Explorations

Sustainability didn’t fall out of fashion. It was never really in fashion.

Reading Time: 5 minutes

What fashion’s retreat from sustainability, as the climate crisis becomes more urgent, says about the industry’s business model


A personal perspective by Rosita Cigliola

Yesterday it was sustainable. Today it is AI-powered. Tomorrow it will be something else.
The Financial Times has just asked what happened to sustainability in fashion. After years of ambitious commitments, brands are quietly retreating from targets, scaling back initiatives and putting profitability at the centre of the conversation.

The obvious explanation is that sustainability failed. 

But I think something else happened. Sustainability didn’t fall out of fashion. It was never really in fashion. At least, not in the way the word suggested.

During the pandemic, when factories closed, shops emptied, and fashion had the opportunity to look at itself in the mirror, sustainability became one of the industry’s favourite words. Brands and experts announced commitments (for instance, Rewiring Fashion). Collections became conscious—even fast fashion. Businesses became responsible. Materials and packaging became eco-friendly. Circularity was everywhere.

The language was reassuring. 

The problem was that the business model remained awfully familiar.
Fashion still needed to sell more clothes.
And more clothes.
And more clothes.

In fact, this was the uncomfortable contradiction at the heart of the sustainability conversation: an industry built around growth, overproduction and overconsumption was trying to present itself as increasingly sustainable without even questioning the pattern itself.

In This is Greenwashing, we argued this was no accident. Sustainability had become a marketing language – a collection of attractive but often vague words that allowed brands to communicate environmental responsibility. A responsibility that didn’t necessarily require demonstrating systemic change. The industry didn’t need to lie outright. It simply needed to choose its words with care.

Conscious.
Responsible.
Eco.
Green.

Words that sounded like progress. But words that required considerably less evidence than the impression they created. That impression was enough.

Now persistent economic volatility continues to affect the markets, and something revealing is happening.
When sustainability was fashionable, brands could afford to talk about it. But when it became too expensive, too complicated or commercially inconvenient as other costs increased, those commitments became less urgent.
That tells us something important. Especially now, when extreme weather is no longer an abstract warning for a distant future but a reality unfolding all around us. 


The climate crisis did not become less urgent. Sustainability became less convenient.

The problem wasn’t a lack of good intentions. They were in abundance. The incentives were wrong. And sustainability was turned into a marketing strategy to reach those incentives.

The underlying problem is that the rules and rewards of fashion have not fundamentally changed. 
Producing and selling more generates more revenue. Companies are rewarded for sales growth and profit. Investors expect financial returns. Sustainability can cost more and reduce margins. But voluntary environmental targets often have no consequences if they are missed. 
And perhaps that is why I am less surprised by the retreat than some people seem to be. 

What surprises me more, though it shouldn’t, is how quickly the industry has found another story. AI. 

AI is now everywhere in fashion. 

AI for demand forecasting.
AI for product development.
AI for personalised shopping.
AI-generated models.
AI-generated campaigns.
AI for supply-chain management.
AI for sustainability reporting. 
AI to reduce waste.
AI to make fashion more efficient.

Efficient, not sustainable.  

Sustainability seems to disappear beneath yet another change in marketing labels.

Some of these applications may be useful. AI can help brands analyse enormous quantities of information, identify inefficiencies and improve forecasting. The technology itself is not the point, although its massive freshwater and energy consumption raise serious sustainability questions. The problem is what happens when technology becomes a marketing adjective. Because we have seen this movie before. Replace sustainability with AI-powered and ask the same questions.
What exactly does it mean?
Where is it being used?
What has actually changed?
What problem does it solve?
What evidence do we have?
And – most importantly – does it change the business model, or does it simply make the existing business model faster?

That last question matters enormously in fashion. If AI allows a company to predict demand better and therefore produce fewer unwanted garments, wonderful. If it allows a company to generate thousands of new designs faster, create more marketing content and accelerate production of more things nobody needs, then efficiency has not necessarily made fashion more sustainable. It may simply have made overproduction more efficient.

This is where the sustainability conversation went wrong.

