flaunt; it suggested. Think of the absolute and timeless elegance embodied by women like Jacqueline Kennedy, Marella Agnelli, or more recently, Franca Sozzani.

Today, that framework has crumbled, and fashion has become a massive showcase that lives off instant visibility. Distinction has given way to exhibition, identity to mere appearance, and creativity to the performative logic of social media. Within the rhythm of digital platforms, fashion no longer speaks as it should; it simply scrolls. To me, it feels like a fast, replicable flow, designed to be consumed instantly.

Why is this happening? Collections are multiplying at an ever-increasing pace—between pre-collections, resort, and cruise, every luxury brand replicates and throws an infinite number of new products onto the market. Within 24 hours of any runway show or presentation, the same pieces are replicated in the windows of fast-fashion chains—using different materials and at different prices, but with an image that isn’t always distinguishable from the originals.

In this way, the value of luxury is hollowed out: it is no longer a mark of distinction but a device for uniformity. What matters is no longer the singular quality of an object crafted with care and savoir-faire by manufacturers, but the immediate recognizability of that one bag everyone is photographing or those sneakers everyone is sharing. At that point, whether they are real or fake matters little. This is where the crisis emerges: the iconic object intended to distinguish the wearer is no longer exclusive; instead, it produces homogenization.

From an ethical standpoint, it is absolutely right that fashion becomes democratic and that everyone can share in it. I firmly believe that to be elegant, one doesn’t need to wear Chanel or Valentino, but rather possess a personality and a precise style that makes every outfit—even the most affordable—suit one’s own physique and aesthetic. However, what I do not agree with, and what debases the sense of luxury in fashion, is the race to produce more and more, moving in an unnatural, distorted way. This effectively marks the loss of the intrinsic value of a market born to be exclusive and special.

At Crida, we feel the need to slow down, to withdraw from the frenzy of instantaneity, and to return to what truly matters in fashion: substance, fine and natural fabrics, research, and the intuition of something special. I am convinced that creativity is born before an algorithm measures it, and that an idea takes shape before it becomes a trend. Bringing luxury back to a healthy and natural dimension, restoring its selective—not just spectacular—function, is the challenge the fashion world must face today. Only then can it reclaim its original voice, which speaks of identity and differences, and narrates social changes and people’s needs. And luxury, freed from the obligation to show off, can truly stand out once again: not through exclusion, but through true elegance.

P.S. Merry Christmas, Happy Holidays, and… Happy Fashion to all.

I love November for many reasons: because I celebrate my birthday, because I adore the arrival of the cold so I can wear heavy clothes, and because I love watching the colors of the leaves and sunsets—my favorite palette. But since Crida was born, there’s an extra reason: November has become the month of creativity and energy, the month in which the new collection for the following Autumn-Winter is born, defined, and blooms. A young girl who loves fashion asked me: “How do your ideas start, and how do they turn into dresses?” I’ll try to answer…

It starts by looking, with curious eyes, at everything that surrounds and attracts us: from fashion shows to people on the street, from photos in magazines to the social media profiles of women who inspire us. But we can also be struck by an unusual color combination in a bouquet of flowers or a mosaic tile on the wall of an ancient palace.

All these suggestions are transformed into a moodboard that we collect, I must say, in a rather messy way, but through which we manage to orient ourselves for the next step: the choice of fabrics. When our office table is overflowing with fabric swatches, which will be the basis of the new samples, Daniela begins to draw. Sketches on fashion plates invade the walls. That is the most creative and fascinating moment. Imagining the shape of a dress, a skirt, or a piece of outerwear from a fabric or a color is what I love most about this job.

We start from our carry-overs and the models that have sold the most to transform them according to the new vision. Then we add the novelties, which Daniela would never stop drawing, until I have to stop her to avoid creating an infinite collection.

The dialogue with the manufacturers comes immediately after, and the greatest thrill is always going to try on the prototypes. Of course, we try them on ourselves—almost always me—because they must be worn not by models but by real women. Sometimes they match what we imagined; sometimes they need to be modified and optimized; some are discarded, but other ideas are added along the way until they form the picture of a style, a mood that we have in mind and that we want to propose for the season.

November is a frantic and beautiful month, a race against time to meet the delivery deadlines for the samples, but certainly an exciting moment, full of ideas and novelties.

“Do you and Daniela ever argue?” my young friend asks me again. Well, yes… Daniela is a true creative; she manages to capture the trends in the air and transfer them into dresses, even the most extreme ones… I sometimes have to bring her back down to earth, thinking with a more commercial and practical mind. But in the end, Crida’s strength lies right there: in this dialogue, a partnership of friendship and style that for five years now has seen us committed to a job we believe in deeply, but which has become a real challenge in the difficult times of an increasingly struggling market.

We believe that beautiful and well-made things, created in Italy with the know-how of our local companies, are an added value worth protecting and encouraging. We believe in the many customers who love our dresses, buy them, and buy them again, confirming even in the darkest moments that we are on the right path.

And so we welcome this cold and rainy November with the optimism of a passion for fashion. In the meantime, we are producing the summer collection that will arrive in stores in February. We never stop. Fashion plays ahead; it is always one year forward, but above all, it is a world that prevents you from standing still. You always have to look beyond. And we do so with commitment and confidence.

P.S. The next dates for Crida’s pop-ups are in Florence on November 18th and in Lecce on December 2nd/3rd. Stay tuned.

As the fashion world moves to Paris, let’s take stock of Milan Fashion Week, which gave us a preview of next Spring-Summer’s trends during a week marred by cold and rainy weather. A mix of powerful colors, 1980s nostalgia, unexpected layering, and tailoring are the codes that struck me most in the new collections—which, as always, reflect the times we live in: full of contradictions and even fears, in a difficult historical moment that certainly doesn’t help the market.

