There’s a word that often gets left out of fashion storytelling: vulnerability.

And yet, it’s precisely there that the most important choices come from. For brands, but also for people.

Being vulnerable doesn’t mean being fragile. It means exposing yourself with clarity, acknowledging what doesn’t work, accepting that not everything can be done as you’d like. It’s a form of honesty. It’s a less visible, yet profoundly human, place. It’s where you no longer seek perfection and instead begin to see things for what they are.

In the fashion system, this is even more difficult.
Because the dominant narrative demands absolute coherence, strong identities, clear positioning.
It demands success and stories of perfection.

However, building a truly responsible brand is, by its very nature, the opposite: it’s a process of constant adjustments, imperfect decisions, and inevitable compromises.

In the new episode of the Pop-Up Green podcast, we step into the Eyelet Milano showroom for a conversation that focuses on precisely this: what happens when a brand decides not to hide its limitations, but to make them part of its journey. Simona Luparello and Alessia Boselini, brand managers, discuss how to address limitations and compromises, where to start to build a more sustainable brand, and which mistakes to avoid.

What you will discover in the interview

In this episode, we touched on some of the most relevant topics for those working in or interested in sustainable fashion:

• Where did the choice to create an ethical brand come from (3:06)
What does Eyelet do and what is its distinctive feature?
The moment the choice to not create “normal fashion” was born
Ideology, necessity, or strategy?
The first question to ask yourself before starting

• Limits and compromises (16:15)
The first compromise accepted
The most difficult one on a personal level
Sustainability vs. survival: the strongest doubt
What is still not sustainable today
Declaring limits or hiding them
The brand’s greatest vulnerabilities

• The choices that define an identity (32:56)
The decision worth being proud of
The aspects of the brand that customers are most satisfied with
What is recognized and appreciated by customers

• For those who want to start a more responsible brand (42:25)
What NOT to do at the beginning
Where to really start
How to face limits and compromises without losing your identity
Three mistakes to avoid

True innovation, in this sector, is not declaring yourself sustainable. It’s knowing how to recognize—and talk about—even what isn’t yet.
If you work in fashion, if you’re building your own project, or if you really want to understand what’s behind a more responsible brand, listen to the full interview.

Photos: Courtesy of Eyelet Milano

However, the recent scandal involving Loro Piana—a historic Italian cashmere brand under investigation for labor exploitation—undermines this belief.

And it’s not an isolated case. Max Mara, Dior, Armani, Valentino are among other luxury brands recently implicated in cases of poor labor conditions. It points to a deeper issue. In this article-podcast, we explore the phenomenon of luxurywashing—the construction of a “green and ethical” image that masks inconsistent practices, even in the luxury sector.

 What are the most common greenwashing tactics used by luxury brands?

• Launching capsules or limited collections (e.g., made from organic or recycled materials), while the core production remains unsustainable.

• Promoting carbon neutrality through offsetting (tree planting, carbon credits) without significantly reducing internal emissions.

• Misleading use of self-declared certifications or partnerships with “eco-like” organizations, which often cover only a tiny fraction of the supply chain. Some certifications are not independent or not applied across the full product line.

• Organizing “green” events (like carbon-neutral fashion shows) to build an image of commitment without altering overall production.

• Investing in sustainability initiatives to boost ESG (Environmental, Social, Governance) scores, while the core business model stays untouched—enhancing a green image without real change.

Data That Debunk the Myth

Antoine Arnault, son of Bernard Arnault, owner of LVMH, publicly stated that luxury goods are “sustainable by nature.” He made this statement at a fashion sustainability summit—but is it true?

A study funded by Primark and conducted by the University of Leeds in collaboration with Hubbub (2022–2024) revealed that luxury garments do not last longer than fast fashion ones. Some of the most expensive items scored from average to poor in durability tests. For instance, a men’s T-shirt priced between £36 and £45 ranked 9th out of 17 items. So price is not a reliable indicator of durability or structural quality.

The Business of Fashion Sustainability Index 2023 gave failing scores to most luxury brands due to a lack of transparency in their supply chains—especially concerning labor conditions, raw material traceability, and waste management. There’s no clear evidence that luxury brands are more sustainable than fast fashion brands. LVMH is not more sustainable than H&M or Inditex (owner of Zara, Pull&Bear, Bershka).

The point isn’t just whether materials are organic or emissions are offset. The issue runs deeper.

Luxury traditionally aligns with extrinsic values like wealth, prestige, and social status—values that speak more to “appearing” than “being.” In contrast, sustainability is rooted in intrinsic values like social justice, respect for the environment, and genuine connection with the natural world. There’s a clear tension between two worldviews: luxury as a symbol of individual success vs. sustainability as a collective commitment to the common good. According to Holmes and Bendell, luxury brands risk contradiction when they try to embrace sustainability: how can they promote moderation, justice, and balance with nature while simultaneously feeding desires tied to power, exclusivity, and privilege?

So when a luxury brand claims to be sustainable, the uncomfortable question becomes: is it really shifting paradigms, or just dressing up old values in green? The risk is that sustainability becomes a tool to reinforce the very extrinsic values it should be challenging.

Thus, luxury remains accessible to a few, while the environmental and social impact falls on the many. Sustainability gets stripped of its authentic meaning—reduced to a marketing tool to ennoble what is far from noble.

The Gap Between Image and Reality

The problem with luxurywashing isn’t just inconsistency—it’s the narrative being crafted. Evocative language, emotional campaigns, “eco” capsules or sustainable limited editions become distractions when the core production remains opaque and sometimes illegal. I remember that during the Sustainable Business Models in the Luxury Sector course, a student presented Loro Piana as an example of a sustainable brand, swayed by online sources praising its positive impact. In the past, Loro Piana was accused of building its sustainable narrative around vicuña (a luxury fiber from a camelid native to the Andes), without offering transparent data on the real socio-environmental impact or benefits returned to the Andean communities involved.

In the Loro Piana case (a brand owned by LVMH), the world’s finest cashmere was sewn by underpaid workers forced to endure exhausting shifts in unsafe environments.

Spending €2,000 on a sweater and discovering that the person who made it earns €4 per hour working up to 90 hours a week calls into question the very meaning of value.

Numerous luxury brands—including Prada, Hugo Boss, and Dolce & Gabbana—were named in a recent Clean Clothes Campaign report on labor conditions in the so-called Euro-Mediterranean textile cluster, an area that includes countries like Croatia, Moldova, and Albania.

The report highlights that in Croatia, for instance, some Hugo Boss suppliers pay wages that amount to just one-third of what would be considered a living wage. A Hugo Boss spokesperson responded by stating that the company requires suppliers to comply with national minimum wage laws. However, they also said that wage negotiations are a matter for local employers, employees, and national institutions—while expressing openness to “constructive dialogue.”

According to the report, Germany and Italy are key destinations for these garments produced in the Euro-Med cluster. It’s not just fast fashion brands like Primark and Tesco sourcing there, but also luxury labels like Versace, Dolce & Gabbana, Armani, and Max Mara.

Clean Clothes Campaign noted that none of the high-end brands mentioned responded officially to the allegations. Hugo Boss, which received an advance copy of the Stitched Up study, did not provide specific statements on its findings (source: The Guardian).

The luxury sector may appear to be outside the system of offshoring production to cut labor costs and boost profits. But behind the façade of craftsmanship, design, quality, uniqueness, and sustainability—prominently displayed in online reports—lie the same factories and the same labor conditions.

Comments on Reddit include statements like:

“”Luxury brands don’t just sell you a product, they sell you an identity. If you admit that this identity is built on exploitation, the whole system collapses.”

“What bothers me the most: if I could afford to pay a markup of several thousand dollars on a bag, I’d want to be absolutely certain that a proportional part of that money goes toward guaranteeing world-class production and labor conditions. (…) At Dior bag prices, there’s just no excuse. (…) That luxury markup should extend to every stage of the production process. (…) Another thing that bothers me: almost all handbag brands, whether luxury or mid-range, have a section on their website dedicated to sustainability initiatives and green certifications for their factories… but VERY few (and almost none among the luxury ones) provide information about ethical working conditions for people.”

The fortress of luxury—behind which brands have hidden choices increasingly similar to fast fashion—is crumbling.

