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The Fashion We Love

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The alternative choice for modern humans


At the heart of our manifesto lies a simple truth: the fashion we love embodies values beyond mere aesthetics. More specifically, the aesthetics reflect the values.

The fashion we love: Marc Le Bihan timeless dress
Marc Le Bihan dress

The fashion we love is the reflection of independent minds, individuals who embrace a philosophy that transcends trends and superficiality. Individuals who think. In other words, fashion that captivates us serves as a mirror of autonomous spirits, those unique individuals who adopt a mindset that goes beyond the fleeting whims of trends and the shallowness often found in the industry. These are individuals who engage in deep thought, who ponder and question, and whose style is a testament to their intellectual independence.

The fashion we love is about embracing:

  • good design
  • quality materials
  • skilled tailoring and craftsmanship
  • couture in the heart
  • made-to-last
  • in limited quantities
  • ethical approach
  • respect for people
  • respect for the planet

In a few words, it’s about less, much less, but better. No quantity can ever replace the value of a well-made garment.

It’s a conscious choice to support brands that align with our principles, brands that make thoughtful garments. And by doing so, we contribute to making a change in the fashion industry. In other words, we contribute to a more ethical and sustainable industry.

In the end, you know what? The alternative exists! And it’s already here. Can’t you see it?

How to purchase our selection:


Drop us an email or WhatsApp for orders or any further information. Also, you can book your private shopping experience in person or via video call.

International Shipping!
From Milano, our fashion selection #formodernhumans is available for international delivery.

Exclusive Fashion
Our selection intentionally offers limited pieces to ensure uniqueness and a sustainable approach 🖤

● Further details and prices via →WhatsApp

👉 Get in touch directly from here!

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Fashion Industry: A Dying Patient

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Reading Time: 3 minutes

Why do brands insist on therapeutic obstinacy?


As the fashion industry prepares for the FW24-25 selling campaign amidst a myriad of challenges, it becomes increasingly evident that it is teetering on the brink of irrelevance, reminiscent of a dying patient. Despite being aware, industry operators persist in maintaining the status quo. This begs the question: are they awaiting a miraculous revival or resigned to an inevitable collapse?

The fashion industry operates within its own framework, dictated by seasonal trends and gender divisions. As suite123 boutique, these days, we’re accustomed to receiving updates on fashion brands, showrooms, and exhibitions worldwide for the Fall/Winter 24-25 season. Most, conveniently accessible online, minimising the need for extensive travel and promoting sustainability in our research endeavours.

Yet, it is evident that the fashion industry as a whole is grappling with profound challenges. Clearly, it’s in a state of extreme struggle. Moreover, this realisation permeates the industry, acknowledged by insiders who witness its struggles firsthand.

In such a climate, one might expect brands to conduct their business with a paradigm shift.

However, the status quo remains largely unaltered. In fact, there’s a reluctance to embrace change. No adjustments in how brands assemble, present and sell their collections. Also, no change in garment manufacturing processes, contractual agreements, or collaborative endeavours aimed at mitigating the decline of the fashion industry. No change in policies, no alternative pathways. None of that!

Brands persist in adhering to an outdated model, clinging to a production pattern characterised by overproduction. But, that production model based on overproduction has failed and proven unsustainable. Indeed, it is no longer suitable for our times.

Stagnation or evolution: can the fashion industry thrive by clinging to an outdated model?


So, the question arises: Can the fashion industry evolve while obstinately clinging to a failing paradigm? By insisting on pursuing an outdated failing model?

For genuine progress to occur, the industry must reconsider its approach, presenting a viable path forward. Therefore, move away from the unsustainable cycle of the overproduction model, corporate world, and unending growth. Adopting more sustainable and ethical practices such as producing items in response to demand, implementing made-to-order initiatives, reducing waste, and embracing circular economy principles.
In essence, the call is for a shift towards a more responsible approach to ensure the industry’s long-term viability.

As new FW24-25 season campaigns unfold, the fashion industry resembles a dying patient, teetering on the brink of irrelevance. However, brands persist in their therapeutic obstinacy instead of trying new strategies.

Perhaps it will take the complete demolition of the fashion industry for the voices advocating change to be heard. And for those trying to make a change to be finally seen.

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Moda Povera by Olivier Saillard

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A meaningful interpretation of fashion


On February 2nd, we attended “Moda Povera VI: Les Vêtements Des Autres” – a poetic performance by Olivier Saillard. It took place at Triennale Milano in collaboration with Fondation Cartier pour l’art contemporain. 

