Fashion & lifestyle

Secondhand fashion and overconsumption: Is thrifting the new fast fashion?

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A study in Scientific Reports finds that secondhand markets can encourage the same wasteful behaviours they were meant to replace


In This is Greenwashing, we argued that secondhand fashion is an important tool — but only after a dramatic reduction in overall consumption. A new nationally representative study of 1,009 U.S. consumers supports that cautionary message.

Published in October 2025 in Scientific Reports (a Nature Portfolio journal), the paper — titled “Secondhand fashion consumers exhibit fast fashion behaviours despite sustainability narratives” — finds that secondhand purchases frequently supplement, rather than replace, new clothing purchases. In many cases, they are also associated with short garment life spans and rapid turnover.

Core finding & central paradox


The big takeaway: Secondhand buying does not reliably displace new buying. The study found that people who spent more on used clothing also tended to spend significantly more on new clothing. This means the most engaged secondhand shoppers are often also the biggest buyers in the primary market.

The paradox: The secondary market sometimes reinforces the same high-turnover, short-lifespan behaviours associated with fast fashion — creating a rebound rather than a reduction in environmental impact. Resale, promoted as a sustainability fix, can reproduce fast-fashion dynamics (high volumes, short retention) unless overall consumption declines.

Key evidence 

  1. Correlation: new and used spending move together
    The study found that people who buy a lot of used clothing are also the biggest buyers of new clothing. Instead of replacing new purchases, secondhand shopping often adds to them.
  2. High-volume, short-lifespan behaviours:
    A cluster analysis identified a majority group (around 59%) that frequently purchases and retains garments for shorter periods. Within this group, 37.9% reported disposing of items within a year and 14.2% within one month. The study also found that 40% of respondents owned clothing they had never worn. These patterns point to high turnover rather than extended use.
  3. Younger consumers drive the trend:
    Younger consumers (Gen Z and Millennials) are the most active in both resale and primary markets, increasing the risk that secondhand and new purchases co-occur rather than one replacing the other.
  4. Knowledge–action gap:
    Knowledge alone did not produce sustainable action. The authors report that higher sustainability knowledge did not reliably predict lower consumption or longer garment retention.

Psychological drivers the authors highlight


The study suggests two key behavioural theories explain this paradox:

  • The rebound effect: The money saved or the “green” feeling from buying secondhand can psychologically or economically justify buying more things, offsetting the environmental benefit.
  • Moral licensing: The act of making a “virtuous” choice (buying used) gives people a sense of moral “credit,” which they then use to permit themselves less sustainable behaviours (buying more, discarding faster).

Bottom line


This paper does not discredit the idea of thrifting — it reveals its limits. Secondhand is part of the sustainability toolkit, but it is not a silver bullet. Without cultural and structural changes that reduce total acquisition (buy less, value sufficiency, design for durability and repair), resale markets risk becoming another channel for fast-fashion-style overconsumption. If sustainability is the goal, the emphasis must be on owning and buying less — whether items are new or used.

Final thoughts


This report clearly highlights the connection between the secondhand fashion market and overconsumption, as it increasingly mirrors the behaviours of fast fashion.

The findings directly challenge the simplistic narrative that “thrifting is always sustainable.” That is only a partial truth. The problem is not just where we shop, but how much we consume. The secondhand market, in its current form, is not slowing down the fast-fashion system — it is becoming another channel for overconsumption.

True sustainability will require a cultural shift from constant acquisition to sufficiency — buying and owning less overall, whether new or used.

However, one point struck us. We find the knowledge–action gap profoundly discouraging. If knowledge alone is not enough to serve as a catalyst for change, what else is needed to spur us into action?

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Dupe culture: Inside Gen Z’s aspirational shift 

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Is Gen Z’s hunt for the perfect knock-off a form of smart consumerism or a creative dead end?


The word dupe is everywhere—Gen Z seems to love it. Short for duplicate, it describes a copy, a replica, and, in essence, a fake. It implies a certain deception, a product that masquerades as the real thing. Yet, there is a crucial nuance: these are often “inspired” copies at a much lower price point.

Among younger generations, this has evolved into a full-blown “culture of the dupe”. The hunt for the super fake is also a form of resistance. Generation Z is clearly reacting against the social exclusion that luxury has long represented. They want to adopt the codes of high fashion without paying its symbolic price.

