Explorations

Fashion subcontracting: new measures to combat labour exploitation in Italy

Reading Time: 3 minutes

The government’s paradoxical solution: a magic trick that makes accountability disappear down the supply chain


Fashion subcontracting is a hot-button issue, posing significant reputational risks for luxury brands. In response to recent sweatshop scandals, Minister for Made in Italy, Urso, has proposed a controversial solution: exempting client companies from responsibility.

This approach was crystallised in an amendment—nicknamed the “Save Tod’s” clause—following a request for special administration of the Tod’s Group by the Milan prosecutor’s office. Approved last Tuesday as part of the annual law for SMEs, the amendment allows fashion companies to obtain a “supply chain legality” certification. In practice, it absolves top brands from accountability for labour conditions at the bottom of their supply chain.

The legislation, recently approved by the Senate Industry Committee, states that fashion groups are not liable if they had pre-existing “organisational models” designed to prevent crimes, overseen by an internal body with autonomous control powers. The consequence is clear: major fashion houses could soon be completely relieved of responsibility for exploitation within their own production networks.

Confindustria Moda & reputational advantage


Confindustria Moda, which helped draft the legislation, defends the measure: “The enormous pressure on brands creates sector-wide difficulties,” they state. “While it’s right that each leader organises work correctly, we can’t ask for more. Ongoing investigations send the wrong message to workers.”

For fashion brands under recent scrutiny, this voluntary supply chain certification offers a clear exit strategy. Companies can choose to undergo external audits with their suppliers. Once an implementing decree defines the parameters, compliant brands can display a “certified supply chain” mark.

This provides a reputational advantage and, crucially, legal protection. If a certified supplier is later found to have irregularities, the lead company would be shielded from judicial administration.

Fashion subcontracting — critical voices: “A shield for exploiters”


The government’s move has drawn sharp criticism from unions and opposition parties, who accuse it of effectively legalising labour exploitation.

Alessandro Genovesi of the CGIL union called the amendment “a very serious precedent.” He stated, “Faced with judicial allegations of criminal exploitation, the government is erasing the crime. From a tax shield for evaders, we have moved to a criminal shield for those who exploit.”

The CGIL, excluded from government talks with industry representatives, is demanding stricter measures, including verification of worker-to-production ratios, application of collective labour agreements, and limits on subcontracting.

Echoing this outrage, Democratic Party Labour Representative Maria Cecilia Guerra denounced the policy as “a coup that weakens the fight against labour exploitation.” She explained the practical effect: “A company can sell €500 shoes from a contractor paying workers €2.50 an hour, yet face no audit. The client’s responsibility is swept away by a certificate.” She and colleague Arturo Scotto condemned it as “a step backwards by a right-wing party with no interest in protecting job quality or ethical businesses.”

Final thoughts


In conclusion, we must ask: who seeks subcontracting to get the lowest possible production prices? And in that pursuit, what do luxury company owners expect? Can the cheapest labour cost ever correspond to the highest labour standards?

Fashion subcontracting and sweatshop conditions are a critical yet systemic issue. The fundamental paradox of the government’s new measures is that they legalise the very conditions that lead to labour exploitation. The complex subcontracting chains, driven by the luxury sector’s pursuit of the lowest costs, are now being fortified with a legal shield. The proposed “solution” does not raise labour standards, verify fair wages, or limit outsourcing. Instead, it offers brands a path to waive liability, ensuring that the highest standards of luxury can continue to rest on the lowest standards for workers’ rights.

Italy is not solving the crisis; it is guaranteeing impunity for the powerful at the expense of the vulnerable.

In short, the Italian government is offering a false solution. Protection for brands—not for people.

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The Diane Keaton Principle: Androgynous, feminine, free

Reading Time: 3 minutes

An ode to a woman who defied category—and how her style challenges contemporary female standards


We call it The Diane Keaton Principle: the art of being androgynous, feminine, and free—all at once. Some women change fashion; others change the way we think about it. Diane Keaton was one of the latter—a presence so unique that she redefined femininity without ever trying.

Diane Keaton passed away on 11 October at the age of 79. She was not only an exceptional actress but an exceptional woman—the kind who escaped all traditional definitions. She wasn’t the muse; she was the genius. Her legacy compels us to question what contemporary culture sells as female liberation. Is the performance of sexuality—the revealing clothes, the redone faces—true freedom, or just another cage, designed by patriarchy and capitalism?

