sustainability

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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Identity and Ethics

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Peering Behind the Veil of the Fashion Industry

When it comes to identity, the spotlight often shifts away from ethics. That seems especially evident during the Milano Fashion Week.

The recent emphasis on rediscovering lost brand identities amid transitions between creative directors is appreciable. Instead of merely chasing trends and pushing boundaries to the point of absurdity, there’s a noticeable return to celebrating heritage and the unique DNA of fashion houses. However, amidst this shift, one can’t help but question the credibility of companies that have previously indulged in such superficial games.

The discrepancy between image and reality at MFW

The day before the conclusion of Milan Fashion Week, a revealing program titled “Indovina chi viene a cena” (Guess Who’s Coming to Dinner) aired on Rai3 (you can watch it here). The journalist Sabrina Giannini and her colleague shed light on the stark reality behind sustainability claims in the fashion industry. It became evident that the more brands flaunt their sustainable slogans, the less sustainable their practices proved to be. Sustainability is 90% greenwashing! This disillusionment extends beyond just material choices and production processes. In fact, it delves into the exploitation of cheap labour through outsourcing. A practice that starkly contrasts with the Italian craftsmanship ethos.

Fashion industry, identity and ethics

While these issues aren’t new to those who follow fashion’s undercurrents, the program highlighted some uncomfortable truths. Particularly striking was the response of the influencers when questioned about their awareness of designers’ materials and sustainable practices. Their dismissive reactions have underscored a glaring disconnection between the industry’s rhetoric and its actual impact. Specifically, these girls giggled or ran away, having no means to participate in a more than necessary discussion. By the way, does the fashion industry need these kinds of people? Really? Is this what the fashion industry is about?

Furthermore, Sabrina Giannini attempted to engage with designers and fashion houses on these pressing matters. What response did they get? Silence and indifference. Despite sustainability being touted as a pivotal theme in fashion, the lack of willingness from brands to engage in open dialogue is concerning. Indeed, it raises questions about the industry’s true commitment to ethical principles beyond mere lip service.

If the aim was to reveal the stark misalignment between the industry’s professed values and its actions, then the brands, with their silence, have succeeded!

Ethics, respect for work, workers’ rights, impact on the planet. All fall under the sustainability hat. But the fashion industry is not interested in that. Dear designers, refusing to open your doors, you have succeeded in unveiling your true faces.

Ultimately, Milano Fashion Week was all about identities. But clearly, no one cares about ethics!

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In The Name of Cleanliness

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Reflections on Milano Fashion Week: A Blend of Style, Substance, and Identity

Milano Fashion Week unfolds in the name of cleanliness. Style cleaning, image cleaning, and even people cleaning.

A distinct narrative emerged amidst the flurry of runway shows. One characterised by themes of neatness, precision, and authenticity. Cleanness of designs accompanied by a less showy audience. It’s a mood that permeated many collections, reflecting a need to restore brands’ identity.

Fall/Winter 24-25 Milano Fashion Week

Designers such as Fendi embraced this ethos, presenting a collection defined by immaculate tailoring and modern elegance, with precise references to its heritage.

But also Prada was in this flow: fluttering ribbons and bows contrasting with mannish blazers and maxi skirts. A lot of grey. Military silhouettes accented by marine hats, feathered or in velvet.

Antonio Marras‘ homage to Eleonora D’Arborea stood out. A historical figure who lived between 1300 and 1400, seen as a national heroine of Sardinia. Marras’ collection has exuded opulence. Elaborate silhouettes, intricate embroideries, and textured fabrics evoked a sense of bygone grandeur. The spectacle captivated audiences with its unique blend of history, theatrical performance and defile.

Our heart breaks for MM6. Unfortunately, it seemed to have lost its way. Once, it was synonymous with avant-garde innovation under the helm of Martin Margiela. This runway looked like Diesel. In fact, the collection felt disconnected from its original identity. One might say Martin Margiela is no longer there, which is true, but Margiela is still the brand name. Therefore, shouldn’t we expect a certain continuity?

FW24.25 Moschino by Adrian Appiolaza

Moschino‘s new creative director, Adrian Appiolaza, made a promising debut, infusing a sense of contemporary flair. The designer honoured the brand’s iconic codes, mixing wearable silhouettes in a game of basics and boldness. Bravo Appiolaza! Even for bringing a message of peace on the runway. In fact, we applaude designers who use their platform to support important causes.

Yet, a sense of dystopia looms in the fashion industry. Brands celebrate new collections in the name of cleanliness and restoring their identities. Yet they all feature too many outfits. Furthermore, yesterday, a major TV news report was all about vintage fashion. Entirely!

One might wonder, what are the new clothes for?

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Creativity or Reality?

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Exploring the Struggle to Sustain Fashion Amidst Economic Collapse

These days, we are here with one eye on creativity, or the dream as we like to call it in fashion, and one on the tragic reality surrounding us. In other words, we are trying to strike a balance between maintaining the fashion business and witnessing a world that falls apart.

As we are currently reviewing collections, we would love to stay focused only on the creative side of fashion. Therefore, delve into volumes and silhouettes, hand-detailings, materials and colours. Also, N.Y. Fashion Week, London Fashion Week, or lookbooks we receive. Yet, we cannot ignore the sobering reality that surrounds us. With each passing day, we are bombarded with news of industry giants facing closures, layoffs, and financial uncertainty.

creativity or reality

Navigating turbulent times

We explored the issue of the leather goods compartment in Florence, which is stuck. Consequently, 250 manufacturers are at risk of downsizing or closure. Furthermore, the latest news reveals that 26 Galeries Lafayette affiliated stores are at risk of administration under control. Also, Nike is about to fire 2% of its global workforce, so 1.500 people will lose their jobs. The data, beyond depressing, shows the picture of a collapsing system. Piece after piece. Field after field. Indeed, it is also the case of “The Body Shop,” which filed for bankruptcy, so 2.000 will be jobless. And these are just a few examples.

The fashion industry’s battle for survival

While navigating such adversity, the question is: creativity or reality? Dreams or facts? Perhaps we can ignore that the economy is crumbling. And more people are losing their jobs. But ultimately, who do brands make garments for? Who will buy expensive clothes? The truth is, the economic collapse is reshaping consumer behaviour. It might be that consumers’ preferences will shift towards lower prices, ignoring any sustainable and ethical aspects. So, the percentage of those shopping niche products will be thinner.

In light of the failure of the existing system, it becomes imperative for fashion businesses to embrace change. As we navigate the unprecedented turbulent times the fashion industry is facing, it’s important to remember that adversity breeds innovation. In times of crisis, the ability to pivot and adapt becomes essential. Therefore, fashion businesses must be open to reassessing their strategies.

And if adversity breeds innovation, now it’s the time for it!

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