Forever young. And inevitably so

It is somewhat embarrassing to write yet again about what is being done for young fashion designers. Simply because everything has already been said; because a great deal is actually being done, from supporting them after they graduate (Milano Moda Graduate) right through to managerial and financial support (Fashion Trust), yet little or nothing has changed. Young designers remain young designers forever (I am also somewhat sorry about this on a personal level, because it is not a question of eternal youth, but of an illusion), and they are rarely given the chance to make the leap to becoming ‘big’, in the sense of mature. Why? I think it is because they speak a different language – both creative and economic – to those who have been working in the sector for decades, and this novelty is frightening. It is also embarrassing to see, every six months, lists of ever-changing names trying to launch a brand that founders after a few seasons. Of course, being featured on the Fashion Week calendar is the fulfilment of a dream, but for nearly three decades I’ve watched dozens of names come and go, and it saddens me to see the same old story play out time and again. “It’s a sensitive issue because it’s true that it’s always being talked about. With Lineapelle, we’ve just embarked on a journey that I can assure you is very concrete, even if it might seem like a drop in the ocean. It’s not easy, but we’ve found people like the Dantones, who are helping us and collaborating with us,” explains Fulvia Bacchi, CEO of Lineapelle and General Manager of Unic-Concerie Italiane, whose Lineapelle Designers Edition project has now reached its tenth edition and last week hosted designers whose popularity is genuinely on the rise, such as Simone Botte-Simon Cracker, Yezael by Angelo Cruciani and Florania by Flora Rabitti. “We accepted the proposal sight unseen,” adds Alessandro Dantone, who, together with his father Giorgio, runs the historic Milanese boutique Daad Dantone. “We didn’t know the brands involved, but when we met them, it was a doubly pleasant surprise because we saw pieces with a strong aesthetic identity – brands that work with small workshops and whose products are often handmade. This is a crucial factor for us because today’s customer is no longer swayed by a logo but seeks uniqueness.” It’s a partnership that shows great promise, one that goes beyond the fleeting moment of the catwalk, bringing designers and their collections directly into contact with the end customer. “Despite the difficulties within the industry, we select those we consider the most talented and support them at every stage,” continues Bacchi. "In the past, it was the raw materials suppliers in the supply chain who supported them; that’s no longer the case, and these young designers find themselves having to tackle everything on their own." As Dantone adds, "we’re aware of our understanding of the consumer; we let creativity take the lead, but where possible we offer our perspective to make the garments more wearable, for example by improving their fit." The recently concluded edition saw fourteen designers showcase their collections in Piazza Tomasi di Lampedusa in Milan, which has become the heart of the initiative. We sat down with three of them (Flora Rabitti for Florania, Simone Botte for Simon Cracker and Angelo Cruciani for Yezael) and discussed the matter together, focusing on a few specific questions to understand the advantages and challenges of growing a brand in Italy today.

Flora Rabitti. The relationship between designer and consumer begins with direct sales or bespoke services, thereby also gathering opinions and criticism. Our readers are looking for a point of view, an interpretation, but above all the truth. Digital media helps a great deal, but it is difficult to build a relationship of trust and convey the true value of a product: in real life, quality is evident; online, it is more difficult and, for this reason, people often prefer a well-known brand to an emerging one.

Simone Botte. I see a generation that watches fashion shows, but often feels excluded and so recreates the looks through upcycling, DIY and flea markets. Fashion has thus drifted away from the people on the street; I, on the other hand, do not want to put too many barriers between my clothes and those who fall in love with them. For example, one of my T-shirts, which costs 40 euros but was shown on a catwalk in Milan, can become a dream: it might seem mad, but I don’t care, because prices have become the obstacle. What’s more, we avoid mass production and warehouses full of unsold stock, producing items only when they’re ordered and reducing stock and waste to zero.

