Fashion & lifestyle

Clay dye processing: the colour of the earth

Reading Time: 3 minutes

A story of slow fashion from Japan: mud-dyeing born from the vision of Akira Aoki, founder of GoodNeighbors Shirts


Clay dye is the colour of the earth itself. This mud-dyeing process began as the vision of designer Akira Aoki, who founded a thoughtful slow-fashion brand. One that brings together fabric treatment and modern design.

We are all born from the same earth. Precisely this connection inspired the designer to capture the natural hues of the soil in a cotton shirt. Through repeated experimentation with local clay—each season lending its own character—the brand has created shirts with a uniquely natural colour and texture.

A series of GoodNeighbors Shirts laid on clay soil during the traditional Japanese mud-dyeing process, with green grass in the background.
Clay dye processing by GoodNeighbors Shirts, Japan

Clay dye: a Japanese story of earth, craft, and style


Fujioka City in Gunma Prefecture, northern Kantō, is where Akira Aoki was born and raised. Surrounded by mountains and rivers, the area is blessed with high-quality clay and pure water. For centuries, it has been a major producer of earthenware, including Haji ware, Sue ware, haniwa figurines, and roof tiles.
Fujioka roof tiles, in particular, trace their origins to the founding of Ueno Kokubunji Temple—a tradition spanning more than 1,200 years.

The region’s distinctive red clay comes from the Kantō loam layer, formed by volcanic ash from Mount Akagi and Mount Haruna. Rich in iron-bearing clay minerals, its fine particles retain moisture well and offer high permeability.

Aoki’s family moved to Fujioka during the Edo period and has farmed the land for over 400 years.
Drawing on the nutrient-rich red soil and natural groundwater from these fields, Akira—who studied dyeing and weaving at Tama Art University—hand-dyes each piece himself to create his mud-dyed products.

The special quality of mud-dyeing lies in the thick, clay-like paste mixed with groundwater. Its high iron content allows clay minerals to penetrate deep into the fibres. This process swells the yarn, smooths its edges, and enhances the fabric’s softness and texture.

The finished garment carries the beautiful, uneven colouration of the clay itself—as though gently coated in earth.

These mud-dyed products are coloured using only soil and water. No chemicals. Consequently, after dyeing, the clay returns to the earth, and the water nourishes the soil once more.

Through this deeply rooted craftsmanship, the brand aims to foster new values that connect the environment, people, and society to the future.

GoodNeighbors Shirts: shirts that breathe in Tokyo


The name GoodNeighbors means “good buddy, good neighbour.” The brand values shirts that are comfortable to wear every day, and that can be shared easily and without pretence. Its original designs draw inspiration from diverse music and art cultures, each carrying a subtle, distinctive character.

Made in Tokyo, the shirts are carefully cut with a modern silhouette; skilled artisans in the city’s older districts then complete the craft.  They are made to last, blending delicate tailoring with an effortless, relaxed feel—like a breath of fresh Tokyo air.

Final thoughts


Even in a market dominated by top brands and fast fashion, we remain committed to seeking out small, thoughtful gems. Ultimately, independent brands are where you will find considered design and more sustainable practices.

Clay dye processing avoids chemicals, and both the soil and the water return to nature after the dyeing process.

In a fashion system still ruled by speed and scale, mud-dyeing stands as a quiet act of resistance. In essence, Aoki’s work reminds us that colour can come from the earth, not chemicals; that craftsmanship can restore our connection to place; and that truly sustainable fashion begins with respect. For materials, for makers, and for the land itself.

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Altagamma Observatory 2025: a study in cautious optimism

Reading Time: 4 minutes

While the luxury market is apparently stable, the report’s own data reveals a sector in profound transition


The recent Altagamma Observatory 2025 report, presented in Milan, offers a seemingly positive outlook: a stable global high-end market of €1.44 trillion and a forecasted +5% recovery in 2026. However, a closer reading reveals a more complex and less reassuring picture. 

The report adopts what we could describe as a form of cautious, institutional realism. It is a framing that often feels softened, designed to reassure the industry rather than deliver unvarnished truths.

While confidence may attract investors, change can only come from a clear-eyed assessment of the challenges. The industry’s preference for good news should not come at the expense of truth, which is the real foundation of credibility and meaningful transformation.

The core contradictions: stability versus a sector in crisis


The report’s central narrative of stability is undermined by its own data. In fact, these data paint a portrait of a market defined by polarisation, where opposing realities coexist.