As a matter of fact, considering the latest events associated with fashion, Triennale Milano is emerging as the premier destination to celebrate fashion as culture. Which seems a big challenge lately.

On the occasion of Ron Mueck’s exhibition, open until March 10, Triennale Milano and Fondation Cartier pour l’art contemporain give carte blanche to the fashion historian Olivier Saillard, who will curate three performances part of the “Nomadic Nights.”

Moda Povera by Olivier Saillard
Moda Povera by Olivier Saillard

Olivier Saillard in his words


To introduce the event, we think it makes sense to share Saillard’s words, as we find them remarkably poignant:

“Fashion weeks serve to present, season after season, a prospective vision of the clothes to be worn in the future. Thanks to fashion shows, a theatre of appearances is created, not only on the catwalks but, above all, among the guests, famous people or unknown. Strangely enough, the dress presented, of which one can assess with relative comparison the similar creativity from one designer to another, no longer seems to be a priority. The person who promotes it with a post counts more.

My goal is to propose my idea of Fashion Week against this asphyxiated system. The one with which I want to show the intimate role of everyone’s clothes and give the spectator, the guest, the poetic position in the relationship with her clothes. To the new clothes, I contrast ours from the past, from the life we have lived through.

On the occasion of a participatory fashion show, I want to present a non-prospective collection like those of others, but on the contrary, a retrospective and introspective one.

For this reason, we recommend that every guest participate in the Moda Povera VI fashion show with a garment of their own choice. A beloved dress coming from your own wardrobe or a dress from a loved one. These clothes, left at the entrance, will be the object of a performance by a collective of ten models who will parade in each other’s clothes.

During an event in which the fashion show carves out a space among the spectators-actors, the models show the poetry of everyday life, of the ordinary, and of everyone’s clothing, creating a true ceremony of intimacy.

It’s no longer about the designer, the brand, or the logo. Here, it is a question of traces, of wear and tear, of caresses of clothes, carbon paper of each of us.

All types of clothes are accepted and searched for: used, everyday, banal or ordinary clothes, fashion clothes, work uniforms, formal dresses, etc…”

Olivier Saillard

Moda Povera: the performance


At the entrance, the staff collects the garments and pins a beige grosgrain ribbon on which they write in black the name of the guest. Once tagged, the garments become an integral part of the performance. Each performer, wearing a black gown, calls a garment by name. Then, delicate touches, almost like caresses, communicate sensations, attention, memories. A subtle ambience of intimacy and care quietly unfolds and involves the spectators by creating an experience of participatory theatre.

Can clothes regain and convey a profound meaning? In the hands of Olivier Saillard, yes. An intense performance also thanks to the ten models who embody effortless elegance and grace, qualities now on the brink of disappearing.

Inspired by Arte Povera – an avant-garde movement of the 1960’s making use of simple, often natural or recycled material – Moda Povera by Olivier Saillard is a poetic interpretation of clothes. But it goes beyond that. In fact, it restores dignity to a fashion field that has lost any trace of culture.

Fashion that becomes art; fashion that is culture.

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An Earthquake in the Fashion Industry

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What happens to luxury e-commerce?


An earthquake is going on in the fashion industry, invisible to most. It’s about luxury e-commerce. Specifically, Farfetch, which was about to collapse.

The platform represents the e-tailer everyone talked about. For mainstream fashion shoppers, dazzled by the lights plus an excessive selection, being absent from it meant not belonging to the right circle. For retailers, it was a possibility to make a lot of money. However, the supermarket setting did not intrigue niche fashion enthusiasts at all.

What is Farfetch?


Farfetch is a marketplace that connects brick-and-mortar fashion boutiques. Therefore, people from anywhere in the world can buy their favourite items from a boutique on the other side of the globe and get them delivered to their doorstep. Afterwards, since focusing on the luxury segment, they have started offering services directly to fashion brands. Also, they bought the London boutique Browns.

Who’s behind the group?
Investors gather the Chinese Alibaba; Artemis, the holding company of the Pinault family, owners of Kering; and the Swiss luxury group Richemont.

How does the business work for Farfetch?

They take a 30% cut from all the retailers as they can connect to a worldwide audience. However, born in 2007, the company became profitable in 2014. But, they could hardly maintain the profit. The company shares, valued at about 20 billion dollars at its peak, lost about a third of their value, dropping to a record low of 60 cents. Now, the firm has a market value of $250 million. In fact, the platform was close to bankruptcy.

The earthquake shaking the fashion industry: what happened?


