Fashion & lifestyle

A Wardrobe for Life

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Unlocking the Secret to Timeless Style

From Paris Fashion Week, one theme resonated with us: the notion of a wardrobe for life. Spearheaded by none other than the iconic Miuccia Prada with her Miu Miu collection, this concept challenges the ephemeral nature of fashion. Indeed, it urges us to rethink our approach to style and consumption.

Although Miuccia showed how to build a timeless wardrobe, it remains unclear how her sustainable goals align with her brand’s relentless pursuit of growth.

By the way, imagine a closet filled not with disposable garments but with cherished treasures that evolve alongside you, adapting to every twist and turn of your personal narrative.

The power of a wardrobe for life

At its core, a wardrobe for life is a testament to quality, longevity, and sustainability. So, it champions pieces that transcend fleeting trends, becoming steadfast companions on the journey of life. 

In a world obsessed with rapid turnover and instant gratification, the idea of a wardrobe for life represents a meaningful choice. It celebrates the enduring allure of classics, those timeless pieces that effortlessly transition from season to season, year to year. Building blocks of a wardrobe that stand the test of time.

But it’s not just about aesthetics; it’s about emotional resonance. Every garment in a wardrobe for life carries with it a story, a memory, a connection. Indeed, these pieces become woven into the fabric of your life, imbued with a significance that transcends mere fashion.

The influence of brand power

It’s undeniable that the endorsement of a renowned fashion house like Miu Miu carries significant weight in shaping public perception. When Miuccia Prada herself champions the concept of a wardrobe for life, real or not, it becomes instantly elevated to the realm of high fashion, capturing the attention of the masses. 

Specifically, she focused on ageless and genderless offerings, making us wonder: will people finally understand it? Timeless, ageless and genderless are themes we have promoted for a long time. Inspired by designers like Issey Miyake, Martin Margiela or Marc Le Bihan. As well as newer brands like Meagratia, GoodNeighbors Shirts or Miaoran. Although popular, these concepts are not truly understood.

Of course, it’s easier for a powerhouse brand to make a statement. The fashion industry’s influence dynamics and perception’s power make the difference.

However, despite these obstacles, boutique owners who promote niche fashion possess a distinct advantage: authenticity. Unlike mass-produced fashion churned out by corporate behemoths, boutique offerings are often imbued with a sense of craftsmanship, individuality, and personal connection.

Empowering individual style with a wardrobe for life

At suite123, as a boutique, we’ve witnessed firsthand the transformative power of a wardrobe for life. It’s not just about selling clothes; it’s about fostering a community of like-minded individuals who share a passion for conscious consumption and timeless style.

Together, we’re rewriting the narrative of fashion. We’re reclaiming our individuality, embracing our uniqueness, and celebrating the beauty of diversity. In fact, we’re paving the way for a more inclusive, sustainable, and fulfilling future.

For those who doubt the importance of our boutique’s mission in a world where big brands and flashy trends dominate, we want to make it clear: our message may be understated, but its impact is significant.

We offer a wardrobe for life that transcends fashion and embraces the essence of who we are, where we’ve been, and where we’re going.

Join us on this journey!

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What Happened to Slow Fashion?

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An Opportunity Lost in the Shadows of Rapid Change

What happened to slow fashion? As the foundations of the old world crumble, the emergence of a new one is fraught with struggles. Amidst this turmoil, we find ourselves pondering the fate of slow fashion.

Fashion industry: contradictory news

Headlines boast of growth and soaring sales for some brands, yet these reports seem akin to acts of sleight of hand, illusion games. Indeed, they prioritise the interests of banks over the stark realities that surround us. Moreover, these narratives clash with reports of top conglomerates stockpiling billions in unsold inventory.

In the relentless cycle of overproduction, an increase in output translates to a surge in revenue. However, much of this surplus finds its way to the incinerator rather than into the luxury retail.

Further underscoring the disintegration of the traditional fashion world are the ongoing bankruptcy reports. Most recently, Matches Fashion has found its place on this list. The Fraser Group, two months after the acquisition, claims the luxury e-tailer is on the brink of insolvency, a casualty of slowing demand for high-end products. Fraser laments: ‘The company systematically missed the targets of its business plan and, despite the group’s support, continued to record significant losses.’

Deciphering the destiny of slow fashion

In the wake of the pandemic-induced instability, sustainability has emerged as a cornerstone of discourse. Slow fashion, heralded as a rational solution to the problem of overproduction and resulting surplus inventory for shops, has garnered significant attention.