1. The myth of a monolithic market

The headline figure of €1.44 trillion masks severe divergences. While the ultra-wealthy continue to spend on jewellery (+4/6%) and experiences, the aspirational consumer is retreating. This is starkly reflected in the collapse of leather goods and footwear (-7/-5%)—the heart of accessible luxury. This isn’t a slowdown. It is a clear signal that the customer who once bought bags and shoes as status symbols is now struggling or has shifted priorities.

2. A fragmented and defensive fashion sector

This polarisation is acutely felt in fashion. The moderate +4% growth in apparel hides a reality where only a few brands thrive while others suffer—a dynamic the report itself describes as “highly polarised among brands.” This fragmentation is exacerbated by:

  • The threat of ultra-fast fashion. Carlo Capasa (CNMI) explicitly identifies the “growth of ultra-fast fashion products imported from China” as a “crucial issue to address,” framing it as an existential risk.
  • A crisis in distribution. Traditional wholesale channels and department stores are confirmed to be “in crisis,” undermining the foundational sales model for many brands.
  • Defensive brand strategies. The reliance on outlets to clear unsold stock and the forecast that high-end brands will introduce “lower price proposals” in 2026 are not signs of health. They indicate an inability to sell at full price and a risk of brand value dilution.
3. Geopolitical optimism versus ground-level realities

The reported “recovery” in the Americas (+0/+2% in 2025) feels tenuous against the backdrop of a weak dollar, tariffs, and a climate of uncertainty. This growth stems not from a buoyant general economy but from the resilience of the Top Tier. High Net Worth Individuals drive this, with their domestic spending and higher average transaction values propping up the figures.

Altagamma Observatory 2025: the “sugar-coated” lens of the report


These contradictions are presented through a specific, mitigating lens, which explains the report’s softened tone.

  1. A partisan purpose. 
    As a foundation for Italian luxury, Altagamma’s primary role is to defend and promote the sector. Its objectives—to reassure investors, signal resilience to the government, and promote the Made in Italy system—naturally discourage alarmist messaging.
  2. Corporate lexicon.
    The consistent use of terms like stableresilient, and consolidate serves to normalise stagnation and decline. Yet the report presents a -7% drop in a core category as part of a broadly stable landscape.
  3. The “Yes, but…” rhetoric.
    The report consistently employs a technique of admitting a problem only to immediately counter it with hope. For instance: “Yes, China is down, BUT HNWIs are increasing”. So, this creates a glass-half-full narrative that can obscure the severity of the situation for many players.
  4. Long-term faith over short-term pain.
    The emphasised +5% growth forecast for 2026 acts as a lifeline, encouraging the industry to view current difficulties as “temporary headwinds” on the path to a “bright future.”

Final thoughts


The Altagamma Observatory 2025 provides the most realistic photograph yet of a luxury market that is no longer a monolith, but a collection of micro-markets with opposing dynamics. So, is it sugar-coating the situation? Yes, in part.

However, for the attentive reader, it also highlights undeniable structural shifts, even if wrapped in boardroom language. It makes clear that the aspirational consumer is in crisis, the old model of endless price increases is broken, and the new drivers are value, ethics, and experiences.

In conclusion, the report is convincing in its diagnosis of key trends. But remains overly optimistic and diplomatic in its tone. For a truly dispassionate analysis, one must cross-reference its findings with reports from investment banks and independent analysts who are not tasked with safeguarding an entire ecosystem. 

Ultimately, Altagamma is doing its job. It is presenting Italian luxury as resilient and forward-looking, despite the evidence of a painful and fundamental restructuring.

But one question arises: do investors truly fall for data so cleverly dressed up?

Altagamma Observatory 2025: a study in cautious optimism Read More »

Pambianco Fashion Summit: thirty years of fashion, from designers to large groups. What future for Made in Italy?

Reading Time: 4 minutes

When sustainability becomes a buzzword and growth remains the real goal


We have just followed the 30th Pambianco Fashion Summit. Once again, sustainability was the magic word everyone loved to repeat. But immediately afterwards came the true priority: growth. Always growth.

In this panel, ultra-fast fashion from China plays the villain, while Northern European fast fashion receives applause. After all, H&M is on stage to explain circularity.

And so the question returns, louder after every panel:
What haven’t these CEOs, presidents, managers, founders and the rest understood about the meaning of sustainability?
Because the more they say it, the more the word sounds like a joke.

Consumers want authenticity—so why is fashion still pretending?


