And here we are in 2026… as with every beginning of the year, this is the time for good resolutions and constructive thoughts that we all need. Since, if you follow Crida, you are people passionate about fashion, I’d like to share a few reflections with you. In this new year, I believe we should start again from simple yet powerful gestures. Fashion can be a language of love: toward ourselves, toward others, toward the planet. Choose pieces that last, responsible materials, 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. • Repair, reuse, reinvent. • Donate what we no longer use: it benefits those who receive it and lightens us as well. • Think about the impact of every action, from packaging to transportation. • Support those who protect both labor and the environment.

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

Cristina and Daniela

I read a very interesting article about the current crisis in fashion. I’ll try to tell you about it and share my opinion. There was a time when fashion had a clear distinction between what represented luxury, reserved for a few, and the products that were instead accessible to everyone. The language was clear, identity-driven, and not commercial. Not anymore. Today this entire framework has collapsed, and fashion itself has turned into a big melting pot staged on a global platform. For a long time, fashion worked as a cultural code, a way to mark belonging and to express who we were, as well as to sell products. Clothes were worn stories, roots, projections of desires. 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 structure has crumbled, and fashion has become a huge showcase that lives on instant visibility. Distinction has given way to exhibition, identity to mere appearance, creativity to the performative logic of social media. Within the rhythm of digital platforms, fashion no longer speaks as it should, it simply flows. To me it all feels like a fast, replicable stream, designed to be consumed instantly. Why is this happening? Collections multiply faster and faster (between pre-collections, resort and cruise, every luxury brand replicates and floods the market with an endless number of new products) and 24 hours after every show or presentation, the same pieces are reproduced in fast-fashion store windows, with different materials and prices, but with an image not always so distinguishable from the originals.

In this way, the value of luxury becomes hollow: it is no longer a sign of distinction but a device that creates uniformity. Because what matters now is not the unique quality of each object made with care and savoir faire by artisans, but the immediate recognizability of that bag everyone photographs or the sneakers everyone shares. Whether they are real or fake matters little at this point. And this is where the crisis begins, because the iconic object that was supposed to distinguish its wearer is no longer exclusive, but instead creates homogenization.

From an ethical point of view, it is absolutely right that fashion becomes democratic, that everyone can share it. I am firmly convinced that to be elegant you don’t need to wear Chanel or Valentino, but to have a personality and a clear style that makes every outfit, even the cheapest, suitable for your body and your aesthetic. But what I don’t agree with, and what undermines the meaning of luxury in fashion, is the race to produce more and more, to move in an unnatural, distorted way. This, in fact, 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 step away from the frenzy of instantaneity, and return to what truly matters in fashion: substance, fine and natural fabrics, research, the intuition of something special. I believe that creativity is born before an algorithm measures it and that the idea takes shape before it becomes a trend. Bringing luxury back to its healthy and natural dimension, giving it back a selective rather than purely spectacular function, is, I believe, the challenge the fashion world must face today. Only this way will it regain its original voice that speaks of identity and differences, that tells the story of social change and people’s needs. And luxury, freed from the obligation to show itself, will be able to truly stand out again—not through exclusion, but through real elegance.

P.S. P.S. Merry Christmas, happy holidays and… happy fashion to everyone.

I love November for several reasons: because I celebrate my birthday, because I adore the arrival of the cold that lets me wear heavy clothes, and because I really love watching the colors of the leaves and sunsets — my favorite palette. But since Crida was born, there’s one more reason: November has become the month of creativity and energy, the moment when the new fall-winter collection is born, defined, and blooms. A young girl who loves fashion once asked me, “But how do your ideas come to life, and how do they turn into clothes?” I’ll try to answer…

It all starts by looking around, with curious eyes, at everything that surrounds and attracts us: from fashion shows to people in the streets, from magazine photos to social media profiles of women who inspire us. But sometimes what catches our eye is an unusual color combination in a bouquet of flowers or the tile of a mosaic on the wall of an old building.