New Rules on the Horizon

The good news is that things are beginning to change. The European Commission is introducing new regulations, such as those from the Green Claims Directive, which will require brands to provide verifiable evidence of their environmental and social claims. It will be harder to hide behind vague slogans or unclear certifications.

In the meantime, reports like the one from BSI (British Standards Institution) suggest that brands must restructure their entire supply chain, not just their communications, if they want to avoid a collapse of consumer trust.

What Can We Do?

As consumers, we have more power than we think. We can:

• Ask for transparency: demand that brands clearly state where and by whom a product was made.

• Rely on independent rating tools (like Good On You).

• Choose second-hand or small brands with short, traceable supply chains.

• Be wary of vague claims like “green,” “eco,” or “responsible” that lack supporting data.

What Kind of Luxury Do We Believe In?

The Loro Piana case is just the latest crack in a system built on the myth of spotless excellence. But excellence without respect for human rights and the environment is just a façade.

There are businesses trying to redefine the meaning of luxury—through slow gestures, conscious craftsmanship, and transparent supply chains. And yet, even they must navigate a system that rewards exclusivity more than justice.

So, what kind of luxury do we believe in?

Perhaps in one that doesn’t need to appear ethical—because it truly is. In the luxury of small brands. The ones that don’t shout, but whisper. Measured not in status, but in time, care, and justice. That don’t promise perfection, but at least try not to build their value on the silence of those sewing in the shadows. There’s a luxury that doesn’t need to seem ethical, because it truly is. Are we ready to recognize it, even if it doesn’t have a famous logo?

We talk to Sulakshana Chemudupati, our collaborator at Dress ECOde as a sustainable fashion consultant. She has worked for 15 years in the fashion retail industry as a design professional with successful mainstream brands in India and the UAE. We completed an MBA in sustainability management together, that’s where we met. Listen to this episode (in English): you’ll see India with different eyes!

Read the episode transcript:

Hi, Sula, I’m so happy that we finally managed to do this interview and I’m curious about India and sustainability. I have so many questions for you. So let’s start with the first one. Do you have any data about how many fashion companies, fashion brands and designers there are in India?

“The fashion industry in India is massive and rapidly growing and as you know we are a manufacturing based country. So the fashion and textile industry in the country employs around 45 million people. And it consists of both organised and an unorganised components, making it quite hard to have an exact count of the number of registered businesses, but as of 2024, according to Statista, the revenue of the Indian apparel market is close to about 105 US billion dollars. And of course this consists of businesses that are across manufacturing, so spinning, dyeing, as well as construction, garment construction, as well as independent labels, small brands, more established brands that are owned by huge groups such as Reliance Retail, Future Group and Arvind Brands.”

Wow, 45 million, definitely it’s a significant industry in your country, employing such an amount of workers. I’m curious about what kind of sustainability realities there are.

“After having worked in Dubai for about 10 years and now returning to work in the Indian market, I do appreciate the numerous lessons we have here for anyone who’s aspiring to be sustainable. We have a lot of new developments as well as inherent cultural practises that can easily be seen as naturally sustainable. We tend to use clothing until the absolute end. We pass them onto our siblings or cousins as we grow up. We repair and reuse them and it’s even a joke that we repurpose them for say. You know, cleaning around the house when they’re of absolutely no other use. This means that the lifespan of each garment is far longer than just wearing and discarding. Or at least it used to be until we’ve also had the growth of fast fashion now, but this was a common middle-class practise of really using pieces until they’re no good for anything.”

It’s fascinating to see how cultural practises like hand-me-downs and repairing garments have long been the norm in India. These traditions not only extend the life of clothing but also create emotional connection with them, something that’s missing in the fast pace consumerism many of us are used to. This is a reminder that sustainability often means looking back to go forward.

“We also have the benefit of easy access to custom tailoring. And this has always given us a way out from fast fashion. It’s made us more innovative and more creative. Apart from this, each Indian region has its own unique and beautiful textiles crafts, embroidery crafts that have been passed down for many generations. There are many Indian designers were now giving these crafts new identity and making them known globally through their successful label.”

It’s truly inspiring how Indian designers are briefing new life into traditional crafts and taking them to a global audience. This blending of heritage with modernity not only preserves these artisanal skills but also positions them as aspirational. It’s very brilliant example, Sula, of how fashion design can bridge the past in the future, creating a model of sustainability that’s deeply rooted in culture.

“And as you know, we have a traditional garment called the sari, the 9 yards of fabric, and this is often passed on from mother to daughter. And that’s an absolutely invaluable tradition because not only is that good for the environment, it’s also great to create that sense of community and every piece that’s passed down it has a story, and it creates a lot of appreciation of our textiles. In addition, the traditional methods that are involved in some of our textile crafts like Kalmakari for example, which is hand painted storytelling on fabric, uses a lot of natural ingredients to create those. So, these are aligned with the so-called slow fashion practises as we call them today. There are also several NGO’s in India that are doing a lot of impactful work in training and creating employment for rural artisans. So that looks after the social aspect of sustainability. There are brands like Fabindia, Anokhi and Good Earth which are contemporizing these crafts and through employment of these craftspeople really keeping those craft alive. So, there is a conscious preservation of these crafts, and contribution towards the social aspect of sustainability and taking care of everyone down the chain. When we come to the industrial side of things, there are many Indian textile mills and manufacturers that are really working on their sustainability standards and trying to achieve the most cutting edge certifications to be able to comply with the export countries, like the USA and the EU. And according to the Sustainable Apparel Coalition, many Indian manufacturers are adopting the Higg Index, for example, to measure and improve their sustainability performance. So, as you can see, there is a lot of sustainability both in our heritage, in our culture, as well as in modern development. To me, all of these facts are very encouraging and it shows that there is a lot that is inherent in our system.”

The adoption of tools like the Higg index shows a commitment to measurable change. It is a good example how it’s possible to mix together tradition and innovation and modernity in order to find a model that can be more sustainable, where sustainability is an advantage. Which sustainable Indian practises or realities or habits do you like most and why, Sula?

“My most beloved sustainable practise in India is definitely that of hand me downs. This year I myself inherited a pair of beautiful vintage denims from my grandmother which she wore on a trip abroad many years ago, a satin jacquard sari from my mother, a wool blazer from my father’s military days. And these are all in flawless condition. And some of them many decades old. I can’t explain in words the joy that it brings me to wear these pieces because each of them has a unique story. Each of them has travelled with these people and it’s been part of important moments in their life. When I wear these and converse about them and we talk about those stories, I feel like it makes me rethink the way I consume fashion. It slowed me down. It’s allowed me to cherish every single thing I have and look at it differently instead of constantly seeking out new objects, which I myself, I’m guilty of”.

I absolutely love your personal connection to hand-me-downs. It’s such a beautiful practise, one that combines sustainability with the storytelling. Every piece you mentioned carries a legacy, a sentiment that’s really felt when purchasing something new of the rack. It’s a reminder of the value of clothing behind its monetary worth. Let’s go deep into the sector side. Which type of sustainable realities and innovations do you think will lead the change in your country?

“The one innovation that I think is already leading the change is the extensive R&D that is being carried out in some of our countries large- and small-scale mills. In creating textiles which are compliant with international sustainability certifications, as well as artisanal textiles that are made from the most cutting-edge fibre innovations. I recently encountered a textile professional in South India who is creating a vertically integrated supply chain that will focus on plant-based silk at scale. So, it’s going to be these his uniting the rural resources, the farmers in that area to be able to provide a very, very unique innovation at a scale that can be adopted by brands in the mainstream. That is a win-win situation, and we have many such inspiring stories in our country. I think textile innovation will be at the front of that for India.”

Investing in R&D and building a robust sustainable supply chain are absolutely crucial for driving innovation in sustainability. It’s inspiring to see how Indian mills are not only advancing technologies like water-saving processes but also creating vertically integrated systems for unconventional fibres. These efforts lay the groundwork for a truly sustainable fashion model, I believe, where every step, from sourcing to production, aligns with the environmental and social goals. Are there any weaknesses in the sustainable fashion sector in India. What can be improved in your opinion?