Erika Andreetta (PwC Italy) highlights what already seems obvious:

  • People want reliable, transparent, consistent brands. In short, authenticity.
  • They seek alignment with cultural values.
  • Second-hand is growing three times faster than traditional fashion.
  • Outlet shopping is growing five times faster.
  • Value matters: products aligned with personal values, at the right price.
  • Brands still produce too much—and don’t sell their overproduction.
  • Multi-brand stores have become the places where people actually look for something new.

As for European fashion, the disillusionment is generational:

  • Young people don’t see originality.
  • Baby boomers have other priorities.
  • Gen Xers find prices unjustifiable.

Fashion listens, but selectively.

Pambianco Fashion Summit: Sburlati, “a system under attack”


According to Sburlati (Confindustria Moda), the fashion ecosystem is under pressure on three fronts:

  1. From the East: exports down 3%, imports up 5%, fueled by China (+18%).
    Postal packages under €150 pay no customs duties or VAT—an obvious distortion.
  2. From the West: a weak dollar, double tariffs in the US, and a push for local brands.
  3. From within: a fragile Italian market.

Sburlati came to a dramatic conclusion:

“We are on the brink of collapse and risk ending up like the automotive industry.”

Capasa (CNMI): the luxury narrative is shifting


A negative narrative surrounds luxury — one that started in China.
Proposed solutions include:

  • An anti–fast fashion law with tariffs across the board.
  • A French-style approach: taxes on packages and a ban on misleading advertising.
  • Support for new businesses at a time when more are closing than opening.

Capasa adds a point on young consumers: “Young people are all environmentalists. We must explain to them that fast fashion is not. We need to explain the value of quality and creativity.”

And then… H&M entered the room


This is where the contradictions become glaring.

The industry complains — rightly — about Chinese ultra-fast fashion. However, it then invites H&M, a symbol of Western fast fashion, to discuss circularity and therefore “sustainability.”

So yes, we ask again:
What exactly have these leaders failed to understand about sustainability?
Can a brand built on overproduction ever be sustainable?
Because every time fast fashion is framed as “sustainable,” we’re entering the realm of greenwashing.

E-commerce


Another point raised: a shift in digital strategy is necessary.

  • Over 60% of brands are not ready.
  • Yet today, 80% of sales involve a digital touchpoint.

Clothing & sustainability

  • The idea of more durable, timeless garments is gaining traction — pieces suitable for multiple seasons and less overconsumption.
  • 54% of products are sold on sale. The second month of sales is the strongest — meaning consumers wait for the sales of the sales.
  • Millennials (28–44 years old) spend more — around 36 items per year.
  • Clothing is losing value; personal care and beauty are more engaging.
  • Women continue to consume a lot, but above all, they remain tied to fast fashion.
  • Gen Z is starting to think about quality, longer-lasting pieces, and niche products.
  • Young people are the demographic most sensitive to sustainability — but garments should not cost more than their traditional counterparts.
  • Gen Z wants clarity: What is a sustainable garment?
    A simple question the industry will probably never answer. But we do — you’ll find the answer in This Is Greenwashing here.

Final thoughts


In conclusion, the 30th Pambianco Fashion Summit analysed fashion, from designers to large groups, and attempted to explore what the future holds for Made in Italy.

If sustainability continues to coexist with an obsession for infinite growth, with overproduction, with contradictory narratives, the word will lose all meaning.

Until the industry stops applauding whoever says “circularity” the loudest and starts reducing — truly reducing — its impact, these summits will remain conversations about sustainability without actual sustainability.

Pambianco Fashion Summit: thirty years of fashion, from designers to large groups. What future for Made in Italy? Read More »

Greenwashing: The system is designed to fail. It’s time to see clearly

Reading Time: 3 minutes

Our guide to spotting greenwashing — born from witnessing the system’s hijacking — now available in Italian


How can people tell what is truly sustainable — or confidently say: this is greenwashing?

Let’s take one example we’ve just shared: African organisations are accusing a major UN circularity project of unreliable data and a tainted process.
This isn’t just a failure; it’s a hijacking.

But how can we distinguish between genuine initiatives and those that are not?
The core conflict is no longer just about data — it’s about who gets to define circularity and sustainability.

Buy This is Greenwashing and Questo è Greenwashing - photo of both book covers.
Questo è greenwashing – This is Greenwashing

Greenwashing: A system designed to fail


When fast-fashion entities help set the rules for a UN process meant to regulate them, the outcome is predictable: a system designed to fail.
In other words, a system that protects overproduction and waste under the guise of sustainability.

This is greenwashing at the highest level — the green fog at its thickest — designed to confuse us into compliance while the real work of change is undermined.