All these inspirations come together in a moodboard that we collect — I must admit — in quite a disorganized way, but one in which we manage to find our direction for the next step: choosing the fabrics. When the table in our office is overflowing with swatches that will become the base of the new collection, Daniela starts sketching. And soon the walls are covered with drawings. That’s the most creative and fascinating moment — imagining the shape of a dress, a skirt, or an outerwear piece starting from a fabric or a color is what I love most about this job. We start from our carry-overs and the best-selling models, transforming them according to the new vision. Then we add new designs — Daniela would never stop sketching if I didn’t have to stop her to avoid creating an endless collection!

The collaboration with the manufacturers comes right after, and the greatest emotion is always trying on the prototypes. Of course, we try them on ourselves — almost always me — because they need to be worn not by models but by real women. Sometimes they turn out just as we imagined; sometimes they need to be adjusted or optimized. Some are discarded, but new ideas come along the way, until the picture of a style — a mood — takes shape, the one we want to express for the season. November is a hectic and beautiful month, a race against time to meet the sample collection deadlines, but certainly an electrifying moment, full of ideas and newness. “Do you and Daniela ever argue?” my young friend asked again. Well, yes… Daniela is a true creative — she can sense trends in the air and translate even the boldest ones into clothes. Sometimes I have to bring her back down to earth, thinking with a more commercial and practical mindset. But in the end, Crida’s strength lies exactly there: in this dialogue, a partnership of friendship and style that, for five years now, has kept us engaged in work we truly believe in — a real challenge in these difficult times for an increasingly struggling market.

We believe that beautiful, well-made things, crafted in Italy with the know-how of our local companies, are an added value worth protecting and promoting. We believe in the many clients who love our clothes, 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 that comes from our passion for fashion. Meanwhile, we’re producing the summer collection that will arrive in stores in February. We never stop. Fashion is always one step ahead — a year in advance — but above all, it’s a world that never lets you stand still. You always have to look forward. And we do that with commitment and confidence.

P.S. The next Crida pop-up dates are in Florence on November 18 and in Lecce on December 2–3. Stay tuned.

As the fashion world moves to Paris, let’s take stock of Milan Fashion Week, which gave us a preview of the trends for next spring-summer, during a week marked by freezing cold and rainy weather. Powerful color mixes, ’80s nostalgia, unexpected layering, and tailoring are the key elements that struck me most in the new collections, which—as always—reflect the times we live in, full of contradictions and fears, in a difficult historical moment that certainly doesn’t help the market.

But maybe for this very reason, we saw many interesting and innovative ideas—both in terms of materials, which are increasingly natural, recycled, and sustainable, and in the general mood of redefining each outfit as no longer 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, also highlighted by the much-anticipated debuts of new designers leading major brands—and they did not disappoint. Louise Trotter celebrated Bottega Veneta’s craftsmanship and the art of weaving, with special fringes made from recycled fiberglass, while Dario Vitale reinvented a very different Versace style from what we’re used to: no sequins, slits, or glamorous eveningwear, but sleeveless bomber-style vests paired with shiny skirts, side-slit tank tops, high waists, and undone belts for a much more relaxed and differently sexy vibe.

Demna at Gucci could have stunned with special effects, but wisely chose instead to present the new “Gucci Family” (and all its problems in a super glossy short film), pulling iconic pieces from the archive and reintroducing them just as they were: logos, sequins, minis, and faux fur combined in a bold and confident mix. As if to say: let’s start here—but just wait till next season… I absolutely loved the Tod’s show—now a master of refined and chic style, focused on exquisite leather craftsmanship. Oversized—but not too much—jackets, low-heeled loafers and boots, practical and understated bags. The unmistakable signature of Italian sartorial elegance.