We became fascinated by the solution before asking whether we were solving the right problem. We celebrated recycled polyester without asking how many polyester garments we actually needed. We celebrated resale platforms without understanding the impact on the environment – or that they were pushing overconsumption further. We celebrated circularity without asking how much clothing was entering the system. In essence, we celebrated innovation without asking whether innovation was reducing consumption or simply making it easier.

Now AI arrives with the same seductive promise: technology will fix the mess. Perhaps it will fix some of it — the business problems, not the environmental ones. But technology cannot decide what fashion should produce. Which, on a deeper level, also means what world we do want.
People do. 
Companies do.
Consumers do.
And ultimately, the business model does.

There is also a delicious irony here.

We spent years telling consumers to look for the green label. Now we may tell them to look for the AI label. And if history is any guide (even this seems quite dubious lately), we should be careful. Because once a word becomes valuable enough to sell something, marketing will learn how to use it. 

This does not mean that sustainability was meaningless. Nor does it mean that every brand that made environmental commitments was acting cynically. There are designers, manufacturers, and brands doing serious work. And there are consumers who genuinely want fashion to have less impact. But meaningful change was never going to come from vocabulary alone. 

A more sustainable fashion industry cannot be created by changing the adjectives attached to the same products, the same volumes and the same incentives. That is the uncomfortable part. And perhaps the most useful conclusion we can draw from sustainability’s disappearance is not that fashion has abandoned the environment. It is that we should finally stop confusing talking about change with changing the system. 

Because if sustainability disappears when climate change gets brutally real, it was not a business principle. 

It was a trend. 

Sustainability didn’t fall out of fashion. It was never really in fashion. Read More »

Why we’re changing the way we publish

Reading Time: 2 minutes

After a month of silence, we’re opening two new doors to our Journal


Dear readers, dear friends,

For the first time in years, we decided to pause.

No new content. No new words. And no pressure to keep publishing simply because the internet expects us to.

Not because we don’t like writing or sharing our explorations. Quite the opposite. But because we, like everyone else, are flooded with new stuff. Bombarded with information, opinions, images and updates—much of it published for the sole purpose of staying relevant, feeding an algorithm, or generating yet another piece of content to scroll past.

At some point, we thought: enough.

So we took a pause. A long one. About one month.

In the meantime, we went on holiday, immersed ourselves in nature, pine trees and the sea. And perhaps being surrounded by something that doesn’t need to constantly announce its existence gave us a rather useful perspective on modern life.

We also witnessed, once again, nature revolting against the way we treat it. A reminder that while we are busy producing more and more content, products and noise, the planet isn’t exactly impressed.

And somewhere between the trees and the sea, we started thinking about this Journal.

We thought about what we want it to be now, after all these years. And whether it still made sense to keep publishing in the same way simply because that was how we had always done it.

The answer was no.

So we’ve decided to change things.

Not radically. Intentionally.

From now on, our Journal will have two different doors.

Explorations will be where we look beyond fashion and question the things happening around us — not just fashion itself, but also sustainability, greenwashing, culture, society, consumption, business—and whatever else we think deserves a closer look.

One Piece, One Story will take a closer look. One garment, one object, one designer, one story. Because you don’t need an endless parade of new things. You just need to look closely at one thing and understand why it matters.

Two doors. Different approaches. One principle:

Less, but better.

We don’t want to add to the noise.

We want to give you something worth stopping for.

Welcome back. We hope you’ll stop by.

suite123 — for modern humans

Why we’re changing the way we publish Read More »

Unsold stock destruction: EU ban now in force. Why are legislators tackling the outcome instead of the cause?

Reading Time: 4 minutes

Fashion still has one problem legislators chose not to solve: overproduction


The EU ban on unsold stock destruction has now come into force.

Under the Ecodesign for Sustainable Products Regulation (ESPR), large companies are no longer allowed to destroy unsold clothing, clothing accessories and footwear. The measure aims to reduce textile waste and encourage more circular ways of managing excess inventory.

Instead of destroying unsold products, companies are encouraged to improve stock management and explore alternatives such as resale, donations, remanufacturing and reuse.

