Explorations

The Challenge of Selling Sustainability To the Youth

Reading Time: 3 minutes

Identity or Identical: discovering your own style


Throughout many generations, there has always been the chapter of one’s young adult life when the opportunity of freedom and finding themselves is made available.
A topic within the discovery of oneself is figuring out your preferred style of clothing. Although this topic has always been apparent, it has flourished more than ever in recent years since more styles from the past have resurfaced and more alternative designs are being discovered.

Today’s youth are born into a society where they have effortless access to every clothing style imaginable. Indeed, they are given more flexibility upon various purchases because of discounted stores, and thanks to fast fashion, shelves are constantly reloaded with new trends.
They rely on mass production and endless options in order to discover the type of person they want to be in society. They use fashion as a method of showing the world who they are. And how they want to be portrayed.

Youth and sustainability: mixed messages


A strong message of environmentalism, as well as activism for unjust labour and mass waste in the fashion industry, have been shoved in the faces of many young adults. They are the future. So they should be informed because inevitably, they will have to be the ones to fix it.
But how are young people supposed to comprehend the immense troubles of mass production when that is the tool used for constructing their individuality?

Ethical production, made-to-order business strategies, and high-end thrifting apps seem to be one solution to mass waste. But how are the youth expected to contribute to the solution when they are supporting the problem in order to find themselves?

Sustainably identical or identity through corruption


Will sustainability among the youth insinuate an ideal of cloning or constricting youth creativity? There have been many new sustainable brands on the rise recently. So access to creativity and options is not the problem. The problem is general access due to price.

A brand is not truly sustainable unless the price is high. Profits go towards ethically paying for all processes of production, distribution, and finding high-quality environmentally friendly materials. Which are expensive. So does that place a cement barrier between the youth and sustainable living?

How do we expect the new generation to contribute to the solution? When rationally, they are one of the biggest components of the problem.

We inform them, we educate them, and we make them aware. Rather than remaining the problem, they can be one of the biggest solutions.
Since Generation Z and Millenials are what makes up one of the biggest factors in overconsumption, waste, and over-production. Convincing them to halt their current mindset would tear down the entire system.

You can’t continue the unhealthy cycle if there is no one left to buy into the lies.

✍️ A piece written by Gavriel Ewart. An American girl studying fashion and communication at Cattolica university in Milan and interning for suite123

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Paris Fashion Week 22

Reading Time: 3 minutes

Fashion as a means of protest: how the industry can channel rebellion


Paris Fashion Week 22 has concluded, and even there, the heartbeats felt in the past weren’t beating that much. The atmosphere felt cooler, more restrained. Designing a collection during the pandemic for brands that have to grind a lot of money wasn’t the ideal ground. Furthermore, staging shows during a time of war wiped out fashion relevance.

For sure, the war in Ukraine made us wonder what’s the sense in what we do.

Fall/Winter 22 pret-a-porter


The purpose was to use every single voice, runway, or platform to protest. Even though we have to keep up with our work, we cannot stay silent in front of Ukraine’s tragedy. And so, we really appreciated all the designers who took a stand and raised their voices in support of Ukraine.

As in Milano, the ’90s were leading in Paris too: the white tank top, the slip dress, transparencies, crop-tops were everywhere. Also, Balenciagitis infected all designers in Paris too. In short, it was all about big shoulders.

Paris Fashion Week 22: some random tiny notes


Dior: a futuristic approach mixed with the past generated a far-fetched confusion.

Saint Laurant: this time is yes! Anthony Vaccarello made a very elegant collection respecting the maison’s heritage. The final tuxedos outfits were gorgeous!

Dries Van Noten: the video presentation looked like a commercial to launch his cosmetic line. Time to monetize!

Balmain: Olivier Rousteing is a good designer, but the show was too futuristic. Armours can protect you from haters but will never give you the elegance of a blazer.

Chloé: you can cook without salt, but the food has no taste. We saw some of the classics remixed with well-known marketing trends. However, the collection was insipid, and the beauty created by Natacha Ramsey-Levi vanished.