So, we’ve seen a lot of talks, round tables with the usual experts. Of course, by giving a voice to the same names that had caused the overproduction issue. A possible solution emerged, but after a few years of discussions on slow fashion, almost no one talks about it.

So, what happened to slow fashion? Was it just a temporary marketing strategy? Indeed, it languishes in obscurity, championed only by a handful of new brands struggling to gain traction. Meanwhile, the fashion industry remains wedded to antiquated profit models, heedless of its impending catastrophe.

The truth is, the world of fashion as we have known it has long been on shaky ground, particularly since the 1990s. But this reality holds little sway over the major players who continue to prioritise short-term profit over long-term sustainability.

Despite appearing as a missed opportunity amidst the whirlwind of rapid change, our commitment to and belief in slow fashion remains unwavering. We wholeheartedly support its principles and practices.
Please don’t hesitate to reach out to us with any thoughts or reflections you may have on this matter!

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The Rise of the No-Phones Trend

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Has Social Media Democratized Fashion? Or our Lives?

The no-phones trend is gaining momentum, extending its reach from fashion shows to theaters. Also, it prompts a critical examination of whether social media has truly democratized fashion.

The no-phones trend in fashion

At the recent Paris Fashion Week, The Row took a bold stance by banning phones, aiming to encourage attendees to fully engage with the runway spectacle without the distraction of screens. This move not only allowed spectators to immerse themselves in the live experience but also disrupted the instantaneous sharing of images on social media. Instead, attendees could reflect on and digest the show before sharing their experiences.

Critics argue that such restrictions, stating that social media has democratised fashion. But does merely observing luxury clothing on screens equate to affording luxury those items? So, can we define “democratic” a product we can only see but cannot afford to purchase?

The no-phones trend in theaters

Yesterday, we attended “Jesus Christ Superstar” -a glorious show at the “Teatro Sistina Chapiteau.” It reinforced the growing prevalence of the no-phones trend beyond fashion events. The announcer urged the audience to power down their devices and refrain from taking photos to fully appreciate the performance. Only during the grand finale, featuring the iconic Ted Neely, were attendees permitted to capture the moment on their phones. The show, commemorating the 50th anniversary of the film and the 30th anniversary of the production by Massimo Romeo Piparo, showcased remarkable talent and creativity, demonstrating the effectiveness of the no-phones policy.

Prof. Paolo Ercolani quotes Guy Debord: “The society of spectacle”

However, Professor Paolo Ercolani referenced a quote from Guy Debord’s “The Society of the Spectacle,” highlighting the danger of life becoming a mere accumulation of spectacles detached from genuine experiences.

“In societies where modern conditions of production prevail, life is presented as an immense accumulation of spectacles. Everything that was directly lived has receded into a representation.”

Furthermore: “The images detached from every aspect of life merge into a common stream in which the unity of that life can no longer be recovered. Fragmented views of reality regroup themselves into a new unity as a separate pseudo-world that can only be looked at. The specialisation of images of the world has culminated in a world of autonomised images where even the deceivers are deceived. The spectacle is a concrete inversion of life, an autonomous movement ofthe non living.”

Social media: democratizing fashion or dictating our lives?

Indeed, this raises the question of whether social media’s proliferation of images has truly democratised fashion or merely inundated us with unattainable ideals. Has social media democratised fashion? Or our lives?

In conclusion, the no-phones trend signifies a desire for genuine engagement and connection. But it also prompts reflection on the impact of social media on our perception of fashion and life itself.

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Hints of Sustainability at PFW

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Are These Sustainability Efforts Credible?

On the last days of Paris Fashion Week Fall/Winter 24-25, hints of sustainability emerged. Yet, amidst these hopeful murmurs, recent revelations cast a shadow of doubt over the industry’s commitment to genuine change.

Stella McCartney’s fashion show opened with a call to action to save the planet. In the video, Mother Nature sends a message to humanity: “It’s About Fucking Time.” Perhaps gentle words are no longer sufficient to spur the necessary transformation. Indeed, the stark reality of increased pollution rates this year tempers our optimism.

Apparently, Stella McCartney, an environmental activist, operates through sustainable practices. In fact, the media present her as one of the brands more involved in the discussion around sustainability.

However, reports from Business of Fashion unveil staggering figures of unsold inventory weighing heavily on these conglomerates. We quote B.O.F.: “LVMH and Kering are grappling with billions of dollars of unsold inventory.”

Analyzing sustainability hints and related news

Now, let’s compare the two pieces of news in an attempt to understand more about sustainability. In this juxtaposition, a disconcerting dissonance emerges.