Angelo Cruciani. The many stimuli have led the designer and the client to speak the same language, so a sense of belonging and shared ideas are integral to the partnership in the purchasing process. The first problem, however, is the price: too many steps lead to a price escalation that excludes 90 per cent of the customer base. There is much to reinvent, and taking a step back might benefit all parties.

Flora Rabitti. Creativity must stem from values and the imagination, rather than from a product; it must encourage experimentation. For me, creativity and innovation are closely linked to the craftsperson or model-maker. Knowing how far I can go allows me to push the boundaries further whilst remaining true to myself, because trends come and go, but one’s perspective endures.

Simone Botte. Some of us, the ‘forever up-and-comers’, choose this profession at our own risk. We were born amidst the ruins of a fashion system with rotten foundations, but I have never given up nor skipped a season, so as not to have a blank page in the diary of what I have always dreamed of doing. In those ten minutes of the show, I can have my say, and this fills me with more joy than any turnover ever could. Then there is what they refer to as the ‘community’ – for many, it is merely a hashtag, but for me it is my salvation: my collections are born out of dialogue with people who believe in the project.

Angelo Cruciani. For me, creativity is a quest for truth: not chasing trends, but pursuing a unique vision of beauty for those who have the eye to recognise and choose it. It’s about knowing how to draw the client into your own dream and becoming partners in a shared aesthetic. Just like a couple, client and designer can grow together.

Is giving young designers an official platform during Milan Fashion Week an act of trust in their creative vision, or is it also a way of gauging their commercial potential? What does emerging Italian creativity really need today? And how can we re-establish the link between a material such as leather and its craftsmanship, and the end customer, who is confused by conflicting messages?

Flora Rabitti. Institutional support has been essential in building Florania: without these opportunities, we would not have been able to improve. However, there is certainly a lack of public financial support in the form of state subsidies, dedicated funding schemes, export incentives or support for trade fairs abroad: it is up to us to shape the future of ‘Made in Italy’, not least because historic brands are struggling to adapt, whilst we are more dynamic and flexible. Lineapelle Designers Edition allows designers to experiment with materials, backed by an organisation with a strong structure and historical ties, so that everyone can bring their own community on board and help them discover the merits of this material. I’m interested in working with offcuts of leather because they’re just as valuable, but with zero environmental impact.

Simone Botte. We’re not being sidelined; we’re part of the whole thing. When I was twenty, I wrote in my diary that I wanted to be featured in the calendar before Miuccia Prada; today I’m on the catwalk after Gucci. But the system wants to see turnover: it takes us into account only when we’ve reached a certain level on our own. Fashion today often risks becoming a viral meme, but that doesn’t necessarily translate into profits. The system no longer works even for the big names, so perhaps it is we who are rewriting it and who are also ready for industrialisation, but in a new way: we could teach companies to waste less and save money, but unfortunately we are forever stuck with the label of ‘up-and-coming young designer’. Until the agreement with Lineapelle, I used very little leather (it’s expensive), but thanks to them, I’ve expanded its use to more garments and accessories: I’ve recreated some of my classic designs using this material, and it’s worked very well.

Angelo Cruciani. Securing a spot on the catwalk during Fashion Week is extremely difficult. Fast fashion and e-commerce have dashed the prospects and dreams of young people who confuse opportunity with popularity. It takes time for the public to understand and embrace new forms of expression. Furthermore, whilst Italy is famous for its talent, it has never established a system – including a regulatory framework – to protect it: we need a system that safeguards those who bring added cultural value and that fosters links between creatives and the business world. Fortunately, the most tenacious are developing new channels where success no longer equates to popularity. As for the use of leather, well: we too are clad in leather when we are naked. As a vegetarian from birth, I found it very difficult to come to terms with this material; however, whilst studying the issue of food waste, I realised that the animal is sacred also for its beauty: no designer could ever match what nature creates. So I realised that leather guarantees quality and durability and, through the use of offcuts – as in my case – also offers significant environmental benefits.