Uma Wang: a modern and beautiful collection shown through an impactful video.

Issey Miyake: one of the best digital presentations, “sow it and let it grow”, was the message. Indeed, the video was the story of growth and re-birth, which showed the cycle of nature through clothing.

Yohji Yamamoto: can you renovate while being faithful to your style? Only a master like him can do it, and his work is like poetry for fashion. The way he tailored denim was unique.

Image of Paris - tour Eiffel in support of Ukraine during Paris fashion Week 22


Boyarovskaya: impactful and chilling video. The Belarusian and Ukrainian duo sends a heartbreaking message.

Ann Demeulemeester: still white sneakers, for real? And weren’t all models wearing the same outfit again this season?

Balenciaga: Gvasalia’s background voice was chilling. His obsession for the East-European refugee outfits was clear so far, but his misshapen imagery never felt so real and angsty.

Valentino: PP Piccioli’s words, before the show, were everything: “we see you, we feel you”. A whole collection in PP Pink and some black. The message was strong, but the choice limited the beauty we used to see at Valentino shows. And the pre-show seemed like a commercial for Spiderman.

Vuitton: Ghesquière too got Balenciagitis! But we loved the tie outfits.

Chanel: a very wearable and balanced tweed story. No headshots.

Miu Miu: from preppy to biker style, call them winter outfits if you live in California! Panties peaking through the waistline recalled the first Dolce&Gabbana. Ok for the coats, jackets and column dresses. The rest, too mini, too cropped.

Paris Fashion Week 22: final thoughts


Unfortunately, the return of the runways signalled the re-awakening of the collateral circus. However, let’s debunk a myth:
Who said video presentations aren’t a valuable means to introduce a collection? Don’t say it again, please.

And above all, one point emerged: activism through fashion is a thoughtful way to bring back a sense of purpose in our work.

#STANDWITHUKRAINE

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Vintage, not a mere “USED”

Reading Time: 2 minutes

Treasure hunting: appreciating the sentimental value behind clothes


In Japan, the age of 20 is a big year. We get many gifts and blessings from parents, grandparents, relatives, and literally everyone we know. When I turned 20, my parents asked me what I wanted for my 20 years celebration. A new bag, dress, shoes…? Perhaps that’s what they were expecting me to say.

However, I said I wanted my dad’s pair of jeans and my mom’s trench coat. Since my teenage years, I have always enjoyed sneaking into my parent’s closets and randomly trying on their clothes. (I hope they are not reading this blog…) For me, their closet was a load of excitement, like a treasure box.

Vintage has a STORY


My dad gave me a pair of jeans from Gianfranco Ferre. He bought it when he visited Italy 30 years ago. It was the first trip to Europe with my mom, he said.
My mom then gave me a trench coat from Burberry. This was what my dad gifted to her 30 years ago.

These two pieces have some personal stories connected with my parents. They aged with them.
Yet, my parents were happy to give them to me because they liked how their favourite pieces would be worn more frequently, rather than being just stuffed in the closet.

Aged, but never actually
Even after 30 years, they are perfectly holding up. The shape and colour beautifully remain. Because of their high quality, they last over decades, and their value never fades.

I love my parent’s vintage items not just because they are “vintage”, but I do enjoy wearing them because I am giving a new life to the pieces of clothing, which is something truly special.

I brought them here in Italy, and guess what? I went to my first fashion show in Italy with my coolest one. The first pair of jeans my dad bought here 30 years ago.
I can’t wait for another 30 years with these two pieces.

So what is your story with your vintage items?

✍️ A piece written by Kotono Sakai, a Japanese girl studying history and fashion at Cattolica university in Milan and interning for suite123

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Fashion Week Frontier

Reading Time: 2 minutes

Which medium will survive?


General Fashion Week Playbook

Over several decades, the fashion industry has evolved in so many ways. The female silhouette has transformed from lung crushing corsets and 19th-century victorian buns to genderless streetstyle and avant-garde designs.