Forget the voluptuous silhouette in a seductive pose, which still seems the only accepted way for a woman to succeed. Her signature was self-possession: men’s shirts and ties, timeless turtlenecks, practical loafers, and wide-brimmed hats that concealed her gaze. She didn’t simply wear clothes; she built an armour of elegant intellect.

She was also a natural beauty—no Botox, no plastic surgery, no facelift.

The Diane Keaton Principle: she stands on a flower-filled terrace, exemplifying her androgynous style in a masculine-inspired outfit: a black waistcoat, white shirt, dotted tie, and white pants.

Her answer always lay in her wardrobe. While others chased a narrow, body-centric ideal, Keaton explored the full spectrum of self. Her unmistakable uniform—ties, shirts, blazers, and waistcoats borrowed from the masculine wardrobe—wasn’t a rejection of femininity but an expansion of it. She was wholly, elegantly herself.

This authenticity extended to her face—a map of a life lived without the pursuit of sterile perfection.

She lived by her own words: “What is perfection, anyway? It’s the death of creativity… while change is the cornerstone of new ideas.”
Diane Keaton chose change. She chose creativity. She chose herself.

And in doing so, she left us a masterclass in style—both androgynous and deeply feminine. The Diane Keaton Principle, a rebellion that still challenges what we’re being sold today.

In a world of swollen bodies, grotesque pillow faces, and revealing clothes that nod to pornography more than ever—masquerading as “empowerment,” “feminism,” or “freedom of choice”—we must ask: what kind of choice is it when shaped by systems of power? When “empowerment” becomes just another word for conformity?

Diane Keaton’s style was a subtle revolution. She proved that true freedom isn’t about pleasing the male gaze, but about defining yourself beyond it.

In a culture of duck faces, her thoughtful smile remains a revolutionary act.
Her life proves: style is not a costume to impress, but a declaration of self.

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Luca de Meo blueprint: Putting the customer back in the driver’s seat

Reading Time: 3 minutes

Speed, data, and customer focus: Is luxury abandoning the creative genius for the customer?


Luca de Meo, the Renault-CEO-turned-luxury-boss, has presented his blueprint for reviving the Kering group. His plan involves a radical shake-up: splitting design between creative vision and consumer goods “common sense”, while dramatically slashing development times.

A new mantra emerges: 20% pure creativity, 80% consumer understanding. Let us explore the plan to put the customer at the heart of the house whilst accelerating its pace. In essence, what does it mean for the fashion industry?

Luca de Meo blueprint: The 80/20 rule comes to high fashion


Central to Luca de Meo’s strategy is a decisive move to “put the customer back at the centre, so as to no longer depend exclusively on the creative director’s vision.” This is not about eradicating creative skill, but about applying it more strategically. He asserts that a designer’s individual vision remains essential—but only for the top 20% of a collection, the “most innovative and iconic products” that define a house’s dream.

For the remaining 80%—the core assortment of small leather goods, footwear, and ready-to-wear—a new discipline is required. De Meo argues it is vital to “instill the common sense that prevails in the consumer goods sector,” grounding decisions in a “precise understanding of consumer expectations.”

This heralds a fundamental shift towards a customer-centric vision. Aesthetic choices will no longer flow purely from the designer’s intuition but will be informed by hard data, including market analysis, sales figures, and direct consumer feedback. The challenge — and the ultimate goal — is to meet these tastes head-on “without sacrificing the identity of the houses”. 

The need for speed: Halving the horizon


A direct consequence of this data-driven approach is a dramatic increase in speed. According to French media reports, de Meo aims to halve product development times, compressing the journey from initial idea to market launch from a year down to just six months.

This rapid acceleration signals a fundamental shift, borrowing tactics from fast fashion and intentionally breaking away from the luxury sector’s traditionally measured, meticulous pace. 

It’s a bold gamble that seeks to make luxury more agile and responsive. 

Final thoughts


The Luca de Meo blueprint presents a pragmatic, if radical, prescription to stabilise Kering. But for the wider world of fashion, it prompts a more fundamental question: what truly defines luxury in the modern age?

On one hand, the logic is compelling. In the face of an industry downturn and global instability, the 80/20 model acts as a crucial safeguard. It is a direct response to the kind of reinvention seen at Gucci under Alessandro Michele—a creative explosion that ultimately saturated the market, turning the brand into a marché aux puces where anything goes. In this context, a disciplined return to steadfast maison codes is a defensible strategy for ensuring brand integrity and commercial resilience.