The spectrum of imitation


This trend exists on a spectrum. On one end, there is outright counterfeit—fake handbags, shirts, smartphones, and perfumes that violate trade rules and copyrights. This is a vast, illicit market that continues to thrive; in 2024 alone, EU authorities seized over 112 million counterfeit items, with an estimated retail value of €3.8 billion.

On the other end, however, are the perfectly legal ‘dupes’. These are low-cost versions of iconic products that promise similar effects without breaking the law. They are not brazen copies but inspirations, marketed as democratic shortcuts to luxury.

The allure of the dupe: Rebellion and savviness


For Gen Z, heavily influenced by social media platforms like TikTok, where the hashtag #dupe has amassed over 6 billion views, this is more than just shopping. It is a social activity. Young consumers proudly showcase their low-cost alternatives to iconic products.

This phenomenon is supported by academic research into the paradoxical relationship between counterfeits and luxury goods. Studies, including work from MIT Sloan, have suggested that widespread imitation does not diminish luxury brands but can, in fact, make them more desirable by serving as a form of free, ubiquitous advertising that reinforces their aspirational status. The dupe acts as a form of unofficial advertising, a common language that everyone learns to speak. Furthermore, buying a dupe carries another powerful appeal: it makes one feel clever. It is a shortcut that allows one to display a certain affiliation without paying the full price—a subtle deception that hints at belonging to a world that remains, in reality, financially out of reach.

This sentiment is captured by many in Gen Z, like Louana, a 24-year-old Parisian student (via Luxury Tribune). She explains that for her generation, dupes are a normalised response to a combination of factors: a perpetual hunt for a good deal, a perception of declining quality from established brands, and concerns over unethical production practices. For her, vintage is a first choice, but a good-quality, fairly-priced dupe is a completely satisfactory alternative. 

The educational gap and the way forward


Louana’s perspective points to a deeper issue: a breakdown in trust and education. When luxury brands are perceived to sell poor quality at ridiculous markups or engage in questionable production methods, they fuel the justification for the dupe market. This dynamic has left a vacuum. Young generations see luxury as an aspiration but often lack the foundational knowledge to discern intrinsic quality—the ability to distinguish superior wool from polyester, or to identify craftsmanship made to last.

This leads to a profound question: is the hunt for a dupe the only form of resistance?

Final thoughts: A resistance that raises questions


In conclusion, it is true that for young people, the dupe can represent a form of resistance, a way to react against the social exclusion perpetuated by luxury. It is a symptom of economic pragmatism and a rejection of elitism. And, above all, the refusal to be tricked by luxury brands.

However, this leads to a more profound question: why are young people not educating themselves towards something better? Rather than choosing between an unaffordable original or a dubious copy, why not champion brands that offer quality and good design, made to last, at more reasonable prices? These may not be as cheap as a dupe, but they represent a more sustainable and ethically conscious middle ground.

The culture of the dupe is a complex rebellion, but the ultimate act of resistance would be to educate one’s taste towards genuine value—investing in quality and enduring design over the fleeting thrill of a clever imitation.

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Panno Casentino, farewell: the last manufacturer is shutting down 

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Production ends for the iconic fabric worn by Audrey Hepburn


Panno Casentino, farewell. For centuries, the warm texture of Casentino cloth has embodied the very feel of Tuscany. But the final curtain has fallen on Manifattura del Casentino. The shutdown of its last manufacturer doesn’t just mark the end of a fabric, but the erasure of a unique chapter in the story of Italian craftsmanship and style.

Panno Casentino: A symbol of tradition, craftsmanship, and style


Panno Casentino is a traditional, robust, and warm wool fabric originating from the Casentino Valley in Tuscany, known for its distinctive, curly surface. It is made waterproof and resistant to wear and weather through a finishing process called fulling (felting), followed by brushing, which creates its signature curls.

The defining feature is this unique, hairy pile, which provides excellent thermal insulation, making it highly resistant to cold, wind, and rain. Traditionally produced in shades of green and orange, its bright colours are now a hallmark. The classic orange hue was reportedly discovered by accident when a chemical dye reacted during the waterproofing process.

The fabric’s origins date back to Etruscan and Roman times, and it has long stood as a symbol of Tuscan craftsmanship. Historically, it clothed outdoor workers and was even accepted as a form of tax payment in Florence in the 1300s.

The crinkled wool gained global recognition when Audrey Hepburn wore a Casentino coat in Breakfast at Tiffany’s. Through Holly Golightly, it was transformed from practical workwear into a timeless emblem of Italian elegance.

