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Facing the collapse: Culture, identity and language as acts of resistance

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How cultural resilience and linguistic diversity can challenge societal apathy


These days, it truly feels like we’re facing the collapse.
What do we learn from the appalling reality of our time? A time of endless war. First, Russia invaded Ukraine. Then, Israel razed Gaza to the ground, killing thousands of innocent people. And now — as if that weren’t enough — Israel, in what feels like a calculated move to shift global attention away from Gaza, has started a new war with Iran.

Meanwhile, in the U.S., we witness the mass deportation of immigrants. Innocent people, once again, becoming targets of Trump’s regressive politics. A president who promised to “make America great again,” and who claimed he would end wars, continues to fuel hatred, division, and instability.

The truth is: our world is collapsing under the weight of violence, injustice, and, above all, rising indifference. Each catastrophe piles onto an already fragile and unstable reality.

This is not the world we want.

We’re facing the collapse. And yet — in how we show up, there is a form of resistance.
We show up to connect with others like us, those who imagine a different world — one rooted in mutual respect, inclusivity, and care.

In our small activity, here at suite123, we choose to work with independent brands and artisanal realities. Behind each of them, behind every garment, there are real people — not machines, not systems. Just humans.
We honour the work of small, independent makers — those navigating a world of sharks in turbulent waters. Those who bring skill, passion, and ethics to an industry that often feels hollow.

And we choose to bring genuine connection.

Because this is our culture.
This is our identity.
This is our language.
And yes — this is our act of resistance.

🖤 If this resonates with you, share your thoughts with us—we’re listening.

Leave a comment below and let’s talk about it — (you’ll need to register first). Or DM @suite123 | WhatsApp | e.mail

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Max Mara under fire: Female workers expose “unacceptable working conditions”

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Fashion industry, capitalism & women’s labour rights — inside the hidden cost of luxury


Max Mara workers went on strike on May 22 and 23: “They Call Us Too Fat.” 
At the heart of Italian luxury lies a troubling contradiction. While Max Mara is celebrated for its timeless elegance and impeccable coats, the workers behind the brand—mostly women—are speaking out against harsh realities: rigid rules, physical exhaustion, wage theft, and blocked promotions.

The latest protest comes from Max Mara’s San Maurizio factory in Reggio Emilia, where 220 workers (mostly women) went on strike, supported by the Filctem-CGIL union.

Their demands? An end to “unacceptable working conditions” that they say belong to the 1980s, not modern Italy.

Max Mara workers: “They called us fat. They monitored our bathroom breaks.”


Inside the factory, employees describe a dehumanizing environment:

  • Body-shaming: They called us cows to be milked. They told us we were too fat, even suggesting we do exercises to slim down.”
  • Exploitative pay: “We’re basically paid by the piece, like machines on an assembly line.”
  • Surveillance and humiliation: “They monitor our bathroom breaks—even though we’re women with menstrual cycles.”

Erica Morelli, head of Filctem-CGIL in Reggio Emilia, condemned the company’s inaction: “Max Mara has built a wall. This strike is our last resort to demand basic respect.”

Marco Grimaldi, deputy leader of AVS in the Chamber of Deputies, commented on the matter, having submitted a parliamentary question: “The Max Mara giant doesn’t even apply the national collective textile agreement (CCNL), nor does it provide any transparency regarding emissions or climate protection.”

Luxury labels, sweatshop realities


This isn’t an isolated incident. Max Mara joins a long list of fashion brands tainted by labour abuse. Investigations have uncovered subcontracted workshops—so-called “dormitory factories” near Milan and Bergamo—where Chinese workers sew designer bags for just €2/hour. These same bags retail for €1,800–3,000.

Let’s break down the math:

  • Production cost per bag: €40–90
  • Retail price: Up to 3,000% markup
  • Worker’s share: Less than 1% of the retail price

In short, luxury fashion giants do business at the expense of people and the planet. Fashion fuels 5% of Italy’s GDP — yet it runs on modern-day slavery. That’s unacceptable.

Final thoughts: Capitalism’s ugly truth


The fashion industry is a mirror of capitalism—glamorous on the surface, exploitative underneath. Behind the sheen of luxury lies a system built on squeezing labour to maximize profits. And yet, as union leaders argue, raising pay by just €1–5 per item could radically change workers’ lives.

The testimonies of female workers at Max Mara reveal how deeply rotten the economic system is. Can the fashion industry really sustain itself by degrading the very people who power it?

Ultimately, they can apply patches—solutions that seem to work—coordinated with unions, police, whoever. But unless we address the root cause (the economic system itself), nothing will truly change.

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French Senate passes law to curb ultra-fast fashion 

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Targeting exploitative practices—or protectionism against China?


On Tuesday, 10 June, the French Senate approved a law to regulate ultra-fast fashion, with provisions that could ban advertising by Chinese e-commerce giants like Shein and Temu. The move amplifies France’s push to rein in the textile industry’s environmental toll—but raises questions about whom the law truly serves.

Last year, France’s National Assembly (the lower house) passed a bill to mitigate the textile sector’s ecological damage. Now, the Senate has voted nearly unanimously for a modified version, drawing a sharp line between fast fashion and ultra-fast fashion. The latter—dominated by Shein’s 7,200 daily new designs and Temu’s $5 dresses—faces stricter rules, while European brands like Zara and Kiabi escape the heaviest burdens.

The environmental stakes are undeniable. Ultra-fast fashion’s rock-bottom prices come at a cost: 35 garments are discarded every second in France, and the average person buys 48 items a year, according to the state agency Ademe. The law imposes penalties of up to €10 per item (or 50% of the pre-tax price) by 2030 for non-compliance with sustainability criteria.