In 2019, Farfetch acquired the Italian New Guards Group, license-owner of Off White and others, reporting unexpected losses of about 2 billion dollars. In other words, by abandoning its inventory-free marketplace strategy, Farfetch lost its original, cost-effective pattern. Yet, their business peaked during the pandemic. But, as the company pursued growth, costs increased simultaneously.
Indeed, the New Guards acquisition reported a 40% drop in sales.

Two more factors contributed to the downfall: brands wanted more control over their products and the discount policy. Moreover, a slowdown in the luxury market had an impact on sales.

Farfetch was supposed to buy a 47.5% stake in Yoox-Net-a-Porter Group, but perhaps we won’t see this deal.
After the share price plummeted, a white knight came to save the e.tailer: the Korean group Coupang, Inc.

What to expect from this earthquake in the fashion industry


For those who see fashion as creative expression and not a giant supermarket, Farfetch isn’t fascinating. Indeed, many call it the ‘Amazon of fashion’ – a destination thriving on relentless discounts.
A few freethinkers might wonder where on earth those exaggerated quantities of garments would be sold. Though it is good to witness brands talking about sustainability while partnering with a company that made overproduction in the fashion industry its business model!

Eventually, an invisible earthquake is happening in the fashion industry, which may result in a tsunami. All the brick-and-mortar retailers connected to the platform have lost their lucrative toy. But, planning to sell through Farfetch, they still have ordered immense quantities of fashion garments. Since local customers were just a tiny percentage of their business, where would they sell their huge stock? Where will they sell the unrealistic budgets pushed by the marketplace?

Now, what should we expect? Will brick-and-mortar ‘Farfetchers’ survive? Or will they fall under the tsunami?

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The Luxury Brands

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Unravelling the psychological effects on consumers


Luxury brands hold a unique allure that extends beyond the possession of high-end products. These brands are not just about material possessions. In fact, they are about status, identity, and the dance between desire and fulfilment. So, I intrigue you to explore the complex interplay of emotions, perceptions, and societal influences that shape our relationship with luxury products.

The symbolism of status


Luxury brands often serve as symbols of social status and wealth. Indeed, a designer handbag, a luxury car, or a unique timepiece can elevate an individual’s perceived status in society. Psychologically, this association with prestige triggers a sense of accomplishment and reinforces one’s social identity. So, the external display of luxury items becomes a visual cue to others, communicating success and affluence.

But is it gold all that glitters?
It’s crucial to acknowledge that the status associated with luxury items is often a construct and may not necessarily reflect true personal achievements. Specifically, wealth’s display through luxury possessions might be more about perceived status than authentic accomplishments. This can contribute to a sense of superficiality in pursuing social recognition.

The pursuit of exclusivity


The scarcity and exclusivity associated with luxury products contribute to their allure. Limited editions, rare materials, and meticulously crafted designs create a sense of exclusivity that appeals to consumers’ desire for uniqueness. The psychological impact is profound, as individuals feel a deep feeling of importance and distinction when they possess something that not everyone can have.

Self-expression and identity


Luxury brands often serve as a canvas for self-expression. In fact, the choices individuals make when selecting luxury items reflect their personalities, tastes, and aspirations. Through these purchases, consumers shape their identity and convey aspects of their character to the outside world.

Emotional fulfilment


The act of acquiring a luxury item is often accompanied by a surge of positive emotions. From the anticipation of making the purchase to the euphoria of possession, luxury consumption triggers feelings of happiness and satisfaction. Also, a sense of accomplishment. These emotional responses create a strong association between luxury brands and positive experiences, fostering a continuous cycle of desire and consumption.

In conclusion, luxury brands weave a complex orchestra of emotions, desires, and societal expectations, influencing consumer behaviour profoundly. The psychological effects range from the satisfaction of status symbols to the fulfilment of emotional needs and the expression of individual identity.

On the flip side, the psychological effects of luxury consumption spiral into a dangerous cycle of excess. The insatiable desire for status, exclusivity, and emotional gratification may propel individuals to continually seek the next opulent acquisition. This relentless pursuit fuels a voracious appetite for the latest trends releases. But also plunges society into the treacherous depths of overconsumption.

Ultimately, the pressure to maintain or increase one’s perceived status drives a culture on the verge of excess, promoting unsustainable consumption patterns that jeopardise responsible consumerism.


✍️ Credit: Post written by Gabriela Preuhs, a Brazilian scholar pursuing studies in economics and psychology at Cattolica University in Milan; currently interning with suite123.

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