October Editorial

“Fashion is something stupid, superficial, and feminine.”

Those are the words of Andrea Batilla, designer and leading expert in fashion and communication. Despite this “tranchant” statement on his Instagram page, I am certain he loves and knows fashion to such an extent that he is one of the few truly sincere and interesting voices commenting on the collections presented during this last Fashion Week. He spares no one; he is sharp and precise in his judgments, competent, and never cliché.

Reading his ruthless yet perfect reviews online, one has to wonder: what should fashion be like today?

The runway shows in Milan, followed by those in Paris, were the mirror of future trends—the windows through which designers propose their interpretation of society, customs, desires, and consumer needs.

There have been years when we saw frankly improbable garments on the catwalks—improbable in shape, materials, and excessive frivolity—yet they represented the spirit of the times or the dreams of women at that moment. Other seasons, instead, used fashion to launch important social messages: Prada’s models, un-makeuped and shapeless, hidden in oversized parkas and urban warrior combat boots, or more recently, the feminist slogans on Dior’s t-shirts.

To me, the hallmark of this season’s shows and presentations seemed to be pragmatism rather than extravagance.

We have emerged from a difficult time, especially for the fashion industry; there is a need for certainty and solidity, and that is generally what was proposed. Every brand did what it already knew how to do best.

Batilla—by now my beacon in the fashion jungle—laments, however, the lack of research and new ideas in some historic houses dearly loved by “ordinary” women, like Max Mara and… lo and behold, Dior, offering his usual intelligent reflection.

Maria Grazia Chiuri did not strive to make an innovative collection with a high media impact; but the strength of her brand is not so much originality at all costs, but rather style and, above all, the ability to dress women of different sizes, shapes, and ages, making them feel good.

Exactly like Max Mara, which for some time now has preferred wearability over extreme trends.

Should fashion target an audience of influencers, millennials, and young, beautiful fashion victims capable of wearing even the most daring (or unflattering) follies? Or should it cultivate the diverse world of real women, who have sizes well beyond a 42 (US 6), have purchasing power, and want to be elegant?

Does the strength of a product lie in the number of glossy covers it has appeared on, or in the number of women who have actually worn it and felt good? Batilla, enlighten us—you who scold Maria Grazia Chiuri but ultimately listen to your friend when she tells you that Dior dresses never betray you, they have perfect, comfortable fits around the hips and armholes; in short, they are made to be worn by every woman (who, of course, has the financial means to face their decidedly high prices).

We at Crida are certainly not at that level, but we believe that fashion can be style research and innovation, but also—and above all—that it must make the wearer feel good.

The most exciting challenge is managing to dress in an elegant and modern way even the lady who tells you: “Your clothes are so beautiful, but they will never fit me.”

And then seeing her smile in the mirror, watching how the silk glides over critical points without pulling, and how an evening dress can be perfect even on a figure that isn’t that of a model.

Andrea Batilla will probably never review Crida (thank goodness!), because he rightly focuses on the big names in fashion and we are not part of that Olympus (not yet…), but I was reassured by his analysis of Dior and the ability to make clothes that actually fit women.

Even though we are a young company, born less than two years ago, we have had this goal clearly in mind from the beginning: to transform “stupid, superficial, and feminine” fashion into a wonderful world through which every one of us can feel beautiful.