fashion industry

Native American Heritage Month: The Appropriation and Impact on Indigenous Fashion

Reading Time: 3 minutes

Fashion colonialism and the ongoing struggle for cultural recognition and economic equity


Each year in the United States, the month of November marks the Native American Heritage Month. A day that honors the Indigenous members of the nation. Also, it provides a platform for their culture and traditions, as well as spotlighting social issues their community currently faces. 

Thanksgiving origins: a false history


The month coincides with the holiday of Thanksgiving, a widely celebrated holiday. It commemorates a joint feast held with the newly arrived English Pilgrims and native Wampanoag tribe, who had helped them with their harvest in 1620. The story paints a picture of friendship and peacefulness. The good-hearted Pilgrims paying gratitude to their Native neighbors. And the two parties getting along and allowing the English settlement to flourish. In homage to this, on the last Thursday of every November, millions of Americans sit down with their families and make a traditional Thanksgiving feast. So they practice gratitude and thankfulness.

Thanksgiving and Native American Heritage: representation vs reality


However, the real story paints a much darker picture. For many Native Americans, the holiday is a painful reminder of the lives, cultures, land, traditions lost to settler invasion. And genocide, imposed by settlers and colonizers, occurring for hundreds of years. The day itself is known as the National Day of Mourning for Native Americans, who instead of celebrating use it as a day of remembrance for what their ancestors have suffered through. As well as continuing to acknowledge the suffering that still endures because of colonialism hundreds of years ago. 

Fashion colonialism and its impact on Native American Heritage

Nowadays, the Native American population experiences a type of colonialism not unlike the kind they faced 200 years ago.  Colonialism, as defined by Merriam-Webster, is the “domination of a people or area by a foreign state or nation: the practice of extending and maintaining a nation’s political and economic control over another people or area”. Even though colonialism seems a practice that ended largely in the last millennium, it persists in different forms. Much like the experiences of the Native American population, colonialism hasn’t gone away or fundamentally changed.

Nowadays, a prevalent form of colonialism takes place within the fashion industry. In 2022, Ralph Lauren, an American luxury brand apologized after the wife of Mexico’s then-president Beatriz Gutierrez accused them of culturally appropriating indigenous designs. The item, a cardigan patterned with colorful Indigenous motifs, was being sold online for hundreds of dollars, according to Reuters. Other companies, such as Zara, Urban Outfitters and Asos have been accused of similarly profiting off of Native American cultural designs. Meanwhile, the proceeds collected by the indigenous themselves pale in comparison. An Australia’s Productivity Commission report shows that while $250 million of Indigenous art was sold in 2019-2020, only around one in three items sold were made by an Indigenous artist or business. 

Fashion colonialism not only takes away from the ability to earn their rightful place economically in the fashion world. But also, continues the cycle of removing and commodifying their own culture and heritage. The fashion industry must confront its role in continuing actions of colonialism. In that, they must make ethical collaborations, fair compensation and recognition of Indigenous artists as part of an industry-wide practice. 

Decolonizing Thanksgiving


As the demand for fast fashion grows, consumers who buy inexpensive products from major corporations participate in a form of global colonialism: fashion colonialism. While not as overt as the actions of Pilgrims who took over land and resources from Native Americans centuries ago, its impact is just as profound. Ultimately, the fashion industry must come to terms with the fact that it plays a key part in stripping away identity. And it obstructs Indigenous communities around the world from gaining control of how their culture is perceived and expressed in a post-imperial era. 


✍️ Post written by Rachel Jacob, a scholar from Chicago / USA, studying Business Management at Cattolica University in Milan. Currently interning with suite123.

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Ujoh: The Essence of Contemporary Tailoring

Reading Time: 2 minutes

Discover the designer duo’s vision for modern, minimalist fashion


This fall/winter season at suite123, we’re excited to introduce Ujoh – a Japanese brand that captures the essence of contemporary tailoring through an innovative approach to fashion design. With clean lines, thoughtful silhouettes, and precise attention to detail, Ujoh redefines tailoring for today’s world.

Founded by designer duo Mitsuru Nishizaki and Aco, who also share their lives outside of fashion, Ujoh embodies a blend of personal and professional harmony. Indeed, their partnership results in a design language that seamlessly balances form and function. So, they create pieces that reflect a shared vision of modern elegance.

