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A Conversation with Aurora

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Embracing the Up-and-Coming Wave of Fashion Designers

As we embrace the up-and-coming wave of fashion designers, we are thrilled to share our conversation with Aurora. Her first name doubles as her brand name (Aurora De Matteis); a young woman walking the fashion industry with a polite demeanor and a clear sense of an ethically run business.

We first met Aurora a couple of years ago at a fashion exhibition in the heart of Milano. Her universe, small, focused, and well-crafted, conveyed emotion to us. So we kept in touch until, finally, we placed an order. Indeed, we are leaders in uncovering talented designers committed to exceptional design, premium materials, and ethical practices.

Read our conversation with Aurora to find out more about the brand!

Aurora – the conversation

• How did your passion for fashion begin? What is your background?
I always thought I wanted to do this in life because I always loved creating something with my hands. Actually, my mother passed down to me a certain passion; she taught me how to crochet when I was little. In fact, I used to make handmade crochet earrings. I’m passionate about handicrafts and artisanal work. I love the world of graphics, but after high school, I enrolled in Secoli Institute to get a technical background in fashion. I did well in pattern making, learning to make a whole garment. My passion for manual work led me to take a knitting course recently. Learning new skills stimulates me; in this sense, I never stop.

• What inspired you to start your slow fashion brand, and what values do you aim to promote through your designs?
After graduating from fashion school, I could work for big companies where I would have focused on just one specific thing, like being a pattern designer. But I like to explore, research materials, so, despite all the difficulties, I chose to launch my own brand. Mine is a brand that believes in slow fashion, which means attention to fabrics and well-made garments, things big brands often overlook. But, above all, it’s a brand that aims to convey the value of the time needed to create a handmade garment in a small workshop. Time, quality, and ethics are values I believe in.

Image of Aurora Spring-Summer 24 collection
Aurora Spring-Summer 24 collection

• What is your vision of style? Can you share insights about your design philosophy and how it aligns with the concept of slow fashion?
“Less is more” is a concept resonating deep within me. A quote from Mies van Der Rohe explains it all: “Please, do not confuse simple with easy, there is a big difference. I love simplicity because of its clarity, not because of its ease or for other reasons. To achieve clarity we must simplify practically everything. It’s hard work. You have to fight, and fight, and fight.” Indeed, this process of distilling from complexity to essentiality is what I find interesting.

Minimalism reconnects to my pattern-making studies, garment construction. Specifically, making it distinctive in terms of construction. Instead of prints or decorations, I prefer to create colour blocks because I focus on lines and shapes. However, this design concept perfectly aligns with my vision of slow fashion because it allows me to emphasize the quality and longevity of the garment through a timeless style. ‘What’s in fashion this year?’ has always puzzled me. Who decides that? Today, talking about fashion can be chilling, with unwearable clothes and exorbitant prices.

• How do you ensure sustainability and ethical practices in your production process?
Many stop at the labels, but natural doesn’t mean sustainable. For instance, see natural viscose. It may be natural, but it has a significant environmental impact. I focus more on quality materials. And I only work with suppliers who don’t impose high minimums. Moreover, I produce without waste in a small artisanal workshop, ensuring ethical and sustainable manufacturing because I make limited quantities. I myself sew in my workshop in Turin. Everything is made in Italy, in small batches. I am against overproduction. Indeed, the concept of limited quantities is crucial to limit our impact on the environment.

• How do you evaluate conversations about sustainability?
Superficial. In fact, I don’t say that my brand is sustainable, I demonstrate it through actions. Often I’m asked: ‘Is this all you have?’ Yes, exactly: a capsule collection, thoughtful and well-made.

• What challenges have you faced in establishing your brand within the competitive fashion industry?
The showrooms have asked me to do things from their point of view without considering my project. They are seeking the product, not the idea. Just to sell more. My way of working was almost belittled. It shows a certain lack of attention from industry operators because if you want a massive production, you don’t go to an emerging brand.

• Do you think enough space is given to young people in Italy?
Unfortunately, Italy is an old country, doesn’t give space to young people.

After reviewing her Spring-Summer 24 collection, we were impressed by the precise cuts and fresh take on fashion. Also, we discovered each other within a philosophy that felt familiar: a shared vision of design and meaning. So, we hope you enjoyed our conversation with Aurora. In the end, isn’t it time to give space to the new generation of creatives?