The ban applies to large companies from 19 July 2026, while medium-sized companies will have to comply from 2030. Destruction remains possible only in specific, justified circumstances, including safety risks, irreparable product damage and counterfeit goods.

Related post: Destruction of unsold textiles: a historic ban… with many loopholes

There is no doubt that preventing perfectly usable garments from being destroyed is a positive step. Every year, between 4% and 9% of unsold textiles in Europe are destroyed before ever being worn, generating millions of tonnes of unnecessary CO₂ emissions.

Warehouse filled with identical garments illustrating the problem of unsold stock destruction.


Unsold stock destruction: treating the symptom


The regulation addresses what happens after clothes remain unsold.

It does not address the question that comes before everything else:

Why are so many garments being produced that they become waste in the first place?

Overproduction remains fashion’s structural problem.

Brands continue to manufacture collections at a pace that exceeds real demand. The result is predictable: discounting, returns, excess inventory and, ultimately, disposal.

Better inventory management can reduce some waste, but it does not challenge the production model itself. As long as brands continue to rely on high volumes and constant product turnover, unsold stock will remain an inevitable consequence.

The problem is amplified by online retail, where high return rates create another layer of excess stock. Returned garments may be difficult or too costly to inspect, repair and resell, pushing companies towards disposal or lower-value solutions.

This is why the issue is not only what happens to unwanted garments at the end of their journey. It is also how many garments enter the market in the first place — and whether the fashion system is designed around genuine demand or around continuous growth.

If too many garments continue to be produced, banning their destruction changes what happens at the end of the process, but not the business model that creates the surplus.

The risk of shifting the problem


The regulation also includes exemptions, allowing destruction in justified cases such as safety concerns, damaged products or counterfeit goods.

It also requires companies to disclose the volumes of unsold goods they discard, improving transparency.

These are important safeguards, but they do not eliminate every risk.

Unsold products can still be exported, downcycled into low-value materials or redirected into opaque secondary markets. Preventing destruction is easier than preventing waste from simply changing form.

Final thoughts


The ban on unsold stock destruction is an important environmental measure. Destroying perfectly usable clothing has long been one of the fashion industry’s most indefensible practices, and banning it is long overdue.

Yet the regulation addresses what happens after overproduction has already occurred. It manages the surplus, but not the system that creates it.

The fashion industry’s environmental crisis does not begin with burning garments or disposing of unsold stock. It begins much earlier, with a business model that rewards ever-increasing production volumes, encourages rapid product turnover, and ultimately generates more clothing than the market can absorb.

In this context, the ban treats one of the industry’s most visible symptoms rather than its underlying cause. It may achieve exactly what it was designed to do, but what it was designed to do is too limited to tackle fashion’s structural environmental problem.

A truly sustainable fashion policy would also ask a more fundamental question: how much clothing do we actually need? That is where concepts such as sufficiency and degrowth become relevant — not because they advocate stopping the production of clothing, but because they challenge the assumption that producing more is always compatible with sustainability.

Until overproduction becomes part of the political conversation, Europe will continue making fashion less wasteful without necessarily making it sustainable. 

Unsold stock destruction: EU ban now in force. Why are legislators tackling the outcome instead of the cause? Read More »

Italian luxury fashion investigation: Milan court expands probe

Reading Time: 4 minutes

Labour exploitation in the high-end segment of the fashion system


Reuters reports that Italian police have visited the headquarters of nine high-end fashion firms as part of the Italian luxury fashion investigation into the alleged exploitation of workers employed by subcontractors. Officers requested documents relating to corporate governance and supply chain controls.

In December 2025, the investigation had already involved thirteen other brands, including Dolce & Gabbana, Gucci, and Prada.

This time, the companies that received the orders are Brunello Cucinelli, Moncler, Chanel, Bulgari, Jacob Cohen Company SPA, Etro, Stefano Ricci, Goyard Italie and Owenscorp Italia.

These brands became linked to the probe after authorities found subcontracting records and goods traceable to them during previous searches of two Chinese-run workshops accused of exploiting undocumented workers.

