Trump Sees Himself as More Like a King than President: Here’s Why

The second Trump administration has made a determined effort to strengthen presidential power and reduce oversight of the executive branch (the presidency). 

By Dafydd Townley

The American Revolution was a result of the tyranny experienced by colonists under the British monarchy. Many Americans had fled from Europe where they had been persecuted under the rule of powerful monarchs. The government produced by the revolution was designed to ensure no such tyranny could be reproduced in the newly formed United States.

The framers of the constitution created a checks-and-balances system of government to ensure that no single branch of the federal government (executive, judicial or legislative) could dominate the others. Each branch has powers to curtail or empower the others.

However, some Americans are concerned about a return of absolute rule due to the steps taken by Donald Trump’s second administration. This has sparked around 100 “no kings” protests all over the US, organised to coincide with Trump’s birthday on June 15.

Increasing presidential power

The second Trump administration has made a determined effort to strengthen presidential power and reduce oversight of the executive branch (the presidency). Achieving this could mean the president acting in an arbitrary manner similar to absolute monarchs of the past, free of congressional or judicial interference.

Trump’s “big beautiful bill”, which has been passed in the House of Representatives and has now gone to the Senate, contains certain provisions that strengthen the role of the president and undermine the checks-and-balances system.

Previous presidents, such as Franklin D. Roosevelt during the New Deal era of the 1930s, had many of their executive orders cancelled by Supreme Court rulings. Over the last five months, the judiciary has ruled on the constitutionality of Trump’s executive actions, putting at least 180 on hold.

As a consequence, the president has continually questioned the validity of the courts to act. At last week’s West Point graduation ceremony, Trump claimed that last November’s election result “gives us the right to do what we wanna do to make our country great again”.

As Robert Reich, the former US secretary of labor, wrote recently, this “big beautiful bill” will remove the courts’ ability to hold executive officials in contempt and undermine any efforts to stop the administration. Supreme Court rulings could be ignored by the executive branch, and Congress would be unable to enforce its subpoenas and laws. “Trump will have crowned himself king,” Reich concluded.

Just like the judicial branch, the legislative branch (Congress) also has the ability to check the executive branch. Congress can override the presidential veto if both the House and Senate pass legislation with a two-thirds majority. And the executive branch (the president) cannot fund any initiatives without the budget being approved by Congress first.

But Trump and his supporters have minimised the impact that Congress can have on this particular bill by including all of the provisions within a budget reconciliation bill. This is a special legislative procedure that is designed to pass bills through Congress quickly.

Bills usually require 60 votes to bypass a filibuster – a tactic used by senators to delay voting on the bill by refusing to end the debate and speaking for exceptionally long times without a break.

But because this is a budget reconciliation, it only requires a majority – 51 votes – to pass the Senate. And because the Republicans have 53 seats in the Senate, Trump is confident the bill will pass without any Democratic interference.

The House narrowly passed the bill, despite some opposition from Republicans. And some Republican senators have also expressed concerns. But this is the latest move to centralise greater power within the presidency.

Trump makes the commencement speech at the West Point military academy.

Trump v the courts

Trump’s apparent belief that he is above the law has, in part, been supported by last year’s Supreme Court ruling which stated that former presidents had immunity from prosecution for official presidential acts. The Trump v United States decision decided such acts included command of the military, control of the executive branch, and execution of laws.

However, this week’s federal court ruling on the legality of Trump’s economic tariffs represents a setback to the administration’s efforts to strengthen presidential power. The Court of International Trade ruled that the White House’s use of emergency powers did not grant it the authority to impose tariffs on every country, and that the constitution states such power resides within Congress.

The Trump administration immediately said it would be appealing the decision. “It is not for unelected judges to decide how to properly address a national emergency,” Kush Desai, the White House deputy press secretary, said on the ruling, and that Trump would use “every lever of executive power” to “restore American greatness”.

All of which has led Trump to quote another authoritarian leader, Napoleon, on social media. His post – “He who saves his Country does not violate any Law” – was a clear rebuke to those who have tried to limit executive authority while he has been in office, and echoes that of former president Richard Nixon who, in an interview with David Frost about the Watergate scandal, argued that the constitution allowed the president to break the law.