“One of the biggest challenges and also in irony facing textile companies in India, especially the ones that are really working on their sustainable innovations, is that the adoption of these innovations within India by Indian brands is quite low. It’s not at the level that is highly profitable for them, and most of it is actually exported out of the country. I learned this while interacting with textile mills. It is because of the pricing factor. Certain innovations do come with a price. It’s when the adoption of these can increase that the pricing can also come down. It is kind of a chicken and egg situation right now. And to improve this, I think the consumers can play an important role as well. So first by creating a lot of general awareness around how devastating the fashion industry is and the environmental impacts it has in the way it’s being followed now, and how much of a positive influence Indian consumers can have by wanting to know about the raw materials, wanting to know where their products came from. Where was it dying? Where was it manufactured? Understanding all of that as well for brands to create their transparency for consumers, so that everyone can make an informed decision. This will drive change. This will improve the demand for these fabrics and, in turn, the textile companies will see an increased appetite within the Indian market for these innovations.”

You have highlighted a critical paradox. Indian textile companies produce sustainable fabrics that are more in demand internationally than domestically. This speaks to the global appeal of Indian craftsmanship but also to the need for greater awareness and accessibility within India itself. Bridging this gap could unlock so much potential for the domestic market. Do you think is it possible?

“It is a change that will take time, but I do have hope because the heightened awareness that is coming with the Gen Z consumers around environmental issues shows that there’s scope for positive transformation and for this sector to have really enormous growth and positive impact. With respect to a traditional textiles, the challenge there or the weakness there is that as soon as you scale a very traditional method and you try to meet the high volume demands of say a bigger brand, then the eco-friendly principles have to be compromised and then it’s not sustainable anymore. So that’s another big challenge on the side of the traditional textiles.”

It’s a delicate balance, scaling traditional methods to meet global demand without losing their inherent sustainability. This highlights the need for innovative solutions that preserve these eco-friendly principles while ensuring they remain viable at larger scales, if largest scales are itself sustainable. It’s a challenge, but also an opportunity to redefine how tradition and modernity can coexist sustainably. So, a question comes into my mind: are Indian consumers valuing sustainability?

“In the context of fashion, although sustainability is becoming a familiar concept in India, we have a vastly contrasting consumer base. We have an upper middle-class customer with higher disposable incomes who can think beyond their basic needs and consider the environmental impact. And according to a report from McKinsey, The State of Fashion 2020, 43% of the urban Indian consumers are willing to pay a premium for sustainable fashion products. Now, whether this translates to actual purchases is not known, but this is to say that there is a demand for it. The remaining are in an emerging middle-class. Maybe they are the first of their family in a big urban city with the growing appetite for trendy fashion. So, for this customers meeting their material aspirations first is the bigger priority.”

It’s interesting to hear about the growing willingness among urban consumers to pay a premium for sustainable fashion. However, it’s clear that affordability and aesthetics are key to converting that intent into action. This is a challenge, and an opportunity for brands to innovate and connect with a wider audience. What about the other kind of consumers?

“Currently, for the average Indian consumer to prioritise sustainable fashion, they must be able to buy it at the same price as any other clothing item, and they need to see a comparable level of aesthetics and trend relevance to what they see in the mainstream brands.”

That’s such a critical point. Price and design are often the deciding factors for consumers, especially in a competitive market. Making sustainable fashion assessable, both in cost and style, is key to shifting consumer behaviour. It’s about showing that sustainability doesn’t mean compromising on beauty or affordability but rather enhancing the value of what we wear. Do you think the Indian fashion industry will affect the global one? If yes, in which way?

“In my opinion, the evolution in the Indian fashion industry is already affecting the global scenario. It has in the past and it will continue to do so. Because of its uniqueness, some of our artisanal based luxury brands have been gaining recognition on international runways and we see them stocked in boutiques across Europe and the US, highlighting the global demand for ‘Made in India’. In recent years, we’ve also seen celebrities wearing traditional inspired Indian clothing to events like the Met Gala, like the Oscars, and its instances like this that influence consumers everywhere. I recently visited the Vienna Museum in London and saw the work of several Indian origin designers being sold in their stores that use traditional Indian textiles and that was a really proud moment for me. It reinforced the feeling that India has an influential place in the global fashion scenario.”

India’s impact on global fashion is undeniable, especially with artisanal brands and natural fibres gaining recognition internationally. But what stands out to me is how stories of Indian craftsmanship like the sari at the Met Gala are sparking global conversations about sustainability and heritage. It’s storytelling at its most powerful. Sula, you live both in Portugal and in India. Can you see differences in sustainable fashion between Europe and India?

“A big positive I see in India is that we are a country that’s very self-reliant on textile and apparel manufacturing. We also export to the rest of the world and this, alongside our very rich heritage of textiles, enables an environment for innovation and entrepreneurship in sustainable fashion. It allows lots of labels and small companies to offer really unique products. Just as a consumer scrolling through Instagram discovering all of these new and emerging labels that are based on Indian textiles that have sustainability values, I feel spoiled for choice. Where I see growth for India is in the resale market and in embracing thrift culture. Although it is emerging, you see it more prevalent with the Gen Z, and there are some influences on Instagram now as well who reveal really nice sources of shopping thrift. I think Europe is a really good inspiration for that. According to Thread Up, the online resale market in Europe is expected to reach around 32 billion in 2024. This plethora of choices that’s available through platforms like Vinted and Vestiaire Collective that even make luxury brands accessible. I think this is something that India can really grow towards. Because we also have our bridal and festive couture that is probably only worn once or twice ever, and it’s such a good opportunity to resell.”

Merging traditional low impact production with the thriving resale culture could be a game changer for sustainable fashion. On one hand it preserves the heritage and eco-friendly practises of traditional methods, and on the other resale extends the life of garments, reducing waste. Together, they create a circular model that respects both craftsmanship and environment – a true blueprint for sustainable fashion society, I think. Last questions. How much is sustainability linked to Indian culture, the ancient and modern one? Any curiosity that Europeans usually ignore?

“Indian fashion embodies sustainability through resourcefulness and reverence for materials. We have a rich landscape of Indian labels, brands and boutiques that are really leveraging our textile crafts that have been passed down through generations, creating really beautiful pieces while also educating consumers about them. We’re also seeing some upcycling services emerging, which are taking heritage textiles and saris and converting them into daily wear pieces. Apart from this, we also have in our culture several opportunities, festivals and special occasions where many people turn to custom tailoring rather than buying off the rack, which to me is an inheritance sustainability trait. I think this reinvention and celebration of textile traditions doesn’t translate as much in mainstream European fashion. While there are high end couture houses and ready to wear designers that employ artisans, we don’t see a lot of traditional textiles contemporized for High Street clothing, for example. I think it would be really refreshing to see capsule collections in retail brands that, for example, adapt traditional Belgian lace or the azulejo patterns of Portugal, and really employ traditional craftspeople in doing so. For me, that’s definitely one lesson that Europe could take away from India.”

Definitely your point about custom tailoring during festivals resonates deeply. It’s not just about creating something unique, it’s a celebration of craftsmanship and individuality. This kind of intentionality could inspire other cultures to reintroduce slow fashion practises into their mainstream traditions.

“Overall sustainability as both environmental and social aspects, and by embracing it as a holistic methodology that we can apply to our processes. Instead of treating it as an added benefit or an afterthought, we can really begin to see transformation in the industry in all parts of the world.”

I couldn’t agree more with your call for sustainability to be holistic. It’s not just an environmental challenge about a social and cultural one. By embedding these principles across every aspect of fashion, from designer care, consumer education, we can create a truly transformative industry. And I’m so happy to contribute to that with you, Sula. We are collaborating with the Dress ECOde project in order to change the fashion industry. I’m totally agree with you and our approach is holistic on that. Thank you very much Sula, ‘m so glad to collaborate with you, and thank you a lot for this interview.

Want to work with us and transform your brand in a circular success? Book a call o write us!

“I want to dress all in hemp,” said Totò. Those were the times when advertising urged people not to let a precious fiber, Italy’s “green gold,” disappear. This is how Glenda Giampaoli, Director of the Hemp Museum in the municipality of Sant’Anatolia di Narco (Perugia), in Valnerina, takes us to explore the fascinating world of hemp.

With her, in this episode of the podcast we learn many curiosities about a plant that has historically been fundamental to the textile industry and discover why Italy, once a world leader in the production of this autarchic fiber, saw a decline at a certain point.

You will be surprised by Glenda’s stories about the traditions of Valnerina and curiosities about hemp: did you know that fabrics can last up to a hundred years?

