One piece, one story: The Handpainted Shaded Scarf by Exquisite J

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Where the soul of the artisan meets the canvas of the body—for those who wear art, not just fabric


This is The Handpainted Shaded Scarf by Exquisite J. 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 Handpainted Scarf is not merely worn; it is displayed. It is the culminating layer of a considered wardrobe—the dramatic, intelligent accent that offers both narrative and nuance. In its generous, fluid drape, it provides a sanctuary of self-expression, while the oversized circular motifs and fringed hems form a deliberate, painterly flourish. A slow, considered gesture of daily elegance.

It evokes the serene impermanence of a watercolour painting—a composition where colour breathes and transitions with poetic licence. The taupe-multicoloured canvas is the prepared paper, vast and receptive. The dégradé circles are the artist’s brushstrokes—soft, bleeding edges that guide the eye, creating harmony through fluid, organic transitions. It is a beauty that champions uniqueness and emotion.

Taupe—multicolour. Not a flat pattern, but a contemplative, shifting landscape of colour that holds the light like a sunset over water. A palette that is both tranquil and profound.

The Handpainted Shaded Scarf by Exquisite J in taupe-multicolour, displayed on a mannequin. The scarf's fluid drape, hand-painted circular motifs with a soft watercolor effect, and delicate fringed hems are clearly visible.
The Handpainted Shaded Scarf by Exquisite J

Winter scarves: The anatomy of uniqueness

• The craft: A hand-painted dégradé on a blend of virgin wool and modal, each piece unique. This is the secret to its soul. The artisan’s touch offers inherent warmth and  human character, while the watercolor-like technique gives it a soft, ethereal quality that defies mass production. It is artistry you can feel.

• The detail: Oversized circular motifs and fringed hems. This is not machine-made repetition, but the core of its philosophy. These intentional, imperfect circles challenge the static nature of a printed pattern, creating a dynamic, flowing drape that moves with the body—elevating the accessory from simple to singular.

• The make: Made in Italy—by a small artisanal brand that oversees the entire process. Not a label of convenience, but a genuine commitment to craftsmanship. Every detail, from the hand-painted brushstroke to the final finish, is curated with integrity and care, ensuring that each piece remains one of a kind.

The Handpainted Shaded Scarf: The final touch of a considered wardrobe


This is a piece that provides effortless drama, enabling you to move through your day with artistry and intention. It understands that the most profound luxury is the freedom to express your uniqueness.

• For the creative day: Draped loosely over a wool jersey t-shirt and wide-leg trousers. The uniform for thoughtful work and open spaces.
• For the urban landscape: Knotted elegantly over a tailored coat and leather boots. A dialogue between soft artistry and structured refinement.
• For the weekend’s quiet repose: Wrapped generously as a shawl with a minimalist dress and sturdy sandals. Effortlessly sophisticated warmth.

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 Handpainted Shaded Scarf – Exquisite J
Limited edition. Like an original canvas—meant to be cherished.

🖤 To inquire: 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 how to tie this piece for maximum dramatic effect, or about the artisanal printing philosophy that makes each scarf a one-of-a-kind masterpiece. We are here for the conversations, not just the transactions.

Footnotes: The hand-painted technique is a lesson in modern alchemy. It transforms a classic, substantial fabric into a wearable canvas—proving that true luxury is not about adding more, but about masterfully imbuing soul, story, and a singular touch. It is elegance, refined to its most artistic expression.

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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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One piece, one story: The Wool Jersey T-Shirt by Ujoh

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Where the comfort of a second skin meets the drape of modern design—for those who find elegance in ease


The Wool Jersey T-Shirt by the Japanese designer duo Ujoh. 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, expression of good design. Slow fashion—made to last. 

The Wool Jersey T-Shirt is not merely worn; it is experienced. It is the foundational layer of a considered wardrobe—the soft, intelligent base that offers both solace and style. In its slightly oversized, airy drape, it provides a sanctuary of movement, while the stepped hem and side slits are a deliberate, architectural softening. A slow, considered gesture of daily wear.

It evokes the serene balance of a Japanese rock garden—a composition where every element is placed with intention. The voluminous silhouette is the raked gravel, vast and calming. The stepped hem and side slits are the strategically placed, moss-covered stones—asymmetrical details that guide the eye, creating harmony without disturbing the overall peace. It is a beauty that champions subtlety and space.

Grey—not a dull, neutral grey, but a contemplative, hazy grey that holds the light like a soft morning fog. A colour that is both tranquil and profound.

The Wool Jersey T-Shirt by Ujoh in grey, displayed on a minimal metallic hanger against a clean white background. The shirt's oversized silhouette, stepped hem, and soft wool jersey fabric are clearly visible, with green plants and wheat ears framing the left side of the composition.
The Wool Jersey T-Shirt by Ujoh

Winter knitwear: The anatomy of an essential

  • The fabric: A washable worsted wool jersey, tumbler-processed for a fluffy, airy hand-feel. This is the secret to its soul. The wool offers inherent, climate-smart warmth and comfort, while the unique finishing gives it a cloud-like lightness that defies expectation. It is plushness without weight.
  • The detail: The stepped hem and side slits. This is not an afterthought, but the core of its philosophy. These subtle breaks in the line challenge the static form of a classic tee, creating a dynamic, flattering drape that moves with the body, elevating the silhouette from simple to sculptural.
  • The make: Made in Japan. This is a promise. It speaks of a culture obsessed with textile innovation and impeccable finishing, where every seam and the integrity of the cut are held to the highest standard, and where every stitch tells a story.

The Wool Jersey T-Shirt—your uniform for considered living


This is a piece that provides effortless comfort, enabling you to move through your day with ease and intention. It understands that the most profound luxury is the freedom to be utterly at ease.

  • For the creative day: Paired with wide-leg linen trousers and leather sandals. The uniform for thoughtful work and open spaces.
  • For the urban landscape: Layered over a crisp collared shirt with tailored trousers and loafers. A dialogue between relaxed and refined.
  • For the weekend’s quiet repose: Worn over soft leggings with sturdy leather boots and an oversized scarf. Effortlessly sophisticated comfort.

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 Wool Jersey T-Shirt – Ujoh
Limited edition. Like a diary page—meant to be lived in.

🖤 To inquire: 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 how to layer this piece under a tailored blazer or over a delicate slip dress, or about the Japanese textile philosophy that makes it so uniquely lightweight. We are here for the conversations, not just the transactions.

Footnotes: The tumbler-processed wool is a lesson in modern alchemy. It transforms a classic, substantial fibre into something ethereal, proving that true luxury is not about adding more, but about masterfully taking away—weight, bulk, and constraint. It is comfort, refined to its most intelligent expression.

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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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