But perhaps because of this, many interesting and innovative insights were seen, both in terms of materials—increasingly natural, recycled, and sustainable—and in the general mood of no longer classifying outfits as strictly “daywear” or “eveningwear.” Today, the end customer can creatively mix casual pieces with super-glamorous details, creating their own style for every moment of the day.

The keyword is transformation, highlighted by the highly anticipated debuts of new designers at the helm of major brands, who did not disappoint. Louise Trotter celebrated Bottega Veneta’s craftsmanship and the art of weaving with special fringes made of recycled fiberglass, while Dario Vitale recreated a Versace style quite different from what we were used to: no sequins, slits, or red-carpet glamour, but rather sleeveless bomber-style vests paired with shimmering skirts, side-slit tank tops, high waists, and undone belts for a much more relaxed and differently sexy vision.

Demna at Gucci could have dazzled with special effects; instead, he wisely chose to present the new “Gucci Family” (and all its problems in a super-polished short film), pulling iconic pieces from the house archives and re-presenting them exactly as they were: logos, sequins, minis, and faux fur combined in a bold and confident mix. As if to say: we start here, but in the next one, you’ll see some real magic…

I absolutely loved the Tod’s show, now a master of a refined and chic style focused on precious leatherwork. Over-sized jackets (but not too much), loafers and low-heeled boots, comfortable and understated bags. The unmistakable signature of Italian sartorial elegance.

Tailoring was everywhere on the runway: in trench coats with bold shoulders layered over sharp jackets, in soft pleated trousers, and in sweaters draped over shoulders for an elegant yet relaxed take on power dressing.

But layering is perhaps the newest theme for the coming season: the idea of a layered but effortless silhouette is proposed by Loro Piana and Ferragamo in super-chic versions with tunics over skirts and trousers. However, it is from Marco Rambaldi that the most contemporary and romantic vision of this trend arrives: his rebellious lightheartedness revolutionizes layers, making underwear and tank tops the protagonists over other garments, with a crochet mix made of doilies, which he also uses to create wedding dresses.

I would also like to mention Francesco Murano and his sophisticated, essential, dynamic, and futuristic fashion, where garments dance with bodies; and Lorenzo Seghezzi, who presented a collection in Milan for the first time dedicated to the energy of the queer world. Keep these three names in mind: they are promising young designers supported by the Camera Nazionale della Moda’s Fashion Trust, of which Daniela and I are members.

We begin again in Venice, the first major runway after the summer, to admire (or criticize—that is allowed too) the meticulously styled outfits of Italian and international stars that preview the new fashion trends.

For us at Crida, the appointment in the lagoon is essential, as it is the first opportunity to show you the pieces from our new winter collection, Wonderland—a tribute not only to Italy but to the wonders of our land, the planet we live in, and which we must love and respect.

If we were to summarize this season’s strongest trend in a single word, it would certainly be conscious elegance: which means building a solid wardrobe made of both precise classical references to the past and unexpected novelties and pairings. Above all, it means purchasing sustainable, well-made garments to be interpreted with one’s own personal style.

References to the past are seen in impeccable jackets with an essential “bourgeois allure,” which Crida has proposed this year in burgundy, gray, and, of course, black. These are the must-have pieces that complete any outfit, from casual to elegant, and cannot be missing from your closet.

Yes to the rigorous gray wool suit, accessorized with weightless silk shirts in vibrant colors, but also to the more relaxed ensemble in check print, which has returned as a major trend. This sobriety is also found in accessories: fewer stilettos and more loafers and Oxford shoes—classic lace-ups that add edge and tell the story of a more structured and decisive femininity.

The call of the 1990s is felt especially in the dresses, which we at Crida have proposed with leaner, more fitted lines: from cool wool to windowpane check viscose, and even chiffon dresses printed with small contrasting polka dots (which simply had to be there!). Crida dresses are always the most functional choice: suitable for any time of day, perfect to wear with a jacket or a masculine coat, with boots or clogs (another accessory on the rise).

Indeed, alongside this sobriety, the bold suggestions of the 1980s still coexist, though cleaned up and made more essential and contemporary: no to excesses in shapes and materials, but yes to sinuous mermaid lines that caress the body, as seen in the Crida long evening gowns you will spot on the Venice red carpet.

While on one hand there is a desire and need for rigore, on the other, fashion is still and always a dream: this is why the boho trend not only persists but reinvents itself this season, becoming richer and more chic. Transparencies, chiffon, and especially lace are to be handled with care, but they certainly represent a winter trend. Crida’s ivory lace ankle-length skirt, with its small coordinated shirt, should be worn with nonchalance even during the day, with flat shoes, a large bag, and a jacket over the shoulders. A look that reveals and conceals, skillfully mixing new and vintage pieces to define the “messy girl”: disorganized, intentionally imperfect, but very charming.

Beauty, remember always, is in personality and not in perfection: this, in my opinion, is the most important trend to follow this autumn-winter—a reaction to global fast fashion, to the predictable total look, to the excess of logos, and, above all, to digital perfection and the diktat of filters and appearance.

Let everyone find their own path without being subjugated by trends and without conforming to others. The beauty of today’s fashion is that it can be everything and its opposite: a carrier of new aesthetics that recall the past but also look to the future, inviting us to be bold but also to reflect on the beauty of classicism. My advice is to look at yourself closely in the mirror and understand what you want to highlight about your appearance: and then dare, without copying others, but building a style that will always make you feel unique and special.