In addition, we will explore traditional cultivation methods, which involved sowing and harvesting at specific times of the year and techniques such as maceration in water.

Today, interest in hemp is returning, thanks to the growing awareness of its potential applications in the food and green building sectors. We discuss the possibility of resuming hemp cultivation in Italy, in light of innovative projects that aim to relaunch it.

The Hemp Museum not only preserves traditions, but is actively dedicated to engaging new generations, offering workshops and educational activities. Don’t miss the opportunity to hear how projects are developing to resume hemp cultivation in Italy and learn more about the innovations that are emerging!

From historical magazines that tell the story of the importance of hemp in fashion, to curiosities about modern and sustainable uses, this episode is an invitation to rediscover an extraordinary fiber and its potential in the present and future.

Table of Contents

• Introduction to the Hemp Museum (min: 1:00)
• History of Hemp in Italy (min: 3:00)
• Traditional Cultivation and Processing Methods (min: 5:00)
• Decline and Rediscovery of Hemp (min: 8:00)
• Historical Magazines and the Decline of Hemp (min: 12:00)
• Why is Hemp Disappearing in Italy? (min: 14:13)
• New Materials and Social Changes (min: 16:01)
• Resumption of Hemp Cultivation (min: 23:59)
• Contemporary Projects and Innovations (min: 37:34)
• 1941 Magazine on Hemp (min: 45:50)

Visit the Hemp Museum and find out its website

Dario tells us about the need for a “gentle revolution” to counter the fast fashion model, in a context in which the economy shifts wealth from many to few without actually creating well-being for humanity. Slow Fiber wants to positively change the paradigm of production, consumption and, therefore, the perception of textiles. Today, in fact, we find ourselves immersed in a consumerist and fast-fashion lifestyle, as Dario states.

Slow Fiber uses a series of KPIs (Key Performance Indicators) to evaluate the companies that join its network. Each aspect of the project is accompanied by measurable criteria, divided into mandatory and optional. These KPIs focus on five pillars: “good”, “healthy”, “clean”, “fair” and “durable”. For example, the “good” criterion requires that companies maintain their original headquarters and do not relocate, while “healthy” refers to the rigorous control of the chemistry used in production. The idea is that no company can be considered in the network if it does not meet all the criteria of these five pillars.

Listen to the episode to find out how current legislation turns into a “rubber wall” for virtuous companies. Furthermore, the concept of Made in Italy is put under the lens in the episode, where it is stated that “it is worth little or nothing” if not accompanied by effective controls. The concern is that products can be labeled as Italian even without respecting quality standards since there are no adequate controls on imports. Fast fashion lobbies heavily influence regulations, making it difficult to protect Italian sustainable practices.

Explore the common ground between food and fashion, discussing localisms and fast consumption/production, and new economic approaches such as “post growth“, more necessary than ever for a sustainable future.

We also reveal how certifications, which certainly help, can be misleading and how powerful fast fashion lobbies resist necessary changes. The European Green Deal could risk turning into a certification label that does not really address environmental issues – and not only that (find out which other important aspect it does not address). The episode highlights how many legislative initiatives tend to preserve the current business model, rather than tearing down an industrial system deemed dangerous. In short, the Green Deal may seem like a positive step, but it could mask an unchanged reality rather than bring about substantial changes.

In this dialogue that invites reflection and action, Dario paints a frank picture of the sector, helps us better understand some dynamics and introduces us to a reality that intends to sow a new way of producing and consuming by involving producers and consumers.

Table of Contents

1. 1. Definition of Slow Fiber (0:36)
   2. The comparison between textiles and agricultural supply chains (1:02)
   3. Problems of the textile supply chain (1:50)
   4. Sustainability in fashion (2:28)
   5. Career change towards textiles (3:34)
   6. Selection of member companies (9:00)
   7. Sustainability criteria and KPIs (11:39)
   8. The paradox and weight of certifications (17:23)
   9. The Slow Fiber audit system (19:06)
   10. The extra something compared to the current legislative model that wants to save both goats and cabbages (21:54)
   11. The need for a slowdown in consumption and a new economic model (24.56)
   12. Awareness-raising activities and demonstrations (34:11)
   13. Greenwashing and regulations (40:25)
   14. Future prospects and innovation (48:11)
   15. AI, blockchain and traceability (50:37)
   16. Made in Italy (53.14)
   17. Values ​​and economic model (53:17)

If you want to learn more, we recommend the Slow Fiber website and Dario’s book:

(The episode is in Italian. In case you would like to have the transcription in English write to us)

I’ve been following Carolina on Instagram for years, I finally manage to meet her in Rome, to record a live episode of the podcast (Pop-up Green).

We are on a June afternoon, during the course she is holding “Create your bikini” at  PuntoPieno shop. With her, there are 3 current and former students: Cinzia, owner of PuntoPieno; Tamara, who took sewing courses with Cinzia; Emma, a very young trainee struggling with her first bikini.

You can listen to our talk here, where we talk about DIY swimwear, tailored underwear, craftsmanship and fast fashion. Do you know, for example, what a “bustaia” (corset-maker) is? Or where can you discover vintage lingerie? Or how feasible is it to make a bikini yourself?

Below we report the text of the episode. Take also a look at the photos of the swimwear created!

To follow Caroline: Website; Instagram.

Carolina, I was immediately struck by your initiative “Create your bikini”. What exactly is it about, what are you doing in this course?

Carolina: “In this course we help people who come to us to design a basic pattern, cut the lycra and build a wearable bikini with the cut lycra, applying the elastic. In addition, in the modeling part I always try to help understand how to modify the bases to have different shapes. For example, Tamara uses very small bikini bottoms. In her case we have created something a little taller, but very high cut. Starting from a base, it is modified to obtain the desired result.”

I just wanted to ask, are there any predefined models or, coming to the course, can you choose a model based on your shapes?

Carolina: “So having the base you can make changes. This is a triangle course as top. Modifications can be made starting from the triangle: a slightly longer band, they can be done differently with the seam, without seam, etc. But basically it is that, because unfortunately the modeling of the bra cup with underwire is a whole other world.”

The bottom instead can be modified, smaller as for Tamara.

Carolina: “Actually, changes can also be made for the top. For example, the triangle cup instead of the gathered seam, with the pence, with the padding inside, is still an alternative.”

How did this bikini course come about?

Carolina: “We’ve known each other for some time, she (Cinzia) was already taking courses. We said we wanted to organize something different together”.

Why bikini?

Carolina: “It’s because of her! (Tamara).

Tamara: “I don’t have the same size top and bottom. The bigger size of the ones on the market doesn’t suit me, I started having girls make custom-made costumes. When I started sewing I said to myself: ‘why can’t I do it myself?’.

Carolina: “She was there that day, and we said: ‘What shall we do?’. For me it is essential to have the opportunity to teach how to do things according to one’s own measurements. In fact, this is not a course on cutting. You use your own measurements. From there we developed the idea, it’s summer, so the bikini.”

How many lessons have you done so far?

Carolina: “Four lessons of two and a half hours. We are in the third lesson. She (Emma) has already finished the top. Since it goes fast, we’ll do a variant with the cup inside.”

Why make your own bikini instead of buying it?

Carolina: “First of all, the satisfaction of creating something with your own hands, which no one does anymore. We are in a world that is now accustomed to buying, using, throwing away. There is no longer the conception of what is behind it, we don’t know how things work. And there is no longer even the habit of manual skills. Here, patience is also lacking, we are no longer used to patience, we are all in this circuit of ‘everything at once’. Instead, manual skill pushes you to understand that everything has its time, its rhythm. It may happen that you unravel, start, but then you have something finished that you can say ‘I did it!

That is priceless! I wonder if you have any advice for anyone who wants to try to do it themselves.

Carolina: “Patience. Do it yourself. I always say give it a try. Today on YouTube, on the Internet you generally find a lot of things. Surely there comes a time when you need to have a guide, if you’ve never done what kind of work. If you do something different that you haven’t done, I say try it, if you see that you like it you have to meet someone who gives you at least some guidelines, at least the basics, and then you go on from there”.

To do things precisely and correctly. Like Emma, who started doing it herself, trying, and then she felt the need for the course.

Carolina: “Of course, for example, also remaining in the swimwear course, knowing how to put the pieces on the lycra… Because it is true that it is an elastic fabric but it has a sort of direction to be preferred.”

