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Hints of Sustainability at PFW

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

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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Creativity or Reality?

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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Florence Luxury Leather Goods in Stagnation

No Orders, Overproduction Trap Leads to Thousands on Furlough

It is concerning that Florence luxury leather goods compartment is experiencing stagnation.

Specifically, “Il Corriere Fiorentino” titled: “in Florence the luxury district is stuck: no orders from the brands and 4.000 workers on furlough.” The article says that it’s been many weeks that the area of Scandicci is on alert. The fact has been discussed for a few months but hasn’t officially emerged due to the social safety nets. However, the latest data from the syndicates exceeds the level of concern. Moreover, it seems that around Florence, warehouses are packed with unsold goods and can no longer contain them for space reasons.

What caused the leather goods stagnation in Florence?

Apparently, the perfect storm hit the luxury leather goods field: inflation and international crises reversed more on the middle class, the main target of accessible luxury leather goods. As a result, 250 companies that typically produce for luxury and affordable luxury brands are now facing the threat of downsizing or closure. On the contrary, it’s interesting to notice that the fast fashion area in Prato is thriving. There’s no sense of sustainability, but with low prices, people don’t care about being sustainable.
Also, the mechanization of production implemented to churn out more pieces in less time represents another possible cause.
Currently, there is an ongoing negotiation between the representatives of the workers’ unions and the most important international fashion brands that make production in the area.

A brief background

The Florentine leather tradition is renowned worldwide. Upon fully embracing the capitalistic framework, companies planned the relocation to China to maximise profit. Please forget the “made in” labels… Then, COVID-19 dismantled this system by interrupting production chains and long-distance delivery. So, we witnessed the re-shoring: brands repositioned production in Italy. Yet not to reward or develop artisanal production but rather for large quantities and numbers. In other words, the scheme tells a story of mass production and eternal growth. Now, the mechanism has jammed.

In conclusion, the stagnation of Florence leather goods compartment has resulted in a huge surplus of luxury and affordable handbags in storage. Perhaps the fashion industry can put down the mask of sustainability.
So, we wonder, how can brands still plan their fashion business on overproduction? How consciously do brands approach the new Fall/Winter 24-25 sales campaigns releasing numerous new items?

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Fashion Industry: a Dying Patient

Why do Brands Insist on Therapeutic Obstinacy?

As the fashion industry prepares for the FW24-25 selling campaign amidst a myriad of challenges, it becomes increasingly evident that it is teetering on the brink of irrelevance, reminiscent of a dying patient. Despite being aware, industry operators persist in maintaining the status quo. This begs the question: are they awaiting a miraculous revival or resigned to an inevitable collapse?

The fashion industry operates within its own framework, dictated by seasonal trends and gender divisions. As suite123 boutique, these days, we’re accustomed to receiving updates on fashion brands, showrooms, and exhibitions worldwide for the Fall/Winter 24-25 season. Most, conveniently accessible online, minimising the need for extensive travel and promoting sustainability in our research endeavours.

Yet, it is evident that the fashion industry as a whole is grappling with profound challenges. Clearly, it’s in a state of extreme struggle. Moreover, this realisation permeates the industry, acknowledged by insiders who witness its struggles firsthand.

In such a climate, one might expect brands to conduct their business with a paradigm shift.

However, the status quo remains largely unaltered. In fact, there’s a reluctance to embrace change. No adjustments in how brands assemble, present and sell their collections. Also, no change in garment manufacturing processes, contractual agreements, or collaborative endeavours aimed at mitigating the decline of the fashion industry. No change in policies, no alternative pathways. None of that!

Brands persist in adhering to an outdated model, clinging to a production pattern characterised by overproduction. But, that production model based on overproduction has failed and proven unsustainable. Indeed, it is no longer suitable for our times.

Stagnation or evolution: can the fashion industry thrive by clinging to an outdated model?

So, the question arises: Can the fashion industry evolve while obstinately clinging to a failing paradigm? By insisting on pursuing an outdated failing model?

For genuine progress to occur, the industry must reconsider its approach, presenting a viable path forward. Therefore, move away from the unsustainable cycle of the overproduction model, corporate world, and unending growth. Adopting more sustainable and ethical practices such as producing items in response to demand, implementing made-to-order initiatives, reducing waste, and embracing circular economy principles.
In essence, the call is for a shift towards a more responsible approach to ensure the industry’s long-term viability.

As new FW24-25 season campaigns unfold, the fashion industry resembles a dying patient, teetering on the brink of irrelevance. However, brands persist in their therapeutic obstinacy instead of trying new strategies.

Perhaps it will take the complete demolition of the fashion industry for the voices advocating change to be heard. And for those trying to make a change to be finally seen.

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