Let’s dive deeper into what makes Ujoh unique and why this Japanese fashion brand deserves a place in your wardrobe.

Image of Ujoh designer duo Mitsuru Nishizaki and Aco, greeting the audience after their SS25 fashion show at the Paris fashion week showing the essence of contemporary tailoring
Ujoh – designer duo Mitsuru Nishizaki and Aco

Ujoh: brand story


After years as skilled pattern makers, Mitsuru Nishizaki and Aco founded UJOH in 2009. The brand respects clean lines yet introduces a fresh, innovative perspective on tailoring, intentionally defying convention with asymmetrical and bold cuts. Specifically, UJOH’s sophisticated aesthetic unfolds as it explores the dynamic relationship between body and clothing, blending technical mastery with designs that harmonize with the human form. In fact, every collection showcases meticulously refined details, creating distinctive styling and layering options. In 2019, UJOH launched its men’s line, thoughtfully incorporating elements from traditional clothing motifs like uniforms and military wear. All while staying true to the essence of expert tailoring. The brand debuted at Paris Fashion Week with its 2021 Fall/Winter Collection. And continues to present each season in Paris, bringing its unique vision to an international audience.

The essence of contemporary tailoring


Ultimately, UJOH reshapes tailoring by focusing on structure and lightness through the cutting. And so, utilising signature techniques specific to the brand, the collection merges sleek design with effortless comfort.

Experience the essence of contemporary tailoring with our curated selection from Ujoh, each piece thoughtfully chosen to showcase the brand’s distinctive style. 

Feel free to reach out for more details – we’re here to assist!

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The Trivialization of Luxury: A Growing Threat to High-End Brands

Reading Time: 2 minutes

Chanel’s head of watches and jewelery warns of a ‘Crisis in Luxury’


While economic factors continue to erode luxury growth, a far more insidious threat looms, the trivialization of luxury itself. In a recent interview with Le Temps, Frédéric Grangié, Chanel’s Head of Watches and Jewelry, offered a noteworthy assessment of the industry’s shifting landscape.

Grangié warns that the luxury industry is facing a crisis, one that extends beyond temporary economic slowdowns. This shift is reshaping the allure of exclusivity, as luxury loses its mystique and customers grow weary of high-end brands.

2025 and 2026 forecast complicated years for the luxury industry


In recent years, luxury has seen impressive growth in China. But now two critical factors – an economic slowdown spurred by a real estate crisis and high youth unemployment – have slowed demand. However, Grangié’s analysis goes further. He argues that the issue stems from factors like the economic and geopolitical climate, as well as the overdistribution of luxury brands saturating key markets. Yet, an even deeper threat looms: luxury fatigue. 

This fatigue is “a feeling that affects mature markets, where customers are beginning to question the meaning of this sector.” “While economic and geopolitical issues are cyclical and will pass,” Grangié says, “this crisis will impact our business more deeply.” In fact, “customers are tired of being fleeced by luxury.”

So, looking to 2025 and 2026, Grangié anticipates turbulent times ahead, with crises in the luxury sector likely to become “more frequent.” To navigate these challenges, he insists brands must adopt a focus on creativity and make bold, long-term choices that reestablish the value of exclusivity.

By the way, we previously addressed the topic of luxury in one of our posts: Luxury is Dead, which we invite you to read again.

Conclusion: how to overcome the luxury trivialization


The luxury market faces a crisis. Although optimistic voices like Carlo Capasa, President of the Italian Chamber of Fashion, project a recovery by late 2025, this seems uncertain. For Grangié, the issue isn’t merely an economic downturn or geopolitical tension. It’s the growing trivialization of luxury.

His response is clear: genuine creativity and a long-term strategy are the only paths forward if luxury brands hope to recapture their essence and survive the mounting crisis.


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Why Recycling Fast Fashion Isn’t the Solution: An Industry on the Brink

Reading Time: 2 minutes

Europe’s textile crisis shows the limits of recycling in the age of ultra-fast fashion


Recycling is a key component for achieving a sustainable fashion industry, yet the rise of fast and ultra-fast fashion has pushed Europe’s textile recycling sector to the breaking point. In fact, a harsh truth has emerged: recycling low-cost, mass-produced garments is often both economically and environmentally unfeasible.

