OCTOBER EDITORIAL

What did the recently concluded Fashion Week shows reveal to us?

I must confess that it was difficult to identify clear and defined trends. It seems many brands felt the need to propose a bit of everything: from the light sheers seen everywhere to decidedly heavy oversize coats; from models in their underwear (almost always) to grand evening gowns, often asymmetrical, with incredibly deep cuts and slits. It’s as if no type of buyer should be excluded in such a challenging global moment for fashion.

The Asian markets, which in the past bolstered the revenues of Western companies, are no longer the driving force, as they too are facing a crisis. Furthermore, there are still two ongoing wars blocking strategic areas like Russia and the Middle East.

Let’s not forget that we are leaving behind a pandemic that radically changed purchasing priorities. Today, people are more mindful: they think less about appearance—about clothes and ephemeral goods—and more about values and experiences. They buy with more caution, preferring to invest in a dinner out or save for a weekend away rather than adding yet another garment to an already full closet.

You may have noticed empty shops in city centers while low-cost flights are always packed. The ultra-luxury market suffers fewer tremors, though seeing the word “Dior” painted in block letters across skirts makes me think they have some issues too. But independent brands like ours, which don’t have large funds or investors behind them, are the hardest hit by this earthquake. In my opinion, there is only one strategy to follow: focus on what you want to express through the product. It cannot just be a beautiful (and perhaps unwearable) expression of a designer’s genius. It must be something that people today perceive as a real, concrete, well-made, and lasting need.

I was very struck by the show featuring young students from the Marangoni fashion school. The best among them presented mini-collections with an apocalyptic flavor: clothes like armor, in leather or fabric, with sculpted shoulders and voluminous hoods. A futuristic idea of a world where people, instead of socializing, dress to protect themselves from imminent danger. Perhaps they are right, but this is certainly not the fashion we would want to wear in the coming years.

We belong to another generation—the one that experienced the beauty of “Made in Italy,” which was also born in a difficult time but went on to achieve resounding success worldwide. For us, fashion is still synonymous with joy, positivity, and inclusion. More than ever, however, we must avoid oddities and extreme trends, focusing instead on a sartorial, concrete product that is easy to wear and, obviously, sustainable.

The Spring-Summer 2025 collection that Daniela and I presented at the Hotel Diana responds to these characteristics of clarity, wearability, and Italian elegance. It was appreciated by the press, partly because it integrated perfectly with the quiet of the beautiful garden that hosted us, amidst the chaos of Milan Fashion Week. Crida wants to be just that: an oasis of Italian elegance in the jungle of the many seductive but ephemeral proposals that surround us.

If we can choose little today, let’s choose well. If we must buy less, let’s buy better.