Cristina Parodi on Crida, her capsule collection – Vogue Italia

A project created with her friend Daniela Palazzi based on a simple idea: returning to quality elegance, untethered from seasons and trends, produced locally. And a campaign grounded in the brand’s values: Italian identity, sustainability, authenticity. With special attention to Bergamo, a symbol of rebirth.

Crida is the fusion of the names of two friends from Bergamo, Cristina and Daniela, united by their passion for fashion since they were girls. Crida is the title of a friendship and a dream brought to life with a capsule collection of ten dresses and two outerwear pieces. Each design proudly carries the name of an Italian city that inspired it. Quality, timeless elegance, and women’s solidarity are the values on which the project is founded. It is to these principles that Crida, in such a difficult historical and economic moment, dedicates a social campaign aimed at all women. The goal is to send a message of optimism for the reopening of shops, and to tell the story of a dress that makes women feel good in their own skin. A story also celebrated in a special social campaign reflecting the times we’re living through. The photos were taken at home during lockdown, giving us a homemade atmosphere, the warmth of family, and the joy of authentic bonds and beautiful things.

Crida also aims to send a signal of corporate social responsibility by donating 10% of sales to CESVI, an NGO in Bergamo, to support its home-care program for the city’s elderly and those in the province.

Who is Crida and what are its values?

Cristina Parodi: Crida is the woman Daniela and I have imagined. She has been in our minds for a few years and finally took shape this fall with a spring–summer capsule of ten dresses and two outerwear pieces. Few pieces for a concise message whose business card is the dress. The idea is to return to a concept of quality elegance, untethered from seasons and extreme trends. Crida remains in the wardrobe forever and works well for many occasions. Crida is for mothers and daughters alike. It’s a dress designed to make the wearer feel comfortable—beautiful yet simple at the same time. Discreet elegance enriched with details. Crida is a woman who stands out because she is chic, not because she is flashy or overly sexy. Our designs are classic yet contemporary. Crida is a dress that never tires.

Daniela Palazzi: Crida was born from the desire of two fashion consumers, both fashion addicts. In the past we’ve bought clothes in a moment of enthusiasm and never worn them. Today we look for dresses in which every woman can fully recognize herself and feel put-together from morning to night. The dress “dresses you” without ever being excessive; it’s practical and quick to put on. It doesn’t waste your time. We had almost forgotten how enjoyable it is to wear dresses. At the same time, we care deeply about quality—otherwise this project would make no sense. We focus on the values of femininity and personality.

How does Crida represent Made in Italy and how do you plan to support it?

D.P. Since the project was never conceived at a desk, we started from the basics—research and fabrics. In Italy we have tailors and manufacturers who create wonderful things. We realized how precious our supply chain is, with its small artisanal trades, and it’s no coincidence that so many major brands come to us for their final product. We have learned to recognize and trace the origin of materials: I, for instance, always look at the label; I want to know where a dress comes from. When there’s a lot of work to do, we divide up the tasks, but generally we choose and do everything together. We move in the same direction. Even when we were advised against this venture, we decided to go all the way, remaining very united thanks to our shared principles. We believe in it deeply, despite the industry’s challenges.

C.P. I was especially struck by my daughters—especially the older one, the environmentalist—who want to buy properly made products. Unwittingly, they taught me a great lesson. The beauty of doing something new is that you learn a lot. Crida is truly a dream realized in my early fifties. But in some way, our project—launched in such a strange historical moment—is the strength that could let us survive and our way of supporting Made in Italy. Precisely because we believe in the product and in a type of fashion that is less fast and more considered, slower. Quality, slowness, and heart. All our fabrics are Italian, and many of the companies we visited are in the Bergamo area. The project is practically zero-kilometer.

Who are your muses?

D.P. Cristina is certainly one of my muses. As are other friends. Francesca, for example, always arrived in Bergamo’s Upper Town dressed impeccably. I love that women can look beautiful and put-together despite having so much to do. Franca Sozzani was like that.

C.P. I too have often thought of Franca—her wonderful, always-unmistakable dresses. Always elegant. She had immutable elegance, and the dress always featured something extra: a perfect length, a well-made sleeve. Never clinging.
Daniela and I also bonded because we have very similar tastes. For instance, we often dressed alike. When lockdown ended, she came to pick me up and we were dressed identically!

What inspired a values-driven campaign?

C.P. First of all because everything has changed these past months. Italy is on its knees and we need concepts that are less frivolous and consumerist, less volatile. People want real emotions and fashion must offer authentic values they can identify with. Our new social communication runs on these tracks: fashion must move at a human pace and be lived more slowly, with plenty of fresh content. We do things well and when they are needed. We want positive messages from real people. We want stories of courageous women who have overcome their limits and succeeded on their own strength.

D.P. Our new social campaign aims to send a message of hope through real people—the brand’s friends and the entire Crida community. It’s our philosophy: not chasing fleeting trends but rediscovering more classic, enduring values. In a word: solid.

Your fondest memories related to Crida?

D.P. My fondest memory is tied to the Firenze dress, a bestseller: after various fittings, when everything finally came together, it was the dress that encapsulated everything I felt deep down. My security blanket.

C.P. The time we spent creating this collection was full of enthusiasm and dreams. We’d drive through the fog all day searching for workshops and fabrics, often getting lost—like two girls on an adventure. Just the two of us, even learning how to fold boxes for stores! The first time we went to inspect the prototypes, the owner asked if we needed a model. We said: No, we’ll try them on ourselves! The first one I wore was the Agrigento dress—it was beautiful. We hugged. We twirled. Looked and hugged again.

A Crida design for every Italian city.

C.P. The idea reflected our vision of Italian-style dresses. Assigning names to our designs was one of the most intense and fun moments. The Firenze dress—a bestseller—seemed to have its name written on it. We imagine it worn on strolls through the city’s streets or a visit to the Uffizi. Taormina, to walk under the southern sun. We dedicated two to Puglia alone. The Roma dress reminded us of a column in a temple or church of the Eternal City. Now more than ever we must strive to help Italy stand tall, and we’re proud that these same dresses will be ambassadors of our country’s style, reminding us always of our creative prowess.
Our message is a love letter to Italy so that our cities can lift their heads again. And I look forward to the next ones we’ll create—among them, of course, the Bergamo dress, which Daniela already has sketched out.

D.P. Absolutely—many people internationally didn’t know Bergamo. After the recent months, things have changed greatly, and now it’s time to work to make our city known as a symbol of rebirth.

Beyond our website https://cridamilano.it/, Crida is available at Belle Boutique (Milan), Tiziana Fausti (Bergamo), Vietti (Domodossola), Cenere (Bassano del Grappa), and Antora (Baden-Baden, Germany).

By Francesca Ragazzi
Source: https://bit.ly/2Xt61sM