Yet, this very discipline—with its customer-centric data and relentless push for speed—forces a confrontation with the soul of luxury. Can the core values of creativity, craftsmanship, and exclusivity survive a velocity that halves development times? The strategy seems to accelerate the industry’s existing trajectory towards industrialisation, leading us to a critical juncture: are we heading towards a future of mass-produced luxury? If so, what, then, becomes of exclusivity?

This tension invites a pointed critique, coloured by de Meo’s own background: is this a redefinition of luxury, or simply running a fashion house like a car manufacturer, with seasonal collections rolling off a conceptual production line? The blueprint makes its priorities clear; championing a ‘slow fashion’ paradigm is not part of the equation.

In conclusion, the answer, in de Meo’s vision, is unequivocal. For the architect of this blueprint, there is no room for nostalgia. In the race for the future of luxury, there is no space for slow fashion.

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The (Un)Sustainable Fashion Awards 2025: Greenwash event at Milano Fashion Week

Reading Time: 4 minutes

A green carpet during Milano Fashion Week to celebrate fashion’s greatest paradox


On September 27, 2025, the Teatro Alla Scala hosted the CNMI Sustainable Fashion Awards, the official green carpet event for Milano Fashion Week SS26. Its mission: to celebrate the innovators and Italian fashion houses, ostensibly driving the industry toward a sustainable future.

The event, organised by the Camera Nazionale della Moda Italiana in collaboration with the UN Alliance for Sustainable Fashion, promised to honour those distinguished by their “vision, innovation, commitment to craftsmanship, circular economy, human rights, environmental justice, and biodiversity.”

A symbolic green carpet welcomed guests like Anna Wintour and Naomi Campbell, who wore outfits made from sustainable materials, presenting a unified front for a greener fashion industry.

The celebration: Nine green awards 


The ceremony proceeded to distribute nine awards, each targeting a key pillar of sustainability:

  • The SFA Craft and Artisanship Award: Tod’s Group
  • The SFA Circular Economy Award: Regenesi
  • The SFA Biodiversity and Water Award: Ermenegildo Zegna Group
  • The SFA Climate Action Award: Schneider Group
  • The SFA Diversity and Inclusion Award: Willy Chavarria
  • The SFA Groundbreaker Award: Aura Blockchain Consortium
  • The SFA Education of Excellence Award: Kiton
  • The SFA Human Capital and Social Impact Award: Saheli Woman
  • The Bicester Collection Award for Emerging Designers: The Sake Project

The pinnacle of the evening saw Anna Wintour present the New Legacy Award to Giorgio Armani. 

However, by all official accounts, it was a night of triumph—a consolidation of brands’ sustainable missions, widely covered in the press as a positive step forward. 

Yet, according to Ansa, “Prosecutors request judicial administration for Tod’s. The Milan Public Prosecutor’s Office has requested that high-end shoemaker Tod’s spa be put into judicial administration over alleged worker exploitation at factories run by Chinese people in its production chain, sources told ANSA on Wednesday, confirming a Reuters report.”

After all, it’s even ironic with all the brands put under investigation for labour exploitation. Tod’s is simply the last one added to the list. How does CNMI evaluate this particular aspect of “sustainability?”

Sustainable Fashion Awards: What do they even mean?


And so, for one night, all these people wore sustainable materials. The headlines celebrated a green vision. The brands were applauded.

But this is where we must pause and ask: What does any of this actually mean? Does anyone there have an idea of what “sustainable” means? 

Does a single award cancel out a brand’s vast linear production model? Does it justify the immense water and land use of a global supply chain? And does wearing one sustainable outfit on the red carpet make the entire attending house sustainable? Really, what are we talking about?

Sustainability: The uncomfortable truth


The uncomfortable truth is this: true sustainability in the fashion industry, as it currently operates, is a myth.

Celebrating “Sustainable Fashion” at a glitzy awards gala is the industry’s greatest paradox. These awards create the illusion of progress while the core system—built on overproduction, overconsumption, and globalised, opaque supply chains—remains fundamentally unchanged.

A few sustainable collections or material experiments are not enough to offset the environmental and social footprint of a multi-trillion dollar industry. 