So stay tuned to discover more about Aurora designs #formodernhumans

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Fashion Crimes: Dirty Cotton

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Earthsight Ong Linking European Giants to Illegal Activities in Brazil

According to the British NGO Earthsight, the cotton used by textile giants H&M and Zara to produce their clothes is dirty cotton.

Specifically, the NGO alleges that the two European brands are complicit in large-scale illegal deforestation activities in Brazil, including land grabbing, human rights abuses, corruption, and violent land conflicts. But this revelation is particularly alarming as it implicates Better Cotton, a certified sustainable cotton label. If you heard us say certifications worth zero, here’s the proof.

Fashion Crimes: The report on dirty cotton

Using satellite imagery, court decisions, product shipping records, and undercover investigations, Earthsight has compiled a report titled ‘Fashion Crimes.’ The result is a damning portrait! Cotton certified as ethical by the world’s largest certification system, Better Cotton, is found to be contaminated by numerous environmental offences. Also, this cotton is exported to various Asian manufacturers, producing approximately 250 million clothing items and household articles annually for H&M, Zara, and their sister brands’ global stores.

Fashion Crimes: dirty cotton - Report cover
Fashion Crimes: Dirty Cotton – read the full report here

The NGO has tracked the journey of 816,000 tons of cotton from two of Brazil’s largest agroindustrial companies, Horita Group and Slc Agrícola, in Western Bahia. Traditional communities lived in harmony with nature. But greedy agricultural companies serving global cotton markets attacked them and robbed their lands. The Brazilian families who own these lands have a lengthy history of legal proceedings, convictions for corruption, and multimillion-dollar fines for illegal deforestation.

Some of these illicit activities take place in the Cerrado region, a savanna renowned for its rich fauna and flora, constituting the second most important biome in Brazil. The Cerrado, which hosts 5% of the world’s species, saw a 43% increase in vegetation destruction in 2023. The clearing of Cerrado trees for agriculture generates carbon equivalent to the emissions of 50 million cars each year.

Environmental protection is a key issue for the European Union, which has included the new European Deforestation Regulation (Eudr) in the Green Deal. A program against climate change that encourages the consumption of certified raw materials and imposes restrictions on the importation of those produced in deforested regions.

“Earthsight’s year-long investigation reveals that corporations and consumers in Europe and North America are driving this destruction in a new way. Not by what they eat – but what they wear.”

Better Cotton: certifications & greenwashing

In conclusion, the NGO points the finger at Better Cotton, the world’s largest ‘ethical’ cotton certification system, with the raw material exposed as dirty cotton. Therefore, contaminated by various environmental offences. “BC has been repeatedly accused of greenwashing and criticised for failing to allow for full traceability of supply chains.”

Therefore, can we trust sustainable labels? No, of course not! Left alone, labels and certifications mean nothing. In fact, they are frequently used to mislead people. So, they are just greenwashing. Moreover, selling more green products is a strategy to support the overproduction model. So, it won’t solve any issue. (Download “The sustainability basics” checklist here).

Even though brands like Zara and H&M might use sustainable materials, the massive quantities they produce would nullify the sustainable effort. Why isn’t this clear? The solution is plain: we must produce and consume less. It’s the only viable strategy in the face of such devastation.
Consumers play a crucial role in perpetuating these harmful practices, often unknowingly. By reducing our consumption and demanding accountability from brands, we can make a real difference in protecting the environment and promoting sustainability.

While uncovering dirty cotton practices is crucial, it’s imperative to recognize that consuming less is fundamental for sustainability. Consume less: this is the action we must take now!

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Luxury is Dead

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Do You Still Trust the Luxe Bubble?

There’s a statement we often repeat: luxury is dead. Though some look at us incredulously, our viewpoint isn’t a mere hyperbole. In fact, the recent Giorgio Armani controversy underscores this assertion. 

What is luxury?

Luxury is about exclusive designs made in limited numbers and not mass-produced items. Since all top brands produce their garments in huge quantities, they stopped making luxury long ago. Also, all high-end brands are so overexposed you can see them everywhere, which collides with the idea of luxury itself. Therefore, luxury is dead.

Fashion industry, luxury and forced labour

In our exploration of the fashion industry’s relationship with forced labour, it became evident that luxury brands are lagging behind in efforts to reduce forced labour. (Read our post: “Behind the seams: fashion industry and forced labour”).

It is appalling to even consider the idea of forced labour reduction, as it implies a tacit acceptance of worker exploitation.