Recently, the European Recycling Industries’ Confederation (EuRIC) and Municipal Waste Europe (MWE) have issued an urgent call for financial and legislative support. Specifically, they warned that the current structure of fast fashion renders much of the textile waste essentially “unrecyclable.”

Ultra-fast fashion relies on cheaply produced, low-quality materials, which often combine synthetic and natural fibres. These blends complicate recycling, as separating materials is time-intensive and costly. Most concerning is the sheer volume of waste generated by the fast fashion industry, which overwhelms recycling facilities. At the same time, low-quality textiles degrade quickly, making them unsuitable for reuse.

This unsustainable model has led to a crisis, with EU textile exports plummeting and warehouses overflowing with unsellable items that may soon face incineration.

EuRIC and MWE argue that recycling alone cannot solve the issue of textile waste in Europe. Instead, the industry needs policy reform to address the root cause. Therefore, they urge EU policymakers to lower VAT for textile repair and reuse while introducing taxes on new petroleum-based materials to discourage fast fashion production. Also, the organisations call for stricter regulations to help curb waste from the outset. For instace, mandatory minimum recycled content for all new textiles.

In conclusion, without immediate intervention, Europe’s textile recycling industry could face severe setbacks, undermining its climate goals and threatening the future of sustainable fashion. Prioritising waste reduction, ethical production, and quality over quantity is essential to preserving both the industry – and the planet.


🖤 Dive into our latest post, and don’t hesitate to reach out. You can comment here below (just register first), or drop us an email or WhatsApp. We’d love to hear from you! Whether you have questions, feedback, or just want to say hello, we’re all ears. 

Let’s start a conversation!  

#formodernhumans

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The Game of Musical Chairs and its Impact on Consumers

Reading Time: 3 minutes

Fashion reshuffling: an industry lost in translation, struggling to grasp the change


As 1Granary shares their Halloween-themed take on “Creative Director Musical Chairs,” the game of musical chairs in fashion, we felt it was the perfect moment to revisit our original blog post from July 29, 2024 – covering this topic.

These days, we are witnessing a fashion reshuffling, a game of musical chairs that mirrors the unserious behaviour of politics. Indeed, by hopping from chair to chair, trying not to lose visibility or power, fashion imitates politics.

The turbulence of fashion creative directors’ reshuffling


Recent news reports that Peter Hawkings is stepping down from his role at Tom Ford, Galliano will exit Margiela next autumn, and Virginie Viard has just left Chanel. Where are they headed next? Here and there, come and go. The industry is abuzz with speculation. In fashion, as in politics, enjoy the game!

This excessive mixing has significant effects: brands lose consistency, and consumer trust erodes. In fact, the original design codes and unique DNA that identified each Maison become blurred, making the brands look all the same. But egos are bigger than ever in the fashion industry. And so, keeping the chair – whatever it is – is the ultimate goal for designers.

Entering the era of creative directors frequent changes


It seems we are entering an era of frequent changes in fashion Maisons. This constant reshuffling and the game of musical chairs is becoming the norm. While a designer moving to a new brand might result in a short-term revenue boost, in the long run, brands lose consistency and integrity, risking their image. But for many designers, this game is the lifeblood of their egos.

However, the market for luxury goods is slowing down. Even strong brands and corporations struggle mainly because of the declining demand from Chinese and US clients. Additionally, a probe has linked brands such as Armani and Dior to sweatshops. Of course, they are not the only ones exploiting labour. Sadly, the practice is familiar to modern corporations. So talking about who goes where is the easiest way to avoid discussing these fundamental issues.

In light of this, we wonder: can the CEOs feel the deep change occurring in the fashion industry? Can they sense the earthquake shaking the foundation of a fashion system that has lost its way? Is it possible that consumers are realising luxury is no longer what it once was?

Creative directors & the game of musical chairs


In conclusion, to combat the industry’s slowdown, fashion houses are increasingly relying on the vision of creative directors, leading to frequent rotations at the helm of major Maisons. However, this fashion reshuffling addresses only a symptom of a much deeper issue: the loss of luxury’s true essence and the collapse of an outdated and inflexible system. 

Ultimately, can the industry believe that this game of musical chairs will resurrect the fortunes of its once-glorious past?

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