Who can take this course?

Carolina: “The course is for someone who already knows how to sew a little. Because you have to learn to sew a fabric that is a bit difficult, let’s say. Because it’s stretchy, most of the time it’s made of polyester and nylon, so it’s also really hard to sew mechanically: machines hate it! It takes at least knowing how the fabric works and therefore already knowing how to sew the fabric. Then it is not important to know the model because I teach modeling here.”

The difficulty is mainly the fabric, right?

Carolina: “Yes, and the elastic band”.

So you should have some dexterity with the type of fabric. A person who even has only basic knowledge but has a lot of dexterity can do well, which is the case for Emma.

Carolina: “It’s her case. She took a basic course with Cinzia which evidently allowed her to become familiar with the fabric. She took us to show things that she already does independently”.

Yes, today we have an excellent student here with us, as we said before, who excelled in the basic course with Cinzia.

Cinzia: “She was great”.

What’s your name?

Emma: “My name is Emma. Actually, I used the sewing machine even before, but it was always things I did on my own, nothing taught by anyone, just a little bit. My grandmother gave me a sewing machine for my 18th birthday and from there I started tinkering a bit. But then after a few years I said: ‘But I continue to do these somewhat basic, ugly things’. So mom gave me this basic course to learn the ABC.”

It’s a nice gift! Then you stood out for your skills and were able to attend the most advanced course. Now we have loaded her with expectations! What a pressure, really! Don’t worry, Emma, as if we weren’t there.

I ask you too. How did you start this sewing adventure?

Cinzia: “I’m Cinzia, I’m the owner of PuntoPieno. I opened this place about two and a half years ago, in December of 2020, in the midst of the pandemic. There is someone who says: ‘Eh, courageous!’, I would perhaps say reckless, but in any case I am still here, thanking heaven. I love teaching sewing, I love to sew, I always have. While I did the classic secretarial and managerial assistant jobs, as soon as I had a free moment I would sew at home or even take sewing courses at a rather high level, in a professional tailor’s shop. This allowed me to be a seamstress to all intents and purposes, but above all to specialize in teaching.”

So it was a plan B, a hobbythat eventually became a job.

Cinzia: “In 2017, unfortunately, the company I worked for had a major crisis and I was fired. I asked myself: What do I do? Am I looking for another job as an assistant manager or do I give it a try? I gave it a try, and from 2017 to the end of 2020 I was able to carry out this challenging project. I met Carolina in a women’s business association called Rete al femminile, also at I mercoledì della mansardina. When you have mutual esteem, the desire to work together is easily born. I invited her here to teach a pilot course, where Tamara and I were two students. Tamara is a long-term student of mine, who is practically planted here in a permanent location with my great pleasure.”

Tamara: “In a while I’ll have my residence here, the documents are arriving!”

Cinzia: “We did the first pilot course, we loved it, we revised the timing, the necessary materials so as to be able to offer it in the best possible way to everyone and we have now re-proposed it in June. We hope to be able to do it again in July.”

Yes, because these things must be encouraged!

Cinzia: “Self-production enriches self-esteem, makes us make new connections, enriches creativity. Self produce, anything. Obviously I love to sew, I’m in this area, but self-production is truly something extra”.

What do you do with fabric scraps?

Cinzia: “With the waste of fabrics used during the courses, even simply in my production, there is a certain amount that is discarded. I always try to recover and reuse all the pieces for which I create small objects that can easily be used”.

What did you like the most about the pilot course and what made you say: “This is a course to be repeated”? What is the best thing about the course you did?

Cinzia: “The feeling of having the finished product. I’ve been sewing for several years already, I have experience. I must say that lycra made me a little nervous. It’s not that easy to sew. Obviously with all of Carolina’s tricks and teachings, I’ve already reached the third bikini! And I definitely intend to sew more. The thing I liked the most is having the first bikini in my hands. And immediately wanting to make another one, and then another one. This is one thing that I liked without a doubt the most.”

Carolina: “Let’s say that during the course she wasn’t really that happy! ‘Don’t worry, we’re getting to the end’, I said.”

Tamara: “Lycra is a bad impact. During the course there were moments when I looked at Cinzia and said: ‘But I can continue to buy them! No, why do I have to make them myself??? I do something else by myself, I’m already sewing, I’m doing something else! In reality, what Cinzia says is true. The first bikini, with all the limitations of the case, can’t be perfect, but beyond everything, I also chose the lycra badly. It’s only right that Cinzia chooses it, it wasn’t a ‘nice to sew’ lycra. Even Carolina admitted it. It’s one more difficulty. So, having removed this obstacle of the first bikini, we bought lycra together, we made the second bikini together independently and… I actually went down to the beach wearing this bikini (I have so many, I have a drawer full) in my opinion it was the most beautiful bikini. Then you feel like duplicating them. She had told me: ‘If you want in the future you can add the cup’. In the third bikini I put the cups and it went very well.”

I saw a photo of you wearing it, then I don’t know now if we can publish it to show the final result, nice! You can see that it fits perfectly.

Tamara: “I like that. Beyond the aesthetics of the bikini, my biggest doubt was: ‘Having done the bikini, if I wear it, is the effect similar to what I buy?’. Actually I have to say yes. I particularly like it, because obviously when the fact that you did it yourself intervenes, it has a value. I finished this one yesterday and I can’t wait for tomorrow just to put on my new swimwear.”

You make me think, you know?, about this. Because in my opinion the fact of self-production also gives satisfaction. It also serves as an anti-stress, there are a myriad of reasons, you can choose materials, perhaps even recycled. Having done it ourselves, giving it a different value than the one bought, it touches on an aspect of sustainability that I hold dear. Just to make the things we have last as long as possible, right Carolina?

Carolina: “Of course, when one sews something, she/he does it with the fabrics you prefer. Maybe quality, because it’s clear that if you go and buy things that are already made you’ll find the fabric they use, which isn’t always the best, we know that. Instead, by doing it yourself, you can also find quality fabric. If you have done something well, cut it well, it fits you well, you keep it. You use it and you don’t need much to make it always new. You can also modify it if you increase or decrease it over time or if you want to change something about the style. You can always intervene on the garment that you made yourself. With a garment you buy, which has no seam allowances, which is made with poor quality fabrics, you can’t intervene much.”

This matter of materials, I was also pleased to touch it because probably someone who will then listen to the podcast or read the article knowing me will think: “Are you talking about materials such as polyester, lycra, synthetic materials?”. I talk about it and I like to talk about this project. Apart from finding alternatives, such as recovering old fabrics.

Carolina: “Old swimwear, for example, or other things that can be recovered. Because the elastic bands unfortunately decay over time. If the time comes they crumble, they last a few years, but you can actually reuse the fabric. Now you can also find recycled lycra.”

Perfect! They are also studying new materials. Moreover, I love recovery.

Carolina: “I make a swimsuit that lasts as many years as I want.”

On the other hand, it is one thing to buy a 100% polyester dress from a fast fashion brand that I maybe wear for two months and then I turn it into textile waste.

Emma: “Speaking of Shein and the various fast fashion chains, it’s something that is very close to my heart, because it’s been like 4-5 years since I’ve been in these stores anymore.”

Were they all like you, it’s nice to hear so!

Emma: “Now there are so many alternatives. Markets, small markets, those sites like Vinted and second-hand sales. I’ve realized now, after so many years of buying only used, vintage things from mum’s and grandma’s wardrobes, when I go in (those stores), just touching the fabrics, that it’s a bad quality. And not only. Just doing this course I realized how impossible it is for a pair of trousers to cost €10 on Shein! Because only the fabric, I paid €30 for it, then you have to add the labour”.

Tamara: “Theoretically also the energy you use for the sewing machines. But in fact anyone who does not sew does not realize. For example, last time I made trousers, now I’m making a suit, 2.20 meters of fabric. If the fabric costs around €20 per meter of fabric alone, it’s more than €50”.

Emma: “They are certainly much faster processes than the ones done by hand, because everything is industrialized and so on. But it is clear that it is inevitable that the worker is underpaid, or even she/he is not paid at all, because otherwise it is not really sustainable!”

In my opinion this type of activity really serves to understand the work behind it, which should then actually be done with every product, object that we buy. Because we’ve maybe lost touch with the production side. Not knowing what lies behind it, we tend to underestimate a lot, we are unable to give an economic value.

