sustainability

Enlightenment by Lidewij Edelkoort: fashion as a mirror of culture

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Trend forecasting beyond style: exploring society, spirit, and the quest for solace in a fractured world


Enlightenment is the recent free webinar by Lidewij Edelkoort, the renowned trend forecaster — a spiritual gift, as she described it. And, judging by the large global audience it drew, a much-needed one. Many participants thanked her at the end; Edelkoort herself appeared deeply moved.

We often say that fashion is culture — more precisely, that fashion is a lens through which we can analyse society. This webinar was a clear demonstration of that idea in action.

Edelkoort’s approach to trend forecasting goes far beyond clothing. It explores habits, customs, values, and lifestyles in depth. It is no longer about which colour or silhouette will be fashionable, but about why a colour, a shape, or a fabric resonates at a particular moment in history. At its core, her method is sociological — yet also deeply psychological and philosophical.

The presentation opened with a forecast written almost a decade ago, one that still rings disturbingly  true today:

Never before have people felt so pummelled and abandoned. Society is at a loss, with ever-increasing tensions between rich and poor, man and woman, young and old, intellectual and worker, white and black. We feel pain for our planet and anger for future generations. We feel helpless when faced with multiple dictators governing their countries like banana republics. We feel outrage at the sacrificing of Black lives, the shooting of our children, or the killing of innocent people. Our neighbour is our enemy, our teacher is our nemesis, our country is our curse — and how will we avoid civil war?

In a world where people feel hurt, insecure, and abandoned, the search for solace, relief, and inner balance has become urgent. The aim, Edelkoort suggests, is to heal society — and, in doing so, to foster another kind of fashion.

Current societal tensions — loneliness, frustration, political unrest — are prompting a return to spirituality. One statement struck us in particular: “Empathy is a political issue.” It feels like the defining slogan of our time.

Enlightenment by Lidewij Edelkoort: inspiration for solace


It is crucial to note that these themes were first released more than ten years ago and originally forecast for Autumn/Winter 2019–2020. This reveals how long macro-trends take to materialise — like seeds that need years to grow. Today, they feel uncannily precise.

Edelkoort framed sixteen interrelated themes as lenses through which to interpret contemporary society: asceticism, monasticism, shakerism, meditativism, taoism, shintoism, krishnaism, druidism, animism, voodoo, mysticism, occultism, romanticism, kama sutra, universalism, and papism.

Each represents a different way humans seek meaning, connection, and comfort in an unstable world. Each also carries its own visual and tactile language — crafts, shapes, colours, materials — which gradually filters into how we dress and live.

At first glance, these themes may appear distant from fashion. Yet they profoundly influence how people consume, behave, and express themselves.

Enlightenment trend report by Lidewij Edelkoort inspired this contemplative image. A woman sits in quiet introspection, her form softly obscured by layered veils and wrapped in textured, natural fabrics like linen and raw wool. The image evokes themes of solace, inner search, and monastic simplicity in a fractured world.

Below are notes on how they translate into dress and culture:

  • Asceticism: deconsumption; layering; simple clothes; warm, sophisticated colours. Inlays, superpositions of wool and linen, or wool and cotton. Minimal detailing.
  • Monasticism: the search for inner peace and concentration. Spirituality. Minimal clothing, soft wool and linen. Hoods, irregular hems, socks, extra-long sleeves. Dirty yellow.
  • Shakerism: community-building, shared tasks, simplicity. Beautiful skirts, bonnets. Black and white. Lace and tiny details.
  • Meditativism: inward focus; rebalancing the aggression of daily life. Elevated well-being. Dark red, clothes that hug the body.
  • Taoism: understanding life and discerning the future. Yin and yang. Repetition. Simplicity. 
  • Shintoism: Japanese influence. Black-and-white contrast. Ritual garments. Graphic and sober fashion. Contemporary kimonos.
  • Krishnaism: orange, layering and draping. Tunics, fluid pants, embroidery.
  • Druidism: Celtic rituals. Ireland and Scotland. Eco warriors protecting the natural world. Country punk. Alone with nature. Checks, blankets, patchwork, faux fur.
  • Animism: the planet as a holistic entity. Ancestral references. Skins, feathers, felt. 
  • Voodoo: ritual-inspired silhouettes and symbolism. Elaborate design. Bold mixes of colours and patterns. 
  • Mysticism: a path to enlightenment. Rich textures, flowing layers, deep colours. Transcending shapes, allegorical textiles.
  • Occultism: mystery, alchemy. Motifs such as eyes and stars. Garments imbued with hidden meanings.
  • Romanticism: softness, fluidity, flowing fabrics. Lace, ruffles, bows. Feminine silhouettes.
  • Kama Sutra: sensuality; celebration of pleasure and beauty. Barely-there garments. Body beige.
  • Universalism: unity across cultures, genders, and religions. Diversity celebrated. A rainbow of influences, textures, colours, and prints.
    From this section comes the slide: “Empathy is a political issue.”
  • Papism: the spiritual father figure. The human search for meaning, guidance, and community. Papal dresses, cardinal red. Flowing robes, cloaks, capelets, embroidery.