In order to be truly sustainable, the fashion industry wouldn’t need awards; it would need to be redone from scratch. The very nature of these ceremonies exposes their inherent contradiction, a point perfectly illustrated by an excerpt including a telling anecdote from our book This is Greenwashing:

“While the name suggests recognition of progress towards circularity or sustainability, these awards rarely go to small, independent brands. Instead, they spotlight the same top fashion houses – the ones with the largest environmental footprints and marketing budgets.
At one edition of the Green Carpet Fashion Awards, designer Antonio Marras presented a dress crafted entirely from recycled fabric. Yet, because the fabrics weren’t sourced from certified sustainable labels, the jury asked him to remake the garment from scratch. The irony of this anecdote is striking—is it about promoting recycling, or ticking certification boxes? And really, is there anything more unsustainable than that?” 

Yet here we are, celebrating something that doesn’t even exist. This story encapsulates the entire paradox. It’s not about substance; it’s about spectacle. With the Sustainable Fashion Awards 25, we are not celebrating sustainability. We are celebrating its carefully branded illusion.


Want to learn how to spot the illusion?
Discover more in This is Greenwashing.

🌍 Buy the eBook (English Edition) on your favorite digital store: https://books2read.com/u/bpgxOX

The Italian Edition will be released in a few days!

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The discipline of legacy: Creativity in respect of the maisons

Reading Time: 3 minutes

Paris Fashion Week SS26 & creative respect: How the best designers serve the maison’s legacy


The discipline of legacy is the defining quality of a true designer—a quiet antidote to the chaos of the modern fashion system. Amidst the clamour for hype and popularity, a standard that often feels paramount today, this discipline remains the bedrock of enduring design.

This principle is most critically tested within the hallowed halls of historical fashion houses. Here, the designer’s role transforms from sole creator to interpreter; their success is measured not by the strength of their individual voice alone, but by their ability to channel the maison’s soul. The true test is bringing a fresh perspective while honoring the foundational codes and essence of the house. It is a rejection of the notion that a creative directorship is a platform to treat the heritage of a maison as a mere canvas for one’s own brand. Read it—for one’s own ego.

When this creative respect meets artistry—when a designer truly serves the legacy they have been entrusted with—something remarkable happens. The work transcends a seasonal statement. It becomes a continuation of a story. And in that delicate balance, we don’t just see clothes; we feel the enduring enthusiasm for fashion itself.

Paris Fashion Week SS26: The discipline of legacy


Tom Ford: On a dark, smoky runway, Haider Ackermann presented a masterclass in nocturne sensuality. This was a striking lesson in sexiness mood, a masterful fusion of his own stark elegance with Tom Ford’s established codes of luxury and seduction. He proved his ability to evolve the brand while staying true to its core DNA of desire and glamour. (See the collection here.)

Issey Miyake: Movement has always been the core of Miyake’s work, and the SS26 collection redefined the very concept of dressing with clothes that come alive. Fabrics breathe, transform, and adapt to the body in a continuous metamorphosis. This is fashion as an act of love for movement—a fundamental code brilliantly respected by the designing team.
(View the full show here.)

Givenchy: Sarah Burton delivered a spectacular vision of femininity. The collection was a study in contrasts: brilliant, powerful tailoring infused with a poetic and sensual spirit. Here is a female designer dressing women—appreciating, respecting, and empowering them, all while honoring the maison’s codes. (Watch the show here.)

Balenciaga: The beauty, the elegance, the mastery. This was a return to the fundamental principles of the house. Thank you, Pierpaolo Piccioli, for restoring Balenciaga to its legacy of sublime craftsmanship. Piccioli loves women; he celebrates rather than mortifies them, bringing beauty and dignity back to the forefront. (The horror show is over, at least for Balenciaga.)
(Revisit the collection here.)

Chloé: Chemena Kamali earns a “brava” for decisively evolving the brand beyond its hobo phase. She skillfully repurposed the maison’s heritage codes—florals, delicate drapes, and a soft, romantic spirit—to trace a new, refined path for Chloé’s femininity. (Watch the presentation here.)

Final thoughts


At its heart, fashion is beauty. Fashion is a dream.
So, what becomes clear is that the discipline of legacy is not a constraint, but a catalyst. It is practised by a discerning few—the designers who truly understand their role. Those who see their role not as a platform for their ego, but as a sacred trust. They are the skilled interpreters who understand that their true creativity is revealed through a dialogue with the maison’s history.

Their work proves that fashion, at its best, is the marriage of beauty and meaning. It is a shared dream. And when corporate strategy has the wisdom to empower these masters of their craft, it proves that fashion’s most stunning creations are those that honour a past while boldly shaping its future.

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