A fashion photo from suite123 archive of a model wearing an oversized, orange coat made of Panno Casentino wool. The coat is worn over a crisp white shirt and black straight-leg trousers, all against a clean white background.
Panno Casentino Coat from suite123 fashion archive

What happened: The economic and geopolitical background


The end had been looming for some time — as early as 2022 — but now it seems definitive. The final chapter has arrived for Manifattura del Casentino in Soci (Bibbiena), the last company producing this unique cloth. With the firm in liquidation and its 13 remaining workers made redundant, the factory stands silent. All that remains are the machines, including the specialised curling equipment essential to the fabric’s identity. They face a December deadline: if no one intervenes, they will be dismantled.

According to Corriere Fiorentino, the company’s latest crisis was the mirror image of its previous one. In the summer of 2022, there were orders but no production, due to bankruptcy under the former management. When production was finally restored, the orders had evaporated, swept away by the wider textile crisis.

The owners, Roberto Malossi and Andrea Fastoni, first raised the alarm a year and a half ago, reiterating it last Christmas. With no new orders coming in, closure became inevitable.
“We held firm until June,” Fastoni explained, “even as turnover collapsed to just €300,000 — a third of 2023’s figure and one-tenth of 2022’s. Then, starting 1st July, we had to place workers on furlough. We contacted the regional government immediately, but negotiations for a sale never materialised. All that remained was severance pay.”

Textile industry: The perfect storm


The situation became unsustainable, Fastoni said, citing a perfect storm of challenges: “It wasn’t just the broader textile crisis hitting industrial centres like Prato and Biella. We were also affected by sanctions against Russia — one of our key markets — and by Middle East tensions, which drove up the cost of raw materials such as dyes. The worst blow was the surge in energy costs. Our electricity and gas bills reached €40,000 a month, which led to arrears and, eventually, a power cut. We’re also behind on rent. Roberto Bellandi, the Prato entrepreneur who bought the warehouse in 2022 to enable our restart, has been patient, but we cannot indefinitely rely on his generosity.”

This culmination of factors led to the decision to liquidate — a move now threatening the entire supply chain. The two partner firms that supplied raw cloth and marketed the finished fabric will also be severely impacted.

“The deadline is imminent,” Fastoni warns. “If no one steps forward in the coming weeks, a unique piece of our textile heritage will simply disappear.”

Final thoughts


As Corriere Fiorentino’s Salvatore Mannino bleakly concluded: “While Arezzo’s CGIL (union) leaders complain about the crisis, what’s needed now is a miracle — the kind you see in romantic films starring Audrey Hepburn. But Soci is not Hollywood.”

But Panno Casentino isn’t just a fabric. It’s history, tradition, craftsmanship, and culture woven together. The closure of Manifattura del Casentino isn’t only an economic loss — it’s a cultural one.

We are watching a symbol of Italian identity vanish, thread by thread. The warm, earthy colours that once defined Tuscan winters are fading into silence. Once again, small-scale craftsmanship succumbs to market logic, bureaucracy, and political inertia.

So what is politics doing — if not protecting the legacy that defines us? When they say they want to protect Made in Italy, what do they really mean?
If we can’t preserve what makes us who we are, what exactly are we building instead?

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Ujoh SS26: Elegance in the Anthropocene

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At Paris Fashion Week, Ujoh showcases a wardrobe for a feverish planet


For its SS26 presentation at Paris Fashion Week, Ujoh reimagined elegance for a world grown warmer.

The Japanese summer has become unforgiving. A climatic reality that now grips cities from Paris to Milan to New York. As the air grows thick and the heat intensifies, the very notion of getting dressed can feel like a burden. Yet Ujoh resists this surrender, proposing instead a summer uniform that is light, ingenious, and elegant. A way to maintain one’s style even as the climate becomes more extreme.

A marine inspiration runs throughout the collection. Sailor collars gain structure, fastenings recall a plastron, and trousers open like sails. The house’s signature layering evolves into a study in breathability, while between skirts and trousers, new hybrid forms emerge from a design process that allows unexpected volumes to blossom.

Ujoh SS26 at Paris Fashion Week


The fabrics embody the essence of summer. Ujoh’s tailoring becomes lighter, realised in airy gabardine, fluid poplin, and cotton and linen blended with rayon to preserve a graceful drape. Mesh and technical textiles are strategically incorporated to create zones of ventilation. Every detail serves daily life. Pieces are easy to care for, practical, and perfectly suited to the pace of urban Japan, without ever yielding to mere informality.