Brands have progressed in their method of garment innovation. Yet since the first catwalk show by Lady Duff Gordon in 1901, runway innovations have only advanced in the context of event design. Designers and brands had decided to keep the mediums of runway shows and video promotions completely separate.

Runway shows are so 2019

If we normalize sustainability, why is the mass waste of a fashion show not considered as a drastic factor taking part in unnecessary waste?

After seeing most daily activities turn to the remote medium, why is a runway show one of the only things left behind for deep discussion and debate?
Just because something from the past was so universally enjoyed, doesn’t mean it’s required to remain the same and be the exception to a painfully corrupted system.

The new Fashion Week medium

Fashion premiered through short films

As a matter of fact, we are in a society where creative innovation is crucial. And not only for progressing as a population but for general survival. Aside from the world of technology, the fashion industry hosts some of the most innovative and open-minded thinkers of our lifetime. There is no satisfaction in sedimentary and placid thinking. Consistent change is expected and embraced. So why have we suddenly decided to halt our experiments here? At a time when it is most vital for the progression of an industry.

We are now entering a new industry era of fashion trailers. Short films, produced to showcase a designer’s newest collection in a way that emphasizes the brand image and what future they’d like the consumer to expect.

Of course, many are hesitant about this idea. This era will be the test that determines who are the true lovers of design and creativity. And who participate just to gain social media followers and views.

✍️ A piece written by Gavriel Ewart. An American girl studying fashion and communication at Cattolica university in Milan and interning for suite123

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Milano Fashion Week 2022

Reading Time: 3 minutes

The return of physical events and a strange virus affecting the industry


Milano Fashion Week 2022, marking the return of physical events, was anticipated to symbolise the relaunch of both the economy and creativity. But did it live up to expectations? And what were the key themes that emerged?

Fall/Winter 2022 trends

90’s
The nineties were the common thread seen almost everywhere. Indeed, as a reflection of society, fashion—like history—tends to repeat itself.

“Balenciagitis”
While the pandemic seems under control, another highly infectious virus spread among designers. This virus is called “Balenciagitis.” When designers are affected, they create tons of exaggerated shoulders and extremized silhouettes–of which you do not understand the point.

Raf Simons has been strongly infected, indeed you could see it in the Prada fashion show. Since the co-designing collaboration has started, Prada stopped dictating trends, as always did, and now follows the others.
However, even Dolce and Gabbana were infected, we hope someone will soon find a cure for it.

Co-branding
Collab with sports brands, or flea market outfits with the plus of co-branding. That’s what Gucci did with Adidas. Right, nothing new in the end. Just branding.

Milano Fashion Week 22


Genderless
In January 2020, Stefano Pilati presented at Pitti his independent brand, Random Identities. The collection showed a few tailored pieces in a genderless key. About two years later, the creatives who create when something is already created, discovered the trend. Hey, all brands went genderless!

Sustainability
Round tables, talks, shows. Every single brand is sustainable! And the more they talk about it, the less they offer value. Moreover, “sustainable designers” and those who have hands in that industry offer something unattainable. Just smoke in the eye, generating a big misleading business.

Inclusion
What is the line between inclusivity and bad taste? This point is not clear to us. In fact, in many shows which focused on this topic, bad taste stood out.

Milano Fashion Week 2022 favourites


Our favourites
Jil Sander was one of the few fashion shows we enjoyed. We didn’t see much of Jil Sander in that, but, at least, we saw beautiful, well-made clothes developed in a coherent collection.

Bottega Veneta: iconic accessories, clean lines clothing with a high-end impact. Beautiful design, but no logo shown, no sensationalism. The essence of modern elegance and luxury. Bravo, Matthieu Blazy!

Milano Fashion Week 2022 revelaed that it is not a favorable time for creativity or the economy. And so, a cultured audience has to dig a lot to find value. Because worthwhile designers, rather than being part of that inconsistent game, avoid communicating at all.

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