The news of Giorgio Armani Operations being put into receivership due to labour exploitation allegations further deepens this narrative. Shockingly, the accusations reveal the indirect subcontracting of production to Chinese companies that exploit workers with deplorable working conditions and starving wages. Workers in Chinese-run workshops paid 2-3 euros/day, judges say. Probe finds migrant workers eating, and sleeping in factories.

This revelation challenges the conventional perception of luxury, especially when juxtaposed with the exorbitant retail prices of their products. But as we said so many times, luxury and fast fashion are two faces of the same coin, just for different budgets. 

Luxury is about skilled craftsmanship and quality materials, excellence made in limited quantities. But mass-produced garments and accessories with marketing manipulation, have created a fake luxury. Therefore, a bubble for people who need to feel safe behind a brand but have no understanding of quality. Both luxury and fast fashion follow the same pattern.

How luxury lost its way

When fashion businesses went from family-owned companies to big luxury conglomerates, the only luxury available was the one in the segment definition. Involved in overproduction to maximise profit, the figure of craftsmen tended to disappear. But how do brands grow profit? Exploiting workers and the planet, selecting poor quality materials to make products get a touch of class thanks to packaging and imposing locations. So, by selling a dream – illusionary luxe – they generate high margins. 

In short, the transformation of fashion Maisons from family-owned businesses to profit-oriented conglomerates has eroded the essence of luxury, reducing it to a mere label devoid of substance. 

Overproduction, exploitation, and unskilled craftsmanship taint today’s luxury fashion. The disappearance of the artisan in favour of cost-cutting measures and mass production has altered the fashion industry’s foundations. What was once synonymous with exclusivity and elegance has been diluted into a hollow semblance of its former self.

Redefining luxury

As designers, retailers and consumers, we must redefine our notion of luxury. Is it about status symbols and price tags? Or should it embody integrity, authenticity, and ethical practices? Let’s challenge the status quo and demand accountability from brands. True luxury isn’t about the price tag or the logo. It’s a commitment to craftsmanship, adequately paid, skilled hands, high-quality materials and exclusivity. 

No luxury can exist at the cost of human dignity. Let’s vote with our wallets and support brands that uphold these values. Together, we can reshape the narrative of luxury for a more ethical future.

While the fashion industry grapples with its own contradictions in a state of therapeutic obstinacy, we assert that traditional luxury is dead. Ultimately, it becomes clear that principles rather than mere price points and status symbols define true luxury #formodernhumans.

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A Conversation with Miaoran

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Embracing The New Generation of Creatives #formodernhumans

Exploring the narratives behind brands is our passion, so we were thrilled to engage in a conversation with Filippo, co-designer of Miaoran – an innovative brand blending contemporary craftsmanship with both Chinese and Italian influences.

White Milano, on February 24, ten years after their first White, offered a way to reconnect with a wider audience. There, we met both team members, the new generation of creatives. We had the chance to explore the FW24 collection
And so, recently, we visited Miaoran’s Milano showroom to immerse ourselves into their world, ready for an engaging dialogue.

In order to understand the origins of Miaoran, we trace back to the early experiences and inspirations that led to its inception.

Miaoran – The interview

• How was the Miaoran brand born?
Miao Ran was born in China in 1987; he moved to Milan in 2008 to pursue a three-year course in Fashion Design at the Politecnico and the Carlo Secoli Institute, where he specialised in pattern making, knitwear development, and draping techniques. In 2013, he attended the Master’s program in Fashion Design at NABA. Then, in 2014, he launched his namesake brand. In 2015, Vogue Italia selected him for the “Who is on Next?” contest, receiving the menswear award. In June 2016, Armani selected him to showcase at the Armani Theater. As the first Asian brand endorsed by Armani, it garners attention from international clientele.

Collaboration lies at the heart of Miaoran’s creative process.
• How did your collaboration come about?
After the Armani Theater, Miao opened a large space in Milan. I met him in 2018 but joined the company in 2019/20, during the full lockdown period. There was a beautiful synergy between us, which led to a natural fusion of our visions. We are two dreamers: one with wild ideas and the other more pragmatic. Stylistically, we complement each other. In 2022, I became an official partner as we sought to navigate through the challenges of the pandemic. At that time, the collection was quite extensive.