None of the companies is currently under criminal investigation, nor have prosecutors sought court-ordered administration for any of them. Most of the firms did not immediately reply to requests for comment. Chanel said it is cooperating with the Italian labour investigation and has terminated its relationship with the subcontractor.

The two Chinese-run workshops made garment bags, shopping totes, and pouches for Brandart and F. VL., both of which were raided by the Carabinieri. Those suppliers passed the goods directly to the nine fashion brands, which sold them under their own names.

Carlo Capasa, president of the Camera Nazionale della Moda Italiana, described these as isolated cases. The growing number of brands linked to the investigation suggests otherwise.

More importantly, these investigations reveal the production model behind luxury fashion.


Italian luxury fashion investigation illustrated by an empty textile factory with rows of industrial sewing machines.

The subcontracting labyrinth


Although these investigations are unfolding in Milan, the dynamics at play are anything but local. What we are witnessing is a global production model built on opacity. The exploitation uncovered among subcontractors serving luxury brands is not an exception — it is the predictable outcome of layered supply chains designed to reduce costs while distancing brands from legal and reputational responsibility.

Every additional layer of subcontracting increases the distance between the brand and the factory floor, making accountability progressively harder to establish while labour costs continue to fall. Brands can legitimately claim they had no direct relationship with the workshop where abuses occurred, even though those workshops ultimately exist to produce their goods.

This mechanism is hardly unique to fashion. Similar structures operate in electronics, agriculture, logistics and automotive manufacturing. Wherever relentless cost reduction becomes the overriding objective, labour is usually the first variable to be squeezed.

The financialisation of luxury


Luxury fashion has changed profoundly over the past few decades. Once dominated by family-owned ateliers centred on craftsmanship, the industry is now largely controlled by listed groups and investment-driven owners. Growth targets, quarterly earnings and shareholder expectations increasingly shape business decisions. Fashion houses have become financial assets as much as cultural ones.

Sweatshops and luxury fashion are therefore not disconnected realities. They are products of the same economic logic: maximise margins, outsource costs and push production through increasingly fragmented supply chains. These investigations do not expose an isolated failure — they reveal a system operating as intended.

Within such a model, ethical production becomes difficult to sustain because commercial pressure continually rewards lower costs over greater transparency. There are only varying degrees of responsibility.

Final thoughts


The Italian luxury fashion investigation highlights that these cases are not isolated incidents but symptoms of a production model built on fragmented supply chains. Whether it will lead to lasting structural change remains uncertain.

Previous investigations have also shown that closing individual workshops does not necessarily dismantle the system. Suppliers can disappear, reopen under different names, or continue operating for different clients, while the economic incentives that created the problem remain unchanged.

This is neither an Italian problem nor one unique to fashion. It reflects an economic model that systematically pushes production towards the lowest possible cost while distancing brands from responsibility. Until that underlying structure changes, similar investigations will continue to emerge — not only in fashion, but across industries built on the same logic. And each time, the response will sound familiar:

We didn’t know.

Italian luxury fashion investigation: Milan court expands probe Read More »

Hype — can it really sustain fashion brands?

Reading Time: 5 minutes

How independent labels struggle when hype isn’t enough to sustain a business in a weak market


When hype fails to pay the bills, the party is over for fashion brands.

For decades, the fashion industry has been obsessed with one currency: noise. We have watched brands skyrocket to fame based on a viral logo, a celebrity sighting, or a sell-out drop that crashes websites. But recently, the music has stopped for some of the industry’s most beloved “cool” kids.

The recent news of Sunnei’s bankruptcy and Marine Serre entering judicial receivership seeking court protection has reverberated through the independent fashion scene. These weren’t obscure brands struggling for relevance. They were influential labels that appeared to be doing everything right from the outside.

Their situations are different, but both illustrate how creative success and commercial resilience are not necessarily the same thing. A brand can remain culturally relevant and still face a business crisis.