And this is precisely why we wrote This is Greenwashing.

This eBook goes beyond spotting a fake “eco-friendly” label.
It’s a guide to understanding the systemic lies that corrupts projects like the UNEP’s. It equips you with tools to see through the green fog created by the very systems meant to protect us.

We wrote it because when regulation fails — or is hijacked — awareness becomes our strongest line of defence.

In a world where the credibility of global environmental governance hangs in the balance, we must equip ourselves with the power to see clearly, demand better, and stop being manipulated.

This is Greenwashing – Now available in Italian


🌍 Now available in Italian: Your guide to seeing through the green fog
We are proud to launch This Is Greenwashing in Italian.

This guide will help you:
✔ Decode the jargon and spot lies at a glance
✔ Understand the tactics used not just by brands, but by entire systems to appear “green”
✔ Arm yourself with practical knowledge to make informed choices

In a system designed to fail, knowledge isn’t just power — it’s resistance.

📘 🇮🇹 Get your Italian eBook here: books2read.com/u/mYJ8lP
📘 🇬🇧 Get your English eBook here: https://books2read.com/u/bpgxOX

📣 Please help spread the word by leaving a review — it makes all the difference.

“This is greenwashing’s greatest crime: distracting us with false solutions as the planet burns.”

Spot the lies. Demand better.

P.S. Share this with anyone who questions the ‘sustainable’ façade. It’s time we clear the green fog, together.

 🌿 Now available as an eBook — the print version will follow.

Greenwashing: The system is designed to fail. It’s time to see clearly Read More »

African organisations accuse UNEP’s Textile Circularity Project of unreliable data and a tainted process

Reading Time: 3 minutes

African coaltion warns that proposed global guidelines, built on flawed foundations, threaten millions of livelihoods and the future of textile reuse


A coalition of African organisations, supported by experts from Europe, Asia, and America, has sent a formal letter to the UN Environment Programme (UNEP). The letter raises concerns about the reliability of the data underpinning UNEP’s projects for global textile circularity and protests against the credibility granted to entities described as “beholden” to fast fashion giants.

The open letter directly challenges UNEP’s Circularity and Trade of Used Textiles project. This project aims to create global guidelines distinguishing reusable second-hand clothing from waste. The signatories, representing the livelihoods of millions in the sorting, repair, and resale trades, argue that the entire effort is compromised from its foundation. (Fashion Magazine).

African organisations: the letter of accusation


Their core accusations are threefold:

  1. Unreliable data:
    The project relies on unverified figures, such as the frequently cited claim that 95% of textile waste is reusable. A figure that contradicts established industry knowledge and lacks transparent collection methods.
  2. A tainted process: 
    The coalition describes the consultations as rushed and exclusionary, sidelining the very experts who understand the complex realities of the trade.
  3. Corporate influence: 
    In Ghana, an NGO funded by the ultra-fast fashion industry led the research. The very entities whose overproduction is the root of the waste crisis — creating an unacceptable conflict of interest.

“What we have observed does not match the objectivity expected from a UN programme,” said Jeffren Boakye Abrokwah, President of the Ghanaian Used Clothing Dealers Association. “In Ghana, UNEP’s research partner is an NGO that already runs a waste campaign. It is funded by the fast fashion industry. This compromises the neutrality of the data.”

However, this sentiment found an international echo. Alan Wheeler, Director General of the UK’s Textile Recycling Association, stated, “UNEP’s willingness to adopt unverified conclusions contradicts its stated commitment to impartiality and undermines public trust.”

But this dispute erupts as the second-hand clothing market faces unprecedented strain. New, low-quality garments flood African markets. While in Europe, collectors are on strike and countries like Sweden are authorising the destruction of unsold clothing. Against this backdrop, the call for credible and impartial solutions has never been more urgent.

Final thoughts


In conclusion, the core conflict is no longer just about data or methodology. It is about who gets to define circularity. The African organisations’ letter exposes a disturbing reality. In essence, the industry itself may shape a UN process meant to regulate the fashion industry’s waste.

So this is not merely a failure of process; it is a hijacking of the solution. Letting fast-fashion entities set the rules, the UNEP project legitimises greenwashing and undermines the circular economy it aims to protect. In other words, the system is not simply being poorly designed. It is being designed to fail, preserving a linear model of overproduction and waste under the guise of sustainability.

The credibility of global environmental governance now hangs in the balance.

African organisations accuse UNEP’s Textile Circularity Project of unreliable data and a tainted process Read More »