RESPONSABILITY FOR CHANGE IN THE WORDS OF
SARA SOZZANI MAINO

Q: Let's start with the challenging questions. Your professional journey, particularly your work with emerging young talent, has led you to observe a strong desire for change in the relationship between fashion and sustainability, which you’ve turned into tangible projects over the years. But is the fashion industry truly transforming?

A: Let’s start with the language: rather than sustainability, I prefer to talk about responsibility. It touches on ethics, rights, and production. Sustainability has become an overused term, while responsibility feels more personal—it reminds us that this is a task we must first tackle individually. To answer your question, I believe that younger generations are more sensitive to these issues, and companies must adapt if they want to survive. From a practical standpoint, production rhythms have also changed. So, yes, the fashion industry is transforming, whether it wants to or not.

Q: Do you think this forced change is also driven by the significant drop in sales over the past year?

A: We need to change our objectives because consumers have changed, and so has the world. Except for ultra-luxury niches, people are no longer willing to spend exorbitant amounts relative to the average cost of living. The decline in sales, even in e-commerce, signals the beginning of a widespread, universal shift.

Q: In your opinion, what is the most likely scenario for how the fashion system will evolve?

A: It’s hard to make predictions now, as we are in the midst of the process. However, I can say that the production chain must change. Too many garments are produced and then wasted, as highlighted in Matteo Ward’s documentary. Companies are already seeking alternative solutions.

Q: We’ve quickly shifted from a long period where owning things seemed most important, to now realizing that preservation is key if we want to survive. Who should care about this transformation?

A: It’s a combination of factors. Companies are entering a new legislative era, with the introduction of digital passports for garments. But consumers also need to be aware and informed. We need to approach our wardrobe like we do our diet—consume in moderation.

Q: Doesn’t that create a bit of "climate anxiety," like reading food labels? Couldn’t shopping become increasingly stressful?

A: We need to investigate with curiosity and awareness, without letting it overwhelm us. Right now, there aren’t enough laws or guarantees to assure us that what companies claim is always true. For instance, anyone claiming to be “100% sustainable” is lying—such absolutes don’t exist. However, there are activist projects that can help, such as the campaign #speakvolume from the activist group The Holy Present, which calls on companies to disclose how much they produce.

Ultimately, the key is the tried-and-true approach: consume less and consume better. This allows us to be more mindful of what we buy.

Q: In your opinion, what are some of the best practices that fashion companies are adopting right now?

A: It’s clear that the most virtuous companies tend to be small to medium-sized, as it’s easier for them to oversee the entire process. A pioneer in this space is Patagonia, which has always championed environmental responsibility. Then there’s Made for a Woman, a project focused on integrating women facing societal challenges through artisanal work. Here, the consumer is making a civic, almost political, statement by supporting not just a company but an entire community—this is a small example of a circular economy.

Q: I always like to end with a touch of nostalgia. You come from a family with fashion in its DNA—do you have memories from childhood when these issues were discussed?

A: We didn’t explicitly talk about it, but the process was slower. No one said “let’s consume less,” but we naturally focused on quality over quantity, which made us more responsible without realizing it. In the ’70s and ’80s, production cycles were different and more natural. There was no awareness of sustainability, but we followed a centuries-old production rhythm with traditional seasons—certainly not four capsule collections per year. Who knows, maybe we’ll return to that model, while still moving forward and embracing innovation.