• How could you overcome that?
It was truly devastating. Due to the pandemic, Miao couldn’t return to Italy for nearly two years. On January 23, he arrived with eight suitcases filled with samples! To adapt, we organised a presentation in our showroom, inviting real people—friends, family, and NABA students (where I teach). During the event, we photographed the lookbook featuring individuals from our community. The response was successful, and we began working again. However, the key to our success was embracing change. So, we closed the big showroom and relocated to a smaller one. Also, we revised our approach to the collection to avoid waste. Now, it is a smaller and better thought-out collection: a total look that gives the possibility to mix and match with other pieces.

A conversation with Miaoran


• What is your idea of fashion design?
We are all pattern makers, emphasising the importance of a perfect fit and a fondness for textured fabrics. We approach design with a unique perspective: clothing is the home of the body, and we like to design it by looking at it upside down with life. However, the idea is to blur the differences between men and women, making it open to all genders. Garments have been deconstructed and reinterpreted. After two years of development, combining the sewing techniques of men’s and womenswear, we achieved a flawless unisex fit, believing that fashion transcends gender boundaries.

• What’s your focus?
Our focus lies in outerwear: blazers and coats are the key pieces capable of transforming one’s wardrobe. Indispensable essentials that must not be missing. However, our approach isn’t driven by fleeting trends to please the masses. Instead, we create beautiful pieces that can elevate any outfit for individuals who value fashion as an art form and seek to elevate their style effortlessly.

• What do you think about sustainability?
Once I said to my students: sustainability in fashion is fake news. Of course, sustainability is a matter of conscience. So, let’s stop producing so many pieces! We produce only on an order basis, with no warehouse, and no stock. Everything is more optimised.

• How do you see social media?
Social media takes away freedom; don’t give it. It’s all fake. Today in Milan, the “fashion capital,” but also in other cities, the meaning of fashion is decreasing. Fashion is meant for self-expression and creativity, yet everyone wears the same trends and brands. Because of social media more and more people are becoming spectators rather than being in the present and embracing personality. Therefore, we decided to offer different content. We shifted from modelling and perfection to educational aspects about craftsmanship, explanations about materials, and sewing techniques.

In conclusion, our conversation with Miaoran unveils not just a brand, but a philosophy—a dedication to innovation, authenticity, and timeless elegance. Miaoran is a brand of fashion brilliance, eclectic, and with a unique design ethos. Not the old guard who only see themselves, Miao and Filippo are adorable guys, open and humble. We are confident our conversation is the starting point for future engagements and collaborations.

Stay tuned to discover their unique designs #formodernhumans

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The Role of the Designer

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Examining the Changing Face of Fashion

Understanding the evolving dynamics of the role of the designer is crucial for navigating industry shifts. Often, we’ve been pondering a recurring question: Does it still make sense to keep an eye on luxury brands?

The so-called but no-more-so luxury brands. Or the once esteemed but now seemingly entangled in the pursuit of profit. Therefore, they change designers for short-term profit, to the point of sacrificing their legacy. It’s a reflection that delves into the core values of an industry now seemingly driven by financial gains rather than its intrinsic essence.

In one of our most recent posts, we wrote a thought we want to repurpose here. Indeed, a significant issue that requires additional investigation. In the ever-evolving landscape of fashion, where trends shift like sand dunes in the wind, algorithms emerge as a formidable force, reshaping the industry in unprecedented ways.

Fashion designer: from skills to loudness

But what are the consequences of algorithms?
One of the consequences of this transformation is the shifting role of the brand’s central figure: the designer. Alber Elbaz’s poignant observation sheds light on this evolution:

“We designers, we started as couturiers, with dreams, with intuition. Then we became ‘creative directors’, so have to create but mostly direct. And now we have to become image-makers… Loudness is the new cool, and not only in fashion, you know. I prefer whispering.”

Alber Elbaz

Indeed, in today’s digital age, the clamour for attention on social media platforms necessitates a cacophony of noise from brands. Loudness has become the modus operandi to cut through the clutter of images inundating our feeds. In other words, social media has corrupted fashion.

Of course, recent developments follow this logic. Specifically, Maison Valentino appointed Alessandro Michele as the new creative director. That underscores the industry’s relentless pursuit of attracting young, social media-savvy audiences. And to the expenses of decades of legacy, consistency and beauty. While these individuals may possess an innate understanding of visuals, the question arises: Can they perceive the depth of quality, skills, and ability essential for authentic creative direction beyond surface aesthetics?

As we move forward in the fashion industry, it is crucial to reflect on the shift in the role of the designer. And question whether profit has eclipsed the industry’s once-revered artistic and creative integrity.

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