A Feel For Fashion: Alberto Cavalli

In your view, how significant are heritage and identity in contributing to a Maison’s consistency today?

Heritage should never be seen as a burden, as something so heavy and immutable that it flattens every possible evolution. On the contrary, heritage is the fuel, the essence, the power that ignites meaningful change, allowing a Maison to evolve without becoming ridiculously provocative or uselessly stereotypical. When heritage is hammered into the present, it becomes a clumsy imitation of the past. When it is ignored, it leads to anonymity. It must be learned with care, loved with care, analysed with intelligence and integrated with wisdom, in order to distil into contemporary creations a distinctive trait that reflects a Maison’s identity and pride. Identity is never for sale: either you have one, or you don’t. Either you have a message, values, brand equity and a clear position; either you know how to evolve in a trailblazing world without falling into kitsch; either you let your products speak for you — or you don’t. In that case, there is no identity. Heritage and identity go together, but they are not synonyms: they must be cultivated and protected, as they form the backbone of any healthy and sustainable growth.

Haute Couture has gained widespread popularity due to overcommunication. Do you see this as an advantage or a disadvantage?

Communication is always a relevant way of conveying a message: it is a tool, a strategy. The real questions, therefore, should be: how has Haute Couture capitalised on this attention and visibility to express its values? What has truly been conveyed through the lens of communication — glamour, exclusivity, dream? Or work, craftsmanship and taste? There is no right or wrong answer, only a consideration to be made: to benefit from visibility, we must pursue a direction that highlights authentic values, so they can take root in the public’s perception and become a generative resource for the future, far removed from fleeting trends.

In today’s fast-paced society, how can it coexist with the slow processes of crafting Haute Couture?

We are often confronted with dualistic questions: either this, or that. Either we move entirely towards digital communication, immaterial exchanges and fast consumption, or we remain anchored to practices belonging to another era. I do not believe this is a wise approach. The contemporary world is a place where speed, rapidity, immediacy are like currency: they have a value, they’re always welcome, they create a difference. But at the same time, we remain human, and we need to affirm our identity in our own way: to savour beauty, imagine new scenarios, craft our dreams and slowly build our path in a crowded world. There will always be a need for slowness when the demand is not for objects or sensations, but for meaning and substance.

How do you envision the future of Haute Couture?

Many years ago, after a Chanel couture show, I spoke with Karl Lagerfeld and told him: Couture has changed so much. His reply was brilliant: “Heureusement!” Luckily, it has changed, because change is synonymous with life and growth. The future of Couture is closely connected to its most authentic past: not a sequence of show-stopping pieces, but a wardrobe of impeccably crafted, beautifully designed creations for every moment of day and night, when we choose to celebrate an occasion by looking our best. Original. Conscious. Creators of our own image, rather than passive consumers of trends chosen by others.

What is the most significant change you are seeing in fashion right now?

There is a positive change, and a more troubling one. The latter concerns the lack of identity affecting many legendary brands, as if they were afraid to let their voices be heard. Shops look increasingly alike. Advertising campaigns leave no lasting memory. Clothes and accessories compete in anonymity or resort to blunt mimicry in a desperate attempt to intercept trends. This is a worrying signal: when creativity is enslaved, craftsmanship suffers, clients drift away and fashion becomes irrelevant. At the same time, there is a positive sign: the courageous presence of a new generation of creatives investing in their own labels, carefully crafted, thoughtfully conceived and distinctly executed. They dream of success without being haunted by the ambition of becoming empires, and this freedom allows them to rise above market stagnation and carve out space in an overcrowded landscape. My hope is that they continue to collaborate with equally young and visionary artisans, keeping this spirit alive.

Can craftsmanship keep fashion (and Couture) alive in these troubled years of the system?

Craftsmanship is the only way to keep true Couture alive. There is no alternative. But craftsmanship must not be reduced to the mechanical repetition of gestures. From the Homo Faber perspective, master artisans are interpreters, not mere executors. They consciously transform materials, translating a designer’s vision into a refined product, minimising waste, enhancing character and creating excellence. If Couture represents the epitome of bespoke elegance, it cannot be achieved without a masterful human touch.

What is your perspective on the role of new technologies in Haute Couture?

Technology is a tool; everything depends on how it is used and who controls it. If technology removes unnecessary manual labour, reduces waste and impact, and contributes to healthier ways of working and living, then it is welcome. But if it is elevated as the sole horizon of progress and meaning, then the point is missed. Humans must remain in control. Artisans cannot be replaced: the human hand remains the ultimate instrument to create beauty.

What excites you most about fashion at the moment?

I am particularly interested in the reintegration of time-honoured artisanal techniques, often rooted in different cultures and geographies, into contemporary design. It feels like a step beyond cultural appropriation towards a more conscious and respectful cross-fertilisation of tastes and visions.

When was the last time you marvelled over something in fashion?

When I saw the new Chloé collection by Chemena Kamali: fresh, strong, feminine and deeply rooted in the Maison’s DNA, yet unlike anything else. Walking along Faubourg Saint-Honoré, it was the only window that truly captured my attention through the eloquence, elegance and substance of the clothes. Chemena is doing an excellent job.

This interview has been lightly edited.