Through this lens, fashion becomes a mirror of deeper societal currents. People are drawn to clothing that offers comfort, authenticity, and emotional resonance. Trend forecasting, therefore, becomes less about a superficial style and more about understanding human needs, fears, and aspirations.

Final thoughts


Against this backdrop of fracture and unease, Enlightenment emerges not as a traditional trend report, but as a response — a search for answers about who we are and where we are heading. In an era marked by the loss of religion, tradition, and communal spaces, people are left without places to gather, celebrate, or find solace. These themes respond directly to that absence.

They represent a collective turning both inward and outward: towards spirituality, ritual, community, and meaning.

Enlightenment by Lidewij Edelkoort shows that fashion is more than a reflection of taste. It is a mirror of society, psyche, and spirit. In a fragmented world — where neighbours feel like enemies and the future feels under threat — these trends signal a profound human search: for solace, for connection, for meaning beyond the material.

The webinar was, in essence, a call for a better fashion — and therefore, a better world. A fashion rich in meaning. Fashion as a form of cultural therapy: a way to dress not only the body, but the soul of an age.

Understanding these currents may be the only way to bring about meaningful change in fashion, culture, and human behaviour.

And perhaps, to begin healing it.

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Editorial reflection on what still matters: against the rush of new content

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Looking back, reading forward: why some stories are still worth our attention


Since we’re approaching the end of the year, today’s post is an editorial reflection on what we’ve written so far and why it still feels relevant.

In an era dominated by mass content creation—often fast, repetitive, and empty—we have tried to remain attentive to what happens around us, making sense of events, news, and shifts rather than simply reacting to them. Over time, our work has focused on observation, context, and responsibility, choosing depth over immediacy.

Alongside this, we have consistently worked to clarify what greenwashing is, how to recognise it, and how it differs from genuine sustainability. This effort took a more structured form in our eBook, This Is Greenwashing. In reality, our critical approach to sustainability has always been part of our wider editorial lens, shaping how we read fashion, culture, and systems of production.

Because of this, many of our previous posts remain relevant. They were not written for the moment, but for understanding. Today, we circle back to some of them—pieces that still speak clearly, ask necessary questions, and deserve to be read again.

Editorial reflection: looking back, reading forward


Below is a curated selection of posts that continue to resonate. Each one offers insight into the mechanisms, contradictions, and possibilities of the contemporary fashion landscape.

• We are proud to give voice to designer Consti Gao, co-founder of JAMPROOF. This post is crucial to understanding what it means to build a brand in the contemporary landscape.

Sisyphus’ seventh season — emerging fashion brands in today’s landscape

• This post explores the logic behind labour exploitation and why it signals something deeper—a pattern that connects the fashion industry to any other field.

13 more brands under investigation in Milan for labour exploitation

• A story of slow fashion from Japan, where mud-dyeing becomes a language of time, care, and human connection to the earth.

Clay dye processing: the colour of the earth

• Greenwashing is what, most of the time, hides behind the language of sustainability. This piece helps build the tools to see more clearly.

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

• Is secondhand truly an effective solution, or is it being absorbed by the same logic of overconsumption it was meant to counter?

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

• Here, we analyse why—despite extremely expensive fashion schools—what the industry increasingly rewards is not skill, but visibility and hype.

