Fashion journalist and media expert Gianluca Cantaro delivers unfiltered truths about the present and future of fashion communication—no-holds-barred
The dominance of digital, the rise of AI, and the impact of new platforms like Instagram, TikTok, WeChat, and Weibo have revolutionised the fashion publishing landscape. Social media sets the pace, algorithms determine who sees what, creators hold influence, and fashion writers have to navigate new forms of communication. In this interview, we explore these pressing issues with Gianluca Cantaro, an expert voice, fashion journalist, critic, creative, and consultant who’s unafraid of the future.
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From his career journey to a keen analysis of today’s fashion magazines and a vision for what’s next, we’ve posed all the tough questions. Here are the insights we seek and the honest answers few dare to provide—except for Gianluca Cantaro.
Tell us about your firsthand experience in the world of fashion publishing.
Essentially, I worked so hard! I remember an event that made me realise I wanted to be a fashion journalist. During my university years the Milano Fashion Week was happening and they were the years of the rise of super models as Claudia Schiffer, Linda Evangelista, Christy Turlington, Kate Moss, Carla Bruni and so on. At that time, the shows were held in what is now known as CityLife. So, every season I waited the all day outside the location (as the today’s fans crowds do for celebrieties, but at the time i was alone) to meet them. I also successfully managed to sneak into some shows for the first time bypassing the security people and I realised that I found fashion to be an intriguing world, even though I didn’t have a clear idea of my specific interests. I began studying hard and working harder, with no distinction between morning, afternoon, and evening. I was ready to do anything. I signed my first contract with a weekly magazine called Fashion. Not even a year later, in 2001, I joined the editorial team at D la Repubblica, where I worked as an editor for almost seven years. Then in 2007, Franca Sozzani approached me for L’Uomo Vogue, where I remained until 2014. While there, I received an offer from L’Officiel to relaunch all their Italian publications. I worked there for four and a half years as Editor-in-Chief.
What were the most memorable moments of your career?
It is difficult to pinpoint a single moment; the very fact of having achieved all this over the years is the most memorable aspect. One of the most satisfying moments for me was when I began working for D la Repubblica and L’Uomo Vogue, two publications that I had previously read. It was the ultimate gratification for me, as my dreams had become a reality: I was being paid to do what I loved, and my passion aligned perfectly with my profession.
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What were the main challenges you faced?
It was not easy. Early in my career, when I worked as a fashion assistant for a photographer, I had to be in Milan by 9 AM. We would finish working at 10 PM, have dinner, and then I would drive back to Lecco, getting there around 2 AM. I only managed three hours of sleep each night, from 3 to 6 AM. This routine continued for a year during the fashion show season. However, this experience allowed me to attend the shows of John Galliano, Alexander McQueen, and many others.
Is it difficult to balance work and private life?
No, it never took a toll on me. I always managed to balance leisure and personal life with work, which I considered part of the fun. I have developed a mindset that prioritises work. When you love what you do, it feels light rather than burdensome. Of course, there are days when I feel more demotivated, which is entirely normal; then I remind myself that I am doing what I love.
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How has the fashion world, particularly publishing, changed in the digital and post-digital era?
It has changed significantly—radically and completely. For me, it’s incredibly exciting because I am open to all new things. The only aspect that seems a little lacking is the depth of content. Social media moves very fast, and newspapers must keep up with a different pace. Many weekly magazines have become monthly publications, requiring greater depth. I have the advantage of having experienced both the times before and after the digital era. Today’s young people may lack the necessary knowledge to develop diverse perspectives. Fashion has evolved, products have changed, collections have transformed. One must articulate their viewpoints to stay relevant and keep up with this “game.”
Is there a tendency to standardise fashion communication?
Absolutely! Algorithms determine the types of content that gain traction, leading to a lack of diversity. TikTok, for example, features more than just videos of people dancing; it is a genuine broadcasting platform. I once watched King Charles’s coronation on TikTok while travelling, broadcast by the BBC. To go viral on TikTok, one must understand how the platform works; the content and storytelling methods differ from those used in newspapers. Today, a company or brand must be capable of narrating its story in at least four ways: in a newspaper, on TikTok, Instagram, WeChat or Weibo. Editors-in-chief must identify individuals who are capable of transforming print content for new media platforms. In today’s publishing landscape, it’s crucial to master various communication styles, with a strong emphasis on digital proficiency.
What qualities and skills do companies look for?
Individuals with specific knowledge and well-defined skills. Knowledge and skills are paramount: a creative director needs one set of knowledge, while a journalist needs another. Today, fashion is more than just clothing; it’s a complete system. If you have specific skills and can articulate them well, bringing this knowledge into the fashion world, you become an interesting professional. To stand out, you need to beat Google. For example, if I list the ten most important TV series and explain why they matter, I can make a strong impression. You must always add a personal touch.
What does freedom mean to you?
To me, freedom is the ability to express oneself without compromise. Unfortunately, there is much confusion surrounding this concept. With social media, everyone has the opportunity to voice their opinions. The problem arises when this degenerates into misinformation; some people believe the Earth is flat.
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Alice Quaglione and Giulia Romania
Fashion Management, Digital Communication and Media, 2nd year, Milano
A version of this article originally appeared on SEI Magazine, an editorial project created by students from Istituto Marangoni’s Fashion Management, Digital Communication, and Media programme: Alice Quaglione, Francesco Aliano, Giulia Romania, Francesca Di Domenico, Camilla Colombo and Iris Biasin.