This is an extension of the notion that Article II of the constitution has granted the president the authority to act without checks and balances when dealing with the executive branch. It is a theory much touted within Project 2025, believed to be the blueprint for the Trump presidency.

There are other historical comparisons that could be made of Trump’s authoritarian actions, such as the rule of Charles I of England (1625-49), who believed he could govern without consulting parliament except when he needed to raise taxes to conduct overseas campaigns. Ultimately, this led to a period of civil wars and the execution of the king for treason.

While none of these consequences are likely to be replicated, it is clear the US is currently in a constitutional crisis. The Supreme Court has a number of rulings to make on the judicial challenges to Trump’s executive authority. These will have generational consequences – but it is unclear in which way the court, where conservative judges have a 6-3 majority, will lean.

While Trump may not be seeking a crown for his head, he is certainly arguing that he has the right to control the executive branch in the way he sees fit, without any interference from Congress or the judiciary. This is not the separation of powers as prescribed by the framers of the US constitution, but more like the absolutism of medieval monarchs.

Dafydd Townley, Teaching Fellow in US politics and international security, University of Portsmouth

A Second Brush with Greatness: French Impressionism Exhibition Returns to the National Gallery of Victoria

This superb Impressionist painting by Claude Monet of the Grand Canal, Venice from 1908, a star at the NGV exhibition from the Museum of Fine Arts, Boston collection. Cover picture: Eugene Louis Boudin's 'Fashionable Figures on the Beach', 1865. 

After a long, pandemic-imposed silence, the shimmering light and bold brushstrokes of French Impressionism are set to dazzle Melbourne once more. The National Gallery of Victoria's French Impressionism from the Museum of Fine Arts, Boston, has made a triumphant return, after the blockbuster exhibition was cut short in 2021. For art lovers who missed it the first time ~ and those eager to see it anew ~ this is no mere encore. With over 100 radiant works by Monet, Morisot, Renoir, Degas, and more, including newly added treasures never before seen in Australia, the show promises to be a luminous celebration of artistic resilience, rediscovery, and cultural revival, writes Jeanne-Marie Cilento

One of the woman painters in the show:

Lousie Abbema's Renee Delmas de Pont-Jest, 

1875. National Gallery of Victoria

THE exhibition of French Impressionist paintings from the Museum of Fine Arts, Boston, has opened at the National Gallery of Victoria, offering Melbourne audiences a second opportunity to view works that were largely kept behind closed doors during their original 2021 run, which was cut short by pandemic restrictions.

The NGV presentation is part of the Melbourne Winter Masterpieces series, which brings major international exhibitions to the city each year. 

The 2021 version of the Impressionist show was installed but closed within days due to a state-wide COVID-19 lockdown. While some works were briefly on view, most of the public never saw them in person. This restaging is both a practical recovery and a gesture of cultural continuity.

More than one hundred works will be on display, including paintings by Claude Monet, Edgar Degas, Pierre-Auguste Renoir, Camille Pissarro, Mary Cassatt and Berthe Morisot. The collection spans the full arc of the Impressionist movement, from early experiments with light and colour to later, more structured compositions.

“French Impressionism is truly a revelation bringing together masterpieces of this transformational moment in the history of art and foregrounds the voices of the artists at the centre of it all.”

Victorine Meurent's Self-Portrat, 1876.

Museum of Fine Arts, Boston

This is not a simple remount. The exhibition, called French Impressionism from the Museum of Fine Arts, Boston, includes several works not previously shown in Australia. Among them is a self-portrait by Victorine Meurent (see at right) best known as Édouard Manet’s favored model in paintings such as Olympia and Le Déjeuner sur l’herbe. Her inclusion reflects a growing interest in recovering the voices of women artists who were active in ~ but often excluded from ~ the movements they helped shape.

Another new addition is The Garlic Seller by Jean-François Raffaëlli, a painter associated with the realist end of the Impressionist spectrum. His work captures the street life and rural outskirts of Paris with the same spontaneity and looseness of brush as his better-known contemporaries. Also included is Edgar Degas’s Degas’s Father Listening to Lorenzo Pagans Playing the Guitar, a double portrait that explores themes of domestic intimacy and sound, recently conserved and shown for the first time post