Fashion is no longer a job for fashion designers

We invite you to read—or reread—these pieces slowly, without urgency, allowing space for reflection rather than consumption. And perhaps even discover other posts you might have missed.

Final thoughts


This editorial reflection is not about looking back with nostalgia, but about recognising continuity. It’s about understanding what endures and what can guide us forward. Some questions don’t expire, and some texts don’t either. In a digital space driven by constant output, choosing to reread is also a form of responsibility.

Take your time to explore our archive — there’s more to discover — and subscribe to our newsletter to receive reflections, stories, and insights throughout the year.

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Extra-EU parcel tax approved in Europe to curb ultra-fast fashion, as Italy joins the move

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Can the levy really deter low-cost purchases — or does it serve other interests?


Imagine a new charge on every low-cost fashion parcel from abroad: this is the core of the newly approved Extra-EU parcel tax. The measure represents a European policy intervention designed to make disposable clothing bear more of its real cost. At the same time, it protects local markets from what is increasingly described as unfair competition.

According to the European Commission, in 2025 alone around 4.6 billion items were imported into the EU. Each was valued at less than €150 — the equivalent of approximately 12 million parcels per day. This figure has doubled in just two years. Imports stood at 2.3 billion items in 2023 and 1.4 billion in 2022.

Italy, too, is moving in this direction. In fact, the government plans to introduce a €2 tax on each parcel arriving from outside the EU.

But can such a modest levy really curb the tide of low-cost and ultra-fast fashion purchases? And what are the deeper motivations behind this policy shift?

Europe approves extra-EU parcel tax to curb ultra-fast fashion


A €3 tax on all parcels valued below €150 and shipped from third countries has now been approved in Brussels. The measure is set to come into force on 1 July 2026 and aims to address the growing impact of low-cost e-commerce platforms – not only in fashion, but particularly visible there – such as Shein, Temu, and AliExpress.

The tax will be applied per parcel, not per item. This means that three products shipped together in a single package will incur a total charge of €3, whereas three separate parcels would be taxed €9 in total. 

The structure clearly incentivises consolidated shipping rather than discouraging consumption itself.

Extra-EU parcel tax: Italy targets low-cost imports in bid against unfair competition


Italy is preparing to introduce its own levy on shipments from outside the European Union valued under €150 (approximately $176). At the same time, the government plans to double its financial transaction tax, as Rome seeks additional revenue to fund costly budget amendments, according to official documents.

With around 330 million low-value parcels arriving in Italy each year, and accounting for the likelihood that some sellers will attempt to circumvent the new charge, the government estimates annual revenues of €245 million from the measure.

Specifically, the low-value parcel levy – fixed at €2 per shipment – is projected to raise €122.5 million next year, followed by €245 million annually in both 2027 and 2028, according to parliamentary documents cited by Reuters.

In September, the government led by Prime Minister Giorgia Meloni also projected that the overall tax burden – defined as total taxes and social contributions relative to GDP – would rise to 42.8% this year, up from 42.5% in 2024. This places Italy among the most heavily taxed economies in the developed world.

Some considerations: what are the real reasons behind this?


The extra-EU parcel tax represents Europe’s most direct challenge yet to Chinese ultra-fast fashion as a business model. However, this legislative move does not appear to be driven primarily by environmental or sustainability concerns. Rather, it functions as a form of industrial protectionism, aimed at shielding European fast-fashion producers from external competition.

This raises an uncomfortable but necessary question: if fast fashion is widely acknowledged as destructive and unsustainable, on what grounds should its European version be protected?

Ultimately, we must also ask whether a €3 or €2 levy can genuinely deter the purchase of ultra-low-cost goods. If the tax fails to alter consumer behaviour, it becomes reasonable to conclude that its true purpose is simply to redirect significant sums into national or European coffers.

And these sums are far from negligible.

Taking the 2025 estimate of 12 million parcels per day and multiplying it by €3 gives a theoretical annual revenue. This total exceeds €13 billion.

A considerable income for governments, even if consumer behaviour remains unchanged.