But the political subtext is harder to ignore. French retailers like Jennyfer (liquidated in April) and NafNaf (in receivership since May) have long blamed Chinese competitors for their decline. By tailoring restrictions to platforms like Shein, the Senate risks framing this as a trade war—not a principled stand against exploitation.

Before implementation, the law must clear procedural hurdles: EU notification and reconciliation between parliamentary versions. Yet its asymmetry is already glaring. The bill attacks the symptom (ultra-fast fashion’s waste) while sidestepping the disease (an industry-wide race to the bottom on labour and ecology).

Final thoughts


The fast and ultra-fast fashion market is undeniably expanding—but so too are its consequences. These aren’t just environmental disasters; they’re social ones, built on exploited labour and disposable consumption. If the solution exempts European players clinging to the same model, is this really about ethics—or just economic self-interest?

The unanimous French Senate vote may suggest consensus, but it doesn’t resolve the contradiction. A truly ethical stance would challenge the exploitative model itself—whether the label reads “Made in China” or “Made in Europe.”

So, let’s return to the central question: Is this law a stand against fast fashion’s abuses—or merely a stand against China? The answer, much like the industry it targets, may not be as sustainable as it seems.

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Sustainable packaging, unsustainable fashion: A broken system in a green box

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Bain & Company’s report exposes fashion’s latest eco-effort—does it go far enough?


Sustainable packaging is the next frontier for luxury brands. A recent report by Bain & Company, in collaboration with Fedrigoni Group — a global manufacturer of specialty papers, self-adhesive materials, and RFID (radio frequency identification) technologies — highlights how sustainability is becoming a real competitive edge in high-end packaging.

Sustainable packaging — fashion’s latest eco-effort


According to Luxury Packaging: Resolving the Tension Between Creativity and Impact, more than 30% of luxury packaging sales will rely on sustainable solutions within the next three years.

The report is based on a survey of over 500 companies across the luxury packaging value chain — including designers, manufacturers, distributors, and luxury brands themselves. As Bain & Company puts it: 

“We found clear signs that sustainability has risen in importance.”

Key insights include:
• A reduction in packaging size will lead the charge in improving supply chain sustainability
• Sustainable packaging revenue will grow in the next three years
• Innovation will heavily focus on advanced paper solutions

Despite the importance of the tactile experience in the luxury world, brands are becoming more conscious of their environmental responsibilities.

Final thoughts: The packaging is sustainable—too bad fashion isn’t


Of course, packaging is part of the solution. Cutting down on excess and switching to better materials is a positive step. But here’s the real question: are these companies ready to address the elephant in the room?
In case anyone missed it, the elephant is overproduction.

Because unless the industry tackles the systemic issue of producing too much, too fast, it’s just a case of sustainable packaging for an unsustainable fashion system.
The box may be green—but what’s inside remains the problem.

Ultimately, put in these terms, it leads us to say: this is greenwashing.

What do you think?
Leave a comment below and let’s talk about it — (you’ll need to register first).

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Luxury downturn: Dior bets on J.W. Anderson—Can a creative vision alone revive sales?

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Why the industry focuses on hype rather than heritage and systemic change


We can’t help but reflect on the ongoing luxury downturn—a reality affecting nearly every brand—and how these brands scramble to stay relevant in the face of it.

The appointment of J.W. Anderson as Dior’s new creative director, replacing Maria Grazia Chiuri, comes at a critical moment. Amid declining luxury sales, one question looms large: Can a single designer revive sales in a struggling market?

The short answer? No—not alone.
While a star designer like Anderson can inject fresh energy and buzz, Dior’s long-term recovery will depend on much more than creative flair.

The “cool factor” vs. timelessness


Anderson will oversee all of Dior—menswear, womenswear, couture, and accessories. His distinctive edge and subversive take on classics—think mismatched earrings, deconstructed tailoring—may go viral. But luxury doesn’t just live in the moment. It thrives on heritage.

The risk? Dior might veer too experimental. In times of uncertainty, core clients may turn to safer bets like Chanel or Hermès, brands that offer timelessness over trend.

The designer’s vision vs. commercial realities


Anderson is known for his avant-garde, gender-fluid aesthetic, as seen at Loewe. He might appeal to Gen Z shoppers—but that comes with the risk of alienating Dior’s more traditional clientele.
Maria Grazia Chiuri delivered commercial success with accessible elegance and feminist messaging—pieces like the “We Should All Be Feminists” T-shirt. Anderson now faces a tightrope walk: staying innovative while remaining commercially viable.

But here’s the deeper issue:
Luxury consumers are simply spending less. Even the most visionary design won’t translate into sales if wallets stay closed.

The luxury downturn: External forces matter


A volatile market, inflation, and global instability—including what we might call Trump’s TACO behaviour (Trump Always Chickens Out or Threatening, Authoritarian, Chaotic, Opportunistic)—create unpredictable conditions. No matter how bold Anderson’s vision is, LVMH will need to heavily back it with marketing muscle.

And therein lies the message:
LVMH’s decision shows that the fashion system still bets on the status quo—hype, marketing, and overproduction—rather than investing in long-term heritage, and, most importantly, in systemic change.

Final thoughts


The luxury downturn is real. So is the unstable economy. Dior bets on J.W. Anderson. In fact, the industry continues its game of musical chairs—rotating male designers in hopes of reviving sales—without addressing the core issue. Creative directors set the tone, yes. But in a downturn, what luxury truly needs is systemic reinvention, not just another new voice at the helm.

What’s your take?
Should luxury brands lean into hype or return to heritage during crises?

🖤 Leave a comment below, or get in touch via WhatsApp or email—we’d love to hear your thoughts.

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