Cinzia: “In fact, craftsmanship, in addition to tailoring, when one goes to the seamstress to have a made-to-measure suit made, is thought to have absurd prices. Not true, they are the right ones. Because apart from the material, the hours of work needed and not only that, even the skills we have, which we have built up over the years, are in any case added values that we put into the finished product and therefore it would be fair to repay it adequately. But what’s the difference? We see that we are placed on the same level as chains like H&M, like Shein, like Zara. There is no comparison and yet we are compared. Not us in general as craftsmen, but the final product itself is compared, when it is actually on another planet. Unfortunately, a handcrafted product is considered a luxury product. And it shouldn’t be like this.”

Yes, that’s what I often say, that it’s distorted: the right price has become expensive because it has dropped, there is someone who has pulled it down a lot. So we have lost a correct term of comparison, instead this would be the correct price.

Tamara: “The other day I was talking to a friend of mine who said to me: ‘Tami, I bought trousers from Shein. It stinks a lot of oil, what can I do? I told her I wouldn’t wear it in any case. Do you know what she answered me? ‘You know what? I wasn’t convinced, but it cost so little that I thought that even if I put it on twice and throw it away…’.
I also happened to go to flea markets, the first thing I do now is to go around and look at how it is sewn. ‘This is all wrong!’ I practically took the clothes apart, and walked away. I love flea markets, I spend a lot of time there. After the second market I go to her (Cinzia) and I say I will never buy anything again!”

This made me remind of my grandmother, who every time I brought her something and said “Can you make it shorter”, she looked at it, immediately turned it upside down, looked at the stitching and said “It’s all sewn wrong!”. I would like to ask you too, what did you like most about doing the course with Carolina?

Tamara: “That despite everything, lycra can be sewn! First of all, the possibility of wearing a bikini made entirely by me.”

Quanti ne hai fatti? How many did you make?

Tamara: “Three.”

And are you ready for the forth?

Tamara: “I’ve already bought the lycra and next week I’ll start the forth.”

I like it very much, I’m curious to see the fourth too then.

Carolina Gi is not only swimwear, it is also another world and I have accumulated a bit of curiosity. Could you briefly help me sort out the various terms related to your business?

Carolina: “Actually, they are all part of the same discipline. Brassiere is the French word for bra. Here in Italy, however, it indicates a certain type of bra, which is not very structured. Almost like the bralette, but while the bralette, more in lace, is more aesthetically elaborate, the brassiere is a bra without underwire, perhaps of the undershirt type or in any case in cotton, more practical. Corsetière could be the correspondent of ‘bustaia’ but linked to the world of corsets. Lingerie indicates the sector of the bra, the petticoat, the garter belt, the whole world of intimate apparel, but also something more linked to the more aesthetic than functional side.”

So we clarify a bit, we no longer even ask ourselves what is behind it and if they have different names because there is also a different craftsmanship behind it. Earlier you mentioned the ‘bustaia’ (corset maker). I read in your blog that you were talking about it regarding jobs that disappear.

Carolina: “Bras have entered our history, our life, not for a long time. There were no shops where you went to buy bras. There was the seamstress who specialized in the sector, the corset maker, who made the bra, made the body shaper, the girdle. Again, things were made to measure. The ready-to-wear shop wasn’t there. Department stores started appearing, but not everyone went there. Not everything was there either. Many people did things at home. Many went to the seamstress, and if you wanted something special in terms of underwear you had to go to the ‘bustaia’. There is a different preparation, you are dealing with different fabrics, with different shapes and patterns. If you wanted a bra or girdle or corset because maybe you wanted to tighten your waist a little, you went to the corset maker.”

Can we define you as a modern ‘bustaia’?

Carolina: “Yes, I use the word corsetière, first of all it seems to me a somewhat French term. But it is no longer found. If you go looking, you’ll find someone who has kept the name, perhaps they are shops that still have a certain longevity. But when they refer to the ‘bustaia’, they mean a person who, if you go there, buy the bra and have to make the change, does it. They don’t do the “made to measure”. I couldn’t find other people. Not only in Rome, not even around Italy.”

 And abroad? Because you wrote ‘Abroad is another matter, maybe I’ll tell you, this is another story’.

Carolina: “Yes, then I never told it! Abroad, meanwhile, there are people who do the same job as me, but do-it-yourself works much more. There are many people who sell the model in multiple sizes. There are many groups where you enter and ask for help because maybe you are not able, because you take a size, the one that comes closest but you have to do the fitting of the thing you know you have to create for yourself. In that case, if you don’t know how to do it, you have to get help. So there are many who help each other. And then they sell the sets. There are companies that sell the piece of lace, the piece of fabric, the elastics, the closures, the caps. There is a huge world, there are also many online courses.”

Carolina, why did you choose this job?

Carolina: “I come from a fashion academy, I’m a stylist, a model maker. For many years I have dealt with clothing, both in tailors and on my own privately. Then came a moment… Do you know those things that are in front of you, but you don’t see them? One day I was on the verge of desperation, I said: ‘I can’t take it anymore, I’m going to look for bras for myself and I can never find them (I have a large size). But why don’t you do it yourself?” My light bulb went on. I’ve actually always had a great love for lingerie and corsetry. Corsets are already slightly different from lingerie, a parallel, beautiful world that I love madly, but it’s a little different. So, I started experimenting, looking for information, seeing people, talking. In short, slowly I bought the modeling books. In Italy there are no courses. Being already a pattern maker it was easier for me. If you don’t have the basics it’s a little more complicated, above all because, in fact, there are no schools in Italy. I’d like to create a school where one can learn to make lingerie and corsetry. Now some girls have started doing something, but they’re always limited, they never arrive at the real tailored made. They are always tailored made, made to measure, always standardized things. So it’s hard to be able to solve exactly that kind of problem.”

Cinzia: “In the meantime, however, we could do some courses here.”

Let’s think big, we start small, and meanwhile in the long term…

In your opinion, in this society which is dictated by frenetic pace even in consumption, by the rush to own garments based on the brand, by the loss of sight of the importance of quality in favor of quantity instead, according to you, do we underestimate, out of ignorance, the importance of wearing tailored underwear?

Carolina: “Yes, especially in the bra sector. We are led to think that we buy a bra, make it wearable and we have solved. Too bad it’s not like that. A bra must support a certain way, it must not hurt you when you wear them, it must not give you back pain. It has a structure. Going back to the previous discussion, for example, maybe I’d go looking in the shops, find the fifth D bra cup for me, tie it on and I’ve solved it! But after two days it didn’t fit me anymore, because the cup wasn’t the right one, the underbust, the band wasn’t the right one.”

Vintage lingerie, your passion. What do you particularly like about vintage lingerie? Is there any piece that makes you feel this passion?

Carolina: “I grew up with those wonderful Hollywood-style films, including Italian ones, with Sofia Loren, with all the most famous actresses, best known all over the world. They were often represented in films in romantic scenes with a dressing gown, guêpière, garter belt. I have those references that were objectively very beautiful, I’m in love with that aesthetic. I like to search from photos to information. Every now and then I enjoy reproducing, for example, a bra following a model. I had a book of models, there are photos with the design on graph paper, so it could be redone in exactly the same size and so I did, I was able to redo those things. Bringing back the garter belt, bringing back the guêpière, these things here, why not?”

I would ask you if you have a book to recommend for discovering vintage lingerie.

Carolina: “More than a book, I’ll give you two websites, ok? One is a site that you actually enter with a subscription, but has tons of articles that are also accessible for free: Foundation Revealed. You can find everything related above all from corsets to swimwear. It is a large Anglo-Saxon community that loves costumes, loves proposing and recreating them, everything that was worn underneath, that is, they are truly very very particular historical reconstructions. Another wonderful site is Underpinning museum. Someone with this passion did a crowdfunding and set up this museum where there are all the vintage garments, from all eras, and continues to add them. Some are reproductions, some are originals. It is a virtual museum. I don’t remember if they are British or American. It truly is a wonderful archive of photographs, full of spectacular models.”

Let’s talk about some ideas for courses. You can’t find the beautiful bodysuits of the past anymore. I found myself, for at least 2-3 years, with a desire for those very very feminine bodysuits. What about a course to make them?