Each piece stands strong on its own by design, yet together they compose the unique harmony that defines Ujoh. A shirt unfolds into a boat neckline; a mesh top is re-conceived as a polo; a scarf-cap reinvents the accessory as a modular object.

The sea returns as a recurring motif. A net-dress reimagines a fishing net as delicate lace, while embroideries sketch the outlines of tropical leaves. Stripes evoke the classic seaside elegance of Italian lidos and retro swimwear. Against the skin, silver jewellery—cuffs, bangles, rings—captures the shimmer of water, echoing the simple, soothing joys of summer.

The collection’s palette remains rooted in the urban landscape: a sober trilogy of black, white, and beige that is radically Japanese and unbroken by the heat. Within this framework, Ujoh inscribes a singular note: a distinctive blue, poised between a lilac-grey and a deep navy, which serves as the signature hue for the collection.

Final thoughts


What emerges from this sober palette and thoughtful construction is nothing less than a blueprint for elegance in the Anthropocene. This collection rejects the false choice between style and practicality. Instead, Ujoh SS26 sketches a summer that is both resilient and joyful, where lightness means not surrender but vitality. Clothing that breathes, adapts, and elevates the everyday. True to its DNA, the house offers a silhouette that is fully dressed, deeply elegant, and universally relevant for the world we now inhabit.

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Deloitte: Brand Connection – The age of meaningful brands

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Beyond selling — how true relevance is built through authenticity and culture


According to Deloitte’s study, Brand Connection – The Age of Meaningful Brands, a global survey of over 7,000 consumers reveals a significant shift: trust is growing in local businesses (43.1%) and niche brands (39%), while confidence in large brands lags behind (36.9%).

This trend is particularly strong in Italy, where 45.7% of respondents say they feel no strong attachment to any brand — highlighting a high propensity for brand switching.

Andrea Laurenza, Consumer Industry Leader at Deloitte Central Mediterranean, contextualises the data: “In recent years, brands have consolidated their position, but loyalty can no longer be taken for granted. Companies with clear identities, authentic narratives, and direct relationships are rewarded by consumers.”

In an era of consumer volatility, the ultimate challenge is clear: a brand must move beyond mere existence and achieve true relevance.

From visibility to meaning: What brand relevance actually looks like


So, what does this relevance look like when the campaign launches and the social media posts go live? It’s a practice far more nuanced than just being seen.

As Laurenza puts it, “Being relevant for a brand means occupying an authentic space in people’s lives. True relevance is achieved when a brand doesn’t just sell, but takes part in the cultural conversation, remaining faithful to its identity even as the context evolves.”

This means:

  • Resonance over noise. It’s not about shouting the loudest, but speaking with a voice that aligns with your audience’s values and your own core identity.
  • Action over announcement. It’s the difference between a brand making a statement on a complex geopolitical or social issue, and one that aligns its operations with its values. The latter overhauls its supply chain for genuine sustainability. It ensures equitable labour practices from the ground up. Or contributes to humanitarian efforts in ways that feel authentic to its identity. The question is no longer if a brand should take a stand, but how it can do so with coherence, substance, and integrity — rather than merely jumping on a trending topic.
  • Consistency in the conversation. It’s about maintaining a steady voice and set of principles even as trends and algorithms shift.

The Deloitte data confirms it: today, the bond with a brand is built on usefulness, authenticity, and quality. Loyalty is earned, not given.

Brand connection: meaning?


But what do they really mean by meaning?
Have you noticed how some brands use their platform to show solidarity with Palestine or Ukraine?
Have you heard others speak out against social injustice?
Or commit to climate action in ways that go beyond mere greenwashing?
And is simply being on social media enough?

Our search for authentic space


In conclusion, the findings of the Deloitte report resonate deeply with us.
At suite123, we believe in brand connection because we champion meaningful garments — which can only come from meaningful brands.

Naturally, this leads us to reflect on our own path.
How does a small, independent brand like ours — one that chooses depth over noise and purpose over volume — occupy an authentic space?

For us, relevance has never been just a metric for sales. If it were, the journey would be easier, but far less fulfilling.

Our sense of relevance lies in contributing to the cultural conversation with consistency and integrity.
It’s about proving that a brand can be small in scale yet significant in meaning.
It’s about staying real in a world of curated feeds.

And in that space — the space of authenticity, depth, and connection — is exactly where we intend to be.

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