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One piece, one story: The Taupe Draped Gown by Marc Le Bihan

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Where fluid architecture meets the poetry of movement—for those who embody effortless elegance


This is The Taupe Draped Pongé Gown by Marc Le Bihan. In a system that produces tonnes of disposable clothing, we curate: one piece, one story. A radical view for ethical and aesthetic resistance—meaningful garments, an expression of good design. Slow fashion—made to last, made by hand.

The Taupe Draped Gown is not a dress; it is an atmosphere. It is the liquid architecture of a liberated wardrobe—an intelligent study in weightless form that offers both sanctuary and statement. In its masterful, asymmetric draping, it provides a canvas of effortless elegance, while the raw-cut edges and luminous hand-dye stand as a deliberate, artisanal signature. A profound gesture of understated distinction, as only Marc Le Bihan can infuse.

It evokes the timeless savoir-faire of the atelier—a composition where discipline yields to fluidity. The pongé silk is the foundational poem: soft and receptive. Each cascade of fabric is the designer’s breath—measured, intentional, and meticulously rendered, guiding the body through a narrative of harmonious flow. It is a beauty that champions sensation and soul.

Taupe. Not merely a colour, but a hushed, atmospheric tone that captures and softens the light. A hue that is both neutral and deeply evocative.

A woman with long dark brown hair poses in The Taupe Gown by Marc Le Bihan. The dress features two layers of silk. She pairs it with sleek black ankle boots, standing against a soft, neutral greyish background.
The Taupe Draped Gown by Marc Le Bihan

The Taupe Draped Pongé Silk Gown by Marc Le Bihan: where sensation takes shape

• The craft:
A double layer of pure pongé silk. This is the secret to its sublime drape and modest opacity. The noble fibre offers a whisper-light touch and a luminous quality, while the hand-dyeing lends a human, singular depth. A quality you can feel with every movement.

• The detail: 
The precise, asymmetric draping anchored by raw-cut edges. Deep neckline; deep armholes. This is not generic construction, but the core of its philosophy. Each fold is an intentional, sculptural decision that challenges the rigidity of formalwear, creating a living silhouette of quiet drama that elevates the gown from elegant to elemental.

• The make:
Made in France—in Marc Le Bihan’s atelier, by artisans’ hands dedicated to the alchemy of fabric and form. Not just a tag of origin, but a testament to integrity. Every process, from design to hand-dyeing to the final finishing, is executed with precision and reverence, ensuring a garment that exists as a wearable artwork.

Silk artisanal gowns: an intentional embrace of beauty


Wearing this, you carry a quiet sensuality. It’s the foundation from which your most intentional gestures unfold. It understands that the most profound luxury is the freedom to be both comfortable and captivating.

  • For the ceremonial moment: worn alone, with minimal leather sandals. A study in purity—where the gown’s own architecture commands attention. Ideal for moments that require presence without pretence.
  • For layered urban contemplation: over wool leggings and a fine-gauge knit, complete with a maxi cardigan and chunky boots. A conversation between soft structure and poetic ease, defining a modern, introspective sensibility.
  • For the festive gathering: styled with bold, sculptural jewellery and heels. Add a  tailored blazer. The gown becomes the silent, powerful centre of your personal narrative, commanding attention with its fluid grace.

For the modern humans who curate, not consume—whose wardrobe is a library of dog-eared favourites, each piece a chapter in their story.

🌟 The Taupe Draped Pongé Gown – Marc Le Bihan
Limited edition. Like a breath captured—meant to be moved in.

🖤 To enquire: DM  @suite123 | WhatsApp | Email

Available by appointment for shopping in Milano or worldwide—from screen to doorstep. From our hands to your story.

P.S. Ask us about the art of dressing this piece, or about Marc Le Bihan’s French atelier tradition that makes this gown a future heirloom. We are here for the conversations, not just the transactions.

Footnotes: The raw-cut edges are a masterclass in refined imperfection. They transform a fluid, timeless silhouette into a wearable philosophy—proving that true luxury lies not in flawless finish, but in the honest expression of material, mastery, and a singular touch. Style, distilled to its most sensual expression.

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Sisyphus’ seventh season — emerging fashion brands in today’s landscape

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JAMPROOF in Milan and the slow logic of resistance


Today, we share JAMPROOF’s reflection on their Sisyphus’ seventh season — a story about today’s landscape for emerging fashion brands and independent designers. We discovered the brand at White Milano and felt their narrative of persistence and slow-making deserved to be heard.