Cinzia: “We will do everything!”.

Carolina: “Here it’s getting difficult!”.

Slowly, slowly, I’d love to make one of those, perhaps starting with a simpler model. When you come here to sew are there machines available?

Carolina: “She (Emma) brought hers, she set it because so at home it already starts from ‘to make this seam we use this stitches and this thread tension etc.’ But there are also some sewing machines available. In the pilot course we used all the machines we have here in the laboratory to understand which were the best settings based on each machine, the right needle, the size of the stitch, the type of thread to use. We invite you if you want to sew at home too, maybe if you have the opportunity to bring your own machine, because it’s a particular setting, then it’s worth it”.

One leaves the world outside. She/He sits there, thinks about sewing. There is herbal tea, a biscuit. I really like this dimension, that is, it’s not just the course itself. We come here, we chat, which is not just ‘you make your own bikini’, but you create a world, a network of people to be with.

Tamara: “Indeed, a world opens up for you. The first few times I needed Cinzia, I always need Cinzia but now I can understand. I didn’t call Cinzia and tell her: ‘I have to make an electric toothbrush case’. I called Cinzia and said: ‘Among the waterproof fabrics, which one can you give me?’.”

And then she gives the advice on fabrics.

Tamara: “I have to be honest about the suggestions for fabrics: I’ve never seen them quite as beautiful as here at Cinzia’s. The quality, the choice is really something special.”

Cinzia: “When I can, I also try to choose totally or partially recycled fabrics. One thing I always say is that polyester is demonized a lot, and it’s true, absolutely true, but unfortunately cotton doesn’t have a particularly low impact.”

I totally agree, there isn’t the perfect fabric, but many people think: “It’s natural!”, actually natural doesn’t mean it’s sustainable. it doesn’t actually exist. Polyester has pros and cons, the cons of course being that it comes from petroleum. The pro is that it doesn’t use as much water as is used for cotton. One fabric cannot be demonized over another.

Carolina: “Mine, among other things, is a sector where it is difficult to say: ‘We sew sustainably’, because for example natural fabrics that can be used are few. Clearly, according to common feeling, most of the fabrics used in lingerie are polyester. It’s clearly demonized by now, but yes, wait there too. It gives you features that help you wear it in a certain way, it’s long-lasting, because in any case it takes time before it breaks.”

This is why it is important that you like it a lot, to keep it for a long time.

Tamara: “I am in contact with young people in my work, and they don’t have this culture.”

Cynthia: “Except Emma!”

Tamara: “She’s really are a rare case!”

Emma is our gem.

Tamara: “Even my pupils and others, even the generation immediately before (like that of my nephew), grew up with the possibility of buying at low cost and having a thousand alternatives. When I was younger it’s true that maybe I bought anyway, but it was much more expensive regardless, and you didn’t have all this variety that allowed you to have such an affordable price. Even if the sweater for me, the trousers cost me enough, it was a more conscious choice. Now if you go to the shops the shirt costs €10, if you’re not convinced you buy it anyway.”

Carolina: “Let’s say that this fabric costs €2 per meter for the industry. Then there’s the thread, the current, the lining, the buttons, the zipper. We add 5 €.”

It doesn’t add up…

Tamara: “But the fabric is the one that takes the most money from me in the project.”

Plus the working hours.

Tamara: “Work must be quantified”.

Cinzia: “Work in the sense of how long it takes you to do the thing”.

Tamara: “Yesterday a girl said to me: ‘How beautiful this is! Well, how long does it take you to make the pants?’ That’s not how long it takes. You buy the fabric, you buy the thread”.

Emma: “It’s not just ‘you buy the fabric’ here. It’s ‘you go out, get in the car, go get the fabric, choose it”.

Which is the same thing that smaller brands do.

Emma: “I’m lucky because I studied sculpture and installation, so I really know the value of handmade things, plus I also had my grandmother who sewed. Hence also the importance of taking used things. In all the work I do, even sculpture, I always try to have as little waste as possible, use as little plastic as possible, natural elements. Even in that field, which is very difficult.
Grandma wants a hand modifying her swimsuit!”

Cinzia: “Now you give her a hand, instead!”.

(Emma shows the bikini she is sewing). All: “Wow. How beautiful, very beautiful!”

Cynthia: “Can I tell you something? My first bikini didn’t turn out so well! Mine was much wavier.”

Carolina: “In fact I was about to say: ‘Ask them how it was!’ I guarantee you that to be the first bikini it’s coming out great!”

Now a curiosity: I still can not sew straight!

Cinzia: “Ok, come and have a lesson with me! Look, actually you lack the reference point. When you’re in a car, what keeps you going straight is following the lines out of the corner of your eye. On a deserted road it’s the lines that allow you…, in fact when they aren’t there on a country road, it’s only asphalted for example, it’s difficult to stay in one’s lane. When you sew it’s a bit the same thing. When sewing you need to choose a reference point, whether it’s the edge of the foot, the notches on the needle plate, a guideline, a reference point”:

Mi piacerebbe venire a fare il corso! I would like to do the course!

Cinzia: “Great”

Grazie per questo pomeriggio insieme! Mi piace pensare che un mestiere come quello della bustaia non stia scomparendo, che sia qualcuno/a che continuerà ad appassionarsene e a raccontarne la bellezza, magari imparando proprio da Carolina, incuriosito/a dalla sua intervista e dal blog. Ci meritiamo di indossare un intimo comodo e bello!

Thank you for this afternoon together! I like to think that a profession like that of  ‘bustaia’ is not disappearing, that there’s someone who will continue to be passionate about it and tell its beauty, perhaps even learning from Carolina, intrigued by her interview and blog. We deserve to wear comfortable and beautiful underwear!

Carolina Gi website; Instagram

Photos by: cover, Riccardo Scrocca; Carolina Gi, Cinzia, Tamara, Emma.

A shop window in the streets of Pienza catches my eye. It is the laboratory of Raffaella Zurlo, Ricreare Lab Shop, which recovers and transforms materials destined to be thrown away. Upcycling for Raffaella means looking at potential waste from another point of view. We chat with her about her creations and the world of creative recycling.

Not only that: she also tells us how she managed to create an Instagram profile that intrigues and pleasantly entertains on three different themes, in common they have the offer of artistically produced objects with less impact on the environment. In addition, she also reveals to us what it is like to deal with upcycling in this Tuscan country, entering the territory.

In the podcast episode you will discover:

• 01:11 – The incredible meeting with Raffaella!
• 03:40 – What Raffaella does (and what does upcycling mean, which is not recycling)
• 05:38 – Metals: what do they have to do with it?
• 06:44 – Respect for patina
• 07:00 – The emotion talking about Piero Angela
• 10:35 – Waldorf dolls: how they come from Raffaella’s hands and recovered materials
• 12:10 – Do you know what ‘scardacci’ are?
• 14:45 – The most beautiful things recovered by Raffaella
• 6:22 pm – When Jude Law sat here!

Tips for brands:

• 20:30 – What is it like to carry out upcycling projects in Pienza
• 23:33 – The pandemic: how Raffaella reacted
• 11:43 pm – How do you get to build a beautiful Instagram profile
• 26:07 – Relying on a professional
• 27:55 – How much time Raffaella dedicates to social media
• 29:28 – Advice for those who want to start upcycling
• 31.37 – Let’s talk about money
• 33:04 – On Clubhouse with Bottega di Cartone

Raffaella also recovers garments for children and adults.

Do you want to know more about upcycling and get to know other brands? You can download our free guide here> Upcycling: da rifiuto a tesoro

Since we like to explain well and make known the partners we work with, we asked Benedetta and Caterina a few questions, to find out what it is, what it offers and how to join the WHATaECO project.

Hi Benedetta, hi Caterina, how did you meet? How was your collaboration born?

“Modena is not a metropolis and we have known each other since we were girls. We also attended the University of Law together, but it is sustainability that has united us every day in the WHATaECO project. It all started from an exchange of views on the difficulty of finding sustainable alternatives to products of daily use. Add a pinch of entrepreneurial spirit and the refusal of a career as a lawyer and WHATaECO was born!”.

Why did you decide to start this project? What made you take the first step?