Both Sunnei and Marine Serre have been darlings of the fashion week circuit. They have built their reputations on the pillars of modern success: scarcity (or the illusion of it), buzzy collaborations, and an impressive list of celebrity supporters. They understood the algorithm. Yet, understanding the algorithm didn’t stop them from hitting a wall.

This led us to ask a critical question: what is hype, really? And more importantly, can hype alone sustain a fashion business?

Graphic reading "Visibility isn't viability," capturing the article's key takeaway that hype in fashion doesn't equal business sustainability

The hype curve


To understand the crisis, we have to understand the mechanics of hype. Hype is a rocket, not a foundation. It propels a brand from obscurity to prominence at a speed that traditional luxury houses could only dream of.

But here is the harsh reality many independent labels eventually face.

As attention grows, brands often interpret rising visibility as permanent demand. They hire staff, expand production, increase investments, expand into new markets, or launch new projects, expecting growth to continue.

What many don’t anticipate is that hype follows a predictable curve. Once a brand reaches its peak, a natural correction is almost inevitable. But if a business has been built on the assumption that demand will continue indefinitely, even a normal decline can quickly become a serious problem. The mistake is assuming that attention automatically translates into long-term business growth.

This observation isn’t just theoretical. It comes from our experience working with emerging brands over the past two decades, combined with continuous analysis of the fashion system.

Hype may create extraordinary visibility, but visibility alone cannot sustain a business over time. The paradox is that when everyone is talking about a brand, exclusivity can start to disappear. Early adopters move on to the next underground name, while consumers who bought into the brand for its status begin looking elsewhere. The peak is followed by a hangover, and that hangover can be brutal.

Most importantly, visibility doesn’t automatically translate into sales. Media attention, celebrity endorsements and viral moments may generate awareness, but they don’t necessarily create loyal customers or sustainable revenue. Likes don’t pay suppliers, and headlines don’t guarantee repeat customers.

The conglomerate safety net vs the independent tightrope


The most dangerous aspect of this cycle is the lack of a safety net.

Unlike brands owned by major luxury conglomerates such as LVMH or Kering, independent labels are walking a tightrope without one. When a conglomerate-owned brand experiences a slowdown, the parent company can absorb losses, reinvest in marketing and wait for consumer demand to recover.

Independent labels don’t have that luxury. They operate with thinner margins and fewer financial resources, without the economies of scale or purchasing power enjoyed by the large groups. Many also depend on external investors who expect returns within a relatively short timeframe.

They are also particularly vulnerable to cash-flow pressures. Wholesale partners may reduce or delay orders, payments often arrive months after production costs have been incurred, and even a temporary drop in sales can quickly become a liquidity crisis.

In a volatile market — where geopolitical tensions, economic uncertainty or changing consumer sentiment can affect demand almost overnight — that combination can become a dangerous trap for a business built around popularity.

The danger of overexposure


There is a cruel irony in fashion: the very strategy that makes a brand successful can eventually weaken its position.

When every celebrity is wearing your crescent moon print (Marine Serre) or your playful deconstructed tailoring (Sunnei), the magic begins to fade. Consumers become desensitised. Hype is fragile because it depends on constant novelty and the energy of the crowd.

Stability, on the other hand, takes years to build. It requires consistent quality, genuine customer relationships, financial discipline and a business model that doesn’t depend on the next viral moment.

Brands can’t build trust by chasing social media trends.

Final thoughts


So, is hype enough to sustain fashion brands?

The Sunnei and Marine Serre cases suggest a clear answer: no.

Hype is a powerful accelerant, but it is a poor fuel source. It can propel a brand to the top far faster than anyone imagined, but if the underlying business hasn’t been built to withstand the inevitable slowdown, the descent can be just as rapid.

For the independent labels watching this unfold, the lesson is clear: don’t confuse virality with viability. Build a business that can survive when the attention moves elsewhere.

Because fashion increasingly mistakes visibility for value. Algorithms reward constant novelty, but businesses survive on repeat customers, healthy margins and financial resilience.

Hype creates attention. Trust builds stability.

Hype comes and goes. Stability takes years to build.

Hype — can it really sustain fashion brands? Read More »