LVMH and Kering are the largest conglomerates in the fashion industry. LVMH owns Louis Vuitton, Givenchy, Dior, Fendi, Celine, Kenzo and many more. Kering owns Gucci, Balenciaga, Bottega Veneta, McQueen, Saint Laurent, and more.
Despite both groups having billions of dollars of unsold inventory, they have made countless new samples for the fashion weeks. No one tried to create beautiful presentations with fewer garments. Moreover, they are ready to churn out tons of new clothes and accessories for the Fall/Winter 24-25 season.

In 2019, Stella McCartney signed a deal with LVMH group to accelerate its worldwide development in terms of business and strategy. Before, the designer partnered with the rival conglomerate Kering. So, McCartney stands at the intersection of conflicting narratives.

Can a designer embedded within a behemoth corporation, driven by perpetual growth and overproduction, truly champion sustainability? Stella McCartney’s game recalls the manoeuvres politicians play. Perhaps sustainability in fashion remains a game of optics, a veneer to placate conscientious consumers.

Conclusion: unanswered questions

The hints of sustainability that emerged at Paris Fashion Week appear diluted, if not altogether illusory. The sobering reality of overproduction and the unsolved dilemma of excess inventory force us to confront uncomfortable truths about the industry’s commitment to change.

In conclusion, lingering questions remain with us: What fate awaits the mountains of unsold garments? Will they be incinerated, shipped off to distant shores, or left to languish in forgotten warehouses? And can we truly place our trust in designers who navigate the corridors of power within colossal conglomerates?
The answers to these questions may hold the key to unlocking a more sustainable future for fashion. One grounded not in superficial gestures but in substantive action and genuine accountability.

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Paris Fashion Week FW 24-25

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Between Creativity and Unsold Stock Challenges

The journey that began in Milan found its continuation during Paris Fashion Week FW 24-25, where brands grappled with the delicate balance between staying true to their essence and adapting to market demands. While some redefined their identities, others sadly destroyed them (for instance, Ann Demeulemeester and McQueen who followed Balenciaga’s horrors).

Throughout the week, designers started from ordinary clothes, reimagining basic shapes into elevated pieces. The point is that currently elaborated garments are more difficult to sell. Therefore, brands created pieces that are not only visually captivating but also commercially viable.

A few highlights from the Paris Fashion Week FW 24-25

Let’s delve into a few highlights from the Paris Fashion Week FW 24-25:

Finally, Chloé made a triumphant return to its roots, presenting a collection reminiscent of its signature style, featuring fluid chiffon gowns and blouses with a strong sense of boho-chic. In fact, the reference to Karl Lagerfeld was evident, just the nameplate belt felt excessive.

Balmain showed sculptured silhouettes juxtaposed with some wearable pieces. Clothes adorned with maxi grape bunches in the shape of jewels or small handbags. However, in this défilé, we particularly appreciated the choice of middle-aged women in natural face glows. Celebrating beauty beyond age, the brand sent a positive message. Also, these women represent the clients who can actually afford luxury clothing. In fact, the designers target young girls, which is somehow disturbing. Of course, except for a few lucky ones, young girls do not have money for luxury stuff.

The fashion industry seems to have shifted its focus from plus-sized models to middle-aged women. While plus-size models almost disappeared, beautiful middle-aged women walked the runways in stunning elegance. Is this a genuine attempt by the fashion industry to change stereotypes or just another fleeting trend?

Undercover stood out for its poetic portrayal of womanhood. With its clothing dedicated to a single mom, it has been the most poetic show. No music, just a quiet voice in the background. The words, written and read by filmmaker Wim Wenders, told the story of a single mom and her personal journey. Beautiful!

We found it interesting the no-social-media policy of The Row. In fact, they banned phones, inviting the audience to take notes on notebooks they provided. This decision brought back a certain magic, keeping people focused on the show and not on their screens. It allowed attendees to immerse themselves in the experience without distractions. It is a matter of taking time to live the event in full presence. To think and digest. And only after, share. That brings back the “thrill and wait” social media have taken down.

Creativity vs unsold stock challenges

On their Instagram account, Paris Fashion Week shared a quote from Tiziana Cardini, a contributor to Vougue.com: “Fashion is a resilient and elastic creature. It adapts and evolves. It will always offer imagination and comfort to even the harshest reality.”

However, amidst the creative fervour and positive strides, the industry faces the harsh reality of unsold inventory, as highlighted by LVMH and Kering’s challenges. This discrepancy raises questions about the sustainability of current practices and the need for innovative solutions to address excess stock.

As the Paris Fashion Week FW 24-25 draws to a close, where is the evolution or adaptability? Do you see any of it in the fashion industry?

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