“Awareness, necessity and courage. We were looking for a low-impact site that promotes sustainable alternatives of different product categories, and we have not found it. More and more people are buying online and greenwashing is rampant, so we have studied the solutions to create an online platform that meets the asks but did it in a sustainable way. WHATaECO is in fact powered by clean energy, we work in dropshipping to halve transport and everything we do is compensated. Even the packaging is sustainable: reused as much as possible, plastic-free and sealed with our paper tape”.

What is your goal?

“We believe in a world that enhances and grows thanks to sustainable entrepreneurship. Our mission is to promote sustainability by providing easy access to goods that are daily needed without having a negative impact on the planet. We currently work with over 130 Italian and foreign brands that share the our vision but there are new products online every week. There are many medium and long term goals that we wish to achieve but we don’t want to spoil you too much!”.

How do you select the brands on the website?

“By materials, corporate values and what the product or service conveys. We offer a catalog of selected brands on the European territory that share our mission, create ethical employment and are part of the virtuous business network that we aspire to be able to help to see a change in the world of commerce. All our products are fair trade, cruelty-free, durable or compostable if disposable and designed to have a lower impact on the environment “.

What products do the brands you choose offer? What can we find on WHATaECO?

“A little bit of everything! The categories currently are Clothing, Cosmetics, Home, Baby and Leisure but the catalog is always growing and we are very proud to have also launched the online courses and experiences category, that we would soon like to expand with sustainable tourism projects. Based on the outcome of the online crowdfunding campaign, which will close in September, we hope to also open the category dedicated to food and drinks!”.

You have started a crowdfunding campaign, can you briefly tell us what it consists of and how we can participate?

“It is a huge project in progress, and there are 68 days to go (Ed: now there are less than 60 days!) to close the campaign. We are thrilled with the feedback we have received, because we have managed to raise over 50,000 euros in a couple of weeks, reaching and exceeding the inseparable threshold of the minimum target. We have many ambitious goals to be able to support our brand partners and we sincerely hope to be able to reach the maximum target! You can invest until the end of the summer with a minimum share of 250 euros by becoming a full member of WHATaECO! For those wishing to invest more than 1,000 euros, you will also get free shipping costs on the site for 1 year”.

What was the hardest part of this project?

“We face difficulties on a daily basis. Managing a business for women under 30 in Italy is not easy. Furthermore, being a new brand, the greatest effort is to make ourselves known, to convey to our community that we are Benedetta and Caterina, young, easy-going but with clear ideas: we nurture the ambition to be able to give value to ethical and sustainable businesses. because a different and virtuous economy is possible!”.

It doesn’t seem to be easy, but you are doing very well! And the best part of the project?

“To have the opportunity to meet (digitally and physically) wonderful people. Every day we relate to brands and partners who have put everything into play for a good cause, content creators who carry out a magnificent work of dissemination on the issues of sustainability and social justice with admirable dedication, and conscious consumers who contact us, interact and occasionally write us ‘Finally WHATaECO!’ “.

What aspects of sustainability do you pay attention to in the project?

“We take into consideration procurement, production chain, materials used, durability and disposal. We ask brands many questions (and sometimes their employees too!) to understand their approach in every aspects. To make sure they share and apply our values, we always ask to sign our code of ethics”.

I’m curious: how did you start your zero waste path?

Caterina: “I think it all started when I got into gardening. Taking care of the plants, sowing seeds, watering the summer evenings is one of the things I love most to do in my free time. This closeness to nature has opened my eyes: how lucky are we to be surrounded by so much beauty? How small and passing are we compared to a tree or a bulb that every year gives us a wonderful flower? So I started thinking about the impact of my daily actions, I started to inform myself, to study and to act, and .. I never stopped!”.

Benedetta: “I was the emblem of superficiality when it came to purchases. I led a radically different lifestyle from what I try to pursue today and I have to be honest: I was more carefree. The ‘Zero waste wanna be’ approach leads you to constantly ask yourself questions, to question everything and often have difficulty finding an alternative. Sometimes it is frustrating to feel like a fish out of water or not being able to perfectly embody your ideals, but I would never go back, and do my best every day to improve”.

What do you recommend to those who want to start this journey?

“Think before you do anything. And think for yourself. We do not want to let consumers fall into the trap of ecological consumerism. We encourage consumers to choose WHATaECO when they need to replace something. We do not need bamboo cutlery to be sustainable, but to think before acting and take into account the needs and circumstances of the present moment. It is not philosophy: before having an aperitif, we think and order the drink without a straw. Refusing, very often, is the first step in starting a zero waste lifestyle“.

Thanks Benedetta and Caterina! We follow your crowfunding campaign and we are happy to be present on WHATaECO!

Here you can find WHATaECO:

Site
Instagram
Equity crowdfunding campaign

And here, our course!

Foto: WHATaECO

What kind of brands do you feature? How many are there?

“Our platform features more than 60 brands with different values: vegan (PETA too), fairtrade, recycled, upcycled, bio, organic, with many certified GOTS and Oeko-Tex brands. We are working to include second hand as well”.

To be included, do the brands have to match certain criteria? If yes, which are they?

“We only accept sustainable and ethical fashion brands that offer fair wages and working conditions, have transparent manufacturing and are free from animal cruelty”.

The criteria, i.e. the characteristics of the products offered, are:

• Sustainable
• Vegan
• Organic
• Natural materials
• Recycled or up-cycled
• Economic empowerment – Fairtrade
• Handmade
• Artisan craft
• Charity or Second Hand (work in progress)
• Eco certified
• Local production

How many aspects  have to be satisfied to be part of Eco Fashion Labels?

“Of course the more, the better. One of our goals, as a marketplace, is to be a platform and a showcase for small emerging brands, so it happens to accept brands with only one value of those. Moreover, some values can’t coexist: if a brand makes recycled real leather accessories, it can’t be vegan too. Before accepting a brand we have a thorough application process, in collaboration with the brand itself, to check if they really are sustainable. We look at their certificates (Gots, Fairtrade, Oeko-Tex, Peta etc) but also at their materials, which have to be sustainable (organic cotton, Tencel, Modal, recycled etc)”.

Where do the brands come from (where are they located)? Worldwide?

“We mainly work with European brands, but we also have brands in Japan or India. We don’t exclude anyone, but it’s critical to support local buying. This is done with localization tools as well”.

How does the platform work (for clients and for brands)?

“Clients can use the platform as any e-commerce site. All items are categorized by genre, and you can browse by label and country too. We have a Loyalty Program for users to gain points and get special discounts. Brands can upload items and products with their images and descriptions, with full control on how they want to look. There are no fixed costs for being on Eco Fashion Labels”.

Among the readers of Dress ECOde there are also many people who carry on an activity caring for sustainability issues. If they are interested in participating, what should they do?

“If you want to apply to start the onboarding process just visit the website page and fill in the form. If you want to tell us that you got the link here, just write it down in the comment section of the form! We also offer an Affiliation Program if you want to collaborate with us at this link “.

What are the benefits of the presence on Eco Fashion Labels

“Brands can get a worldwide selling channel, and grow their business by showing products to our large international audience, with no fixed fee. Our dedicated support team is always ready to help with managing anything on the platform. We will soon have some marketing packaging available, to get more visibility on our e-shop (featured on homepage, prioritized products in the categories) but also to be featured in paid ad campaigns on Facebook, Google and Instagram. There will also be the possibility to be featured on our blog and in dedicated newsletters. We are aiming to launch in April”.

How and where was the platform born?

“Eco Fashion Labels is a startup born in 2019, from the will of young people to do their part to change the fashion industry. Building a platform to put together all the eco fashion brands is the strategy to bring people closer to the brands and spread the lifestyle. The team is made by different nationalities passionate people who live in different countries and work together to make the most inclusive and diverse platform”.

How’s the presence of Italian brands?

“Italian brands presence is strongly increasing, and it currently includes men and women’s shirts, recycled accessories, beachwear and more”.

Ho visto che aderite a un progetto per piantare alberi (Pledgeling), di cosa si tratta? I saw you take part in a project for planting trees (Pledgeling), what this is about?

“Pledgeling is a program that helps businesses collect money for charity. For every order on the platform we donate 1 dollar to the Greenpeace fund, where for each dollar they plant one tree”.

What are other activities or aspects where you put your effort for a more sustainable fashion?

“We take care of packaging aspect, which is often underestimated. We try to give the most information about sizes and products so that useless returns and changes are avoided to cut extra traffic of packages”.

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