JAMPROOF: an emerging fashion brand at White Milano


On September 25, in Milan, the stone was pushed uphill once again.

It was JAMPROOF’s seventh collection, and also our first.
Our first attempt to step into Europe. Our first conscious plunge into the eye of the storm. From Tokyo Fashion Week in March to White Milano in September, we climbed the hill twice, each time from silence to signal. No one promised success, and no summit ever waits.

Born during the pandemic, JAMPROOF has always existed against the odds.
While the global fashion industry shrank and speculation collapsed, we kept working, thread by thread, season by season.
In China, we built a retail ecosystem from scratch. But this year, we tested something larger. Something harder to move.

A glimpse of JAMPROOF's exhibition space at White Milano, showcasing clothing and design details within a curated section of emerging fashion brands.
JAMPROOF at White Milano – Sept. 25

A silent jury in Tokyo


March, Tokyo. Our first time outside China. A chance to align with another kind of Eastern sensibility.
Japanese buyers were quiet, composed. They came with notebooks, cameras, and a few words. They observed like scientists in a controlled experiment.

Some art students stopped at our coats and said, “Very Yohji.”
Some senior buyers admired the exposed stitchwork inspired by Chinese bookbinding. They gave no clear answers, but we knew we’d been seen.

Three months later, we closed a deal with a Shibuya department store. It was modest, but solid. A small set of classics on the rack.
A quiet summit.
Then the stone slipped again.

A system of speed vs. the pace of making


Emerging fashion brands rarely fail because of creativity. They fail because they run out of breath. This system demands speed: release, refresh, discount, and repeat.
Some platforms once promised a haven for independent brands, a place for Gen Z to hunt for niche pieces. But they, too, drowned in their own discount logic.

Creative time doesn’t obey seasons. But the market enforces the quarter.
“Do we need this many styles?” we often ask ourselves.
“Does the world really need this many clothes?”

We keep recalibrating, testing our balance on the scale. What makes a brand “mature”? When does persistence become coherence?

Milan: the start of something Sisyphean


At White Milano, we brought our SS26 collection, the Chants of Sirens:
plant-dyed fabrics, organic materials, richly textured Italian textiles, a hybrid of Eastern aesthetic and Western tailoring. Even our hangtags were hand-sewn from Japanese washi. They hung quietly, waiting to be understood.

Buyers came. “Bellissimo,” they said. They touched, photographed, took notes. There was excitement in the air.
But then came the silence.
They flipped the tags and paused. Our prices, shaped by small batch production and hand-finished techniques, made them hesitate. They asked about logistics, lead time, and customs. What they really asked was: can these pieces sell out within three months?

We explained: we don’t work by seasons. Our SS23 is still selling. They are not dead stocks; they are still finding their people.
They nodded. Then walked away.
The system no longer waits. Not for ideas. Not for clothes.

The slow logic of value


October. Our inbox was filled with pitches, pop-up offers, showroom ads, more platforms selling the dream of scale. But very few real buyer responses. The same refrains: misaligned positioning, budget cuts, economic slowdown, and more time to be examined.

So the stone rolls back again. Sisyphus lowers his head, reaches out, and starts over.

This is not a loud rebellion. It’s a quiet insistence.
Designer brands live in constant tension:
Protecting creative integrity while surrendering to commercial timelines.
Resisting discount culture while navigating the demand for “affordability.”
Making slow, honest work while running fast enough not to disappear.

We don’t reject the logic of fashion. We’re simply choosing to speak with it differently.
We believe that patience, restraint, and mindful consumption aren’t outdated; they’re just under-articulated.

Spending less on more is wasteful.
Spending more on something made to last isn’t indulgence; it might just be clarity.

We are building toward that clarity, one collection at a time.

The seventh, the first


This is our seventh season, and also our first.
Not the first collection, but the first act of will. The first time we chose to climb again.

Sisyphus pushes the stone uphill again. It falls. Again.
The light is still at the summit.
And for a brief second, he looks up.

✍️ Consti Gao, co-founder of JAMPROOF, writing from Beijing.

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