October Editorial

What did the runways of the just-concluded Fashion Week reveal to us?

I must confess it was hard to pinpoint clear, definitive trends. It seems many brands felt the need to offer a bit of everything: from lightweight sheers seen everywhere to decidedly heavy oversized coats; from models in their underwear (almost always) to grand evening gowns—often asymmetric, with extremely deep cuts and slits. It’s as if no type of buyer should be excluded in such a difficult moment for global fashion.

The Asian markets, which in the past supported Western brands’ revenues, are no longer a driving force, as they too face crisis. Plus, two wars still rage, blocking strategic regions like Russia and the Middle East.

Let’s not forget we’re emerging from a pandemic that radically changed purchase priorities. Today, people are more mindful: they care less about appearance—clothes and fleeting goods—and more about values and experiences. They buy with greater caution, preferring to invest in a night out or save for a weekend rather than add yet another piece to an already full wardrobe.

You’ve probably noticed empty shops in city centers and perpetually packed low-cost flights. The super-luxury market shakes less, though seeing “Dior” emblazoned in giant letters on skirts suggests they feel the strain too. But independent brands like ours—with no large funds or investors behind us—are hit hardest by this upheaval. In my view, there’s only one strategy: focus on what you want to convey through your product. It cannot be merely a beautiful (and perhaps importable) expression of a designer’s genius. It must be something people today perceive as a real, concrete need—well made and long lasting.

I was particularly struck by the show from the young students of the Marangoni fashion school. The best among them presented mini collections with an apocalyptic vibe: garments like armor in leather or fabric, with sculpted shoulders and voluminous hoods. A futuristic vision where people, instead of socializing, dress to protect themselves from an imminent threat. Perhaps they’re right—but this is certainly not the fashion we want to wear in the years ahead.

We belong to another generation—one that experienced the glory of Made in Italy, which also began in difficult times but went on to achieve worldwide success. For us, fashion still means joy, positivity, and inclusion. But now more than ever, we must avoid oddities and extreme trends, concentrating on a sartorial product that is tangible, easy to wear, and of course sustainable.

The Spring–Summer 2025 collection that Daniela and I presented at the Hotel Diana embodies clarity, wearability, and Italian elegance. It was praised by the press for blending perfectly with the peaceful beauty of the hotel’s garden amid the chaos of Milan Fashion Week. Crida aims to be just that: an oasis of Italian elegance in the jungle of ever-more seductive but fleeting offerings that surround us.

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