Tailoring that was seen all over the runway—in trenches with bold shoulders layered over sharp blazers, in soft pleated trousers, and in sweaters draped over the shoulders for a power dressing style that’s elegant yet relaxed. But perhaps the most innovative theme for the upcoming season is layering—a multi-layered silhouette that feels effortless. Loro Piana and Ferragamo offer a super-chic version with tunics over skirts and trousers, but it’s Marco Rambaldi who brings the most contemporary and romantic vision of this trend: his rebellious lightheartedness revolutionizes the layers, putting underwear and tank tops on top of other garments, with a crochet mix made of doilies, which he also uses to create bridal gowns.

I also want to mention Francesco Murano and his sophisticated, essential, dynamic, and futuristic fashion, where clothes move with the body, and Lorenzo Seghezzi, who for the first time presented in Milan a collection dedicated to the energy of the queer world. Remember these three names: they are young designers with great potential, supported by the Fashion Trust of the National Chamber of Italian Fashion, of which Daniela and I are members.

It all starts again in Venice, the first important runway after the summer, where we can admire (or criticize—it’s allowed too) the carefully studied outfits of Italian and international stars that anticipate the new fashion trends.

For us at Crida, the date in the lagoon is unmissable, since it’s the first opportunity to showcase the pieces from the new winter collection, Wonderland—a tribute not only to Italy but also to the wonders of our land, to the planet we live on and must love and respect.

And if we want to sum up the strongest trend of the season in a single word, it is undoubtedly that of conscious elegance: meaning building a solid wardrobe, made both of precise, classical references to the past and of unexpected innovations and combinations. Above all, it means buying sustainable, well-made garments to be interpreted by each person in their own style.

References to the past can be seen in impeccable jackets with a bourgeois, essential allure, which Crida has proposed this year in shades of burgundy, gray and, of course, black. These are the must-have pieces that complete any outfit, from casual to elegant, and that every wardrobe should include.

Yes to the rigorous gray wool suit, accessorized with colorful silk blouses in delicate fabrics, but also yes to the more relaxed check print ensemble, which has come back in a big way. This sobriety is also found in accessories: fewer stilettos and more loafers and Oxford shoes—the most classic lace-ups that add boldness and convey a more structured, determined femininity.

The ’90s influence is felt above all in dresses, which Crida has also proposed with slimmer, more fitted silhouettes: from cool wool, to windowpane-check viscose, to chiffon dresses printed with small contrasting polka dots (which simply couldn’t be left out!). Crida dresses are always the most functional choice: suitable for every moment of the day, perfect to wear with a jacket or a masculine coat, with boots or with clogs (another accessory on the rise).

Yes, because alongside this sobriety we also find bold suggestions from the ’80s, though cleaned up and made more essential and contemporary: no to excessive shapes and materials, but yes to mermaid-like, sinuous lines that embrace the body—like Crida’s long evening gowns you’ll see on Venice’s red carpet.

If on the one hand there’s a desire and need for rigor, on the other fashion is, and always will be, a dream: that’s why the boho trend not only resists but reinvents itself this season, becoming richer and more chic. Transparencies, chiffon and above all lace must be handled with care, but they certainly represent a strong winter trend. Crida’s ankle-length ivory lace skirt with its matching blouse should be worn with nonchalance even during the day—with flat shoes, a large bag, and a jacket thrown over the shoulders. A look that both reveals and conceals, that cleverly mixes new and vintage pieces to define the “messy girl”: disordered, deliberately imperfect, but very charming.

Beauty, remember always, lies in personality and not in perfection: this, in my opinion, is the most important trend to follow this fall-winter— a reaction to global fast fashion, to predictable total looks, to the excesses of logos and, above all, to digital perfection and the dictatorship of filters and appearances.

Everyone should find their own path without being subdued by trends or conforming to others. The beauty of today’s fashion is that it can be everything and its opposite: carrying new aesthetics that recall the past but also look to the future, encouraging boldness but also reflection on the timeless charm of classicism. My advice is to look closely in the mirror and understand what you want to enhance in your appearance—and then dare, without copying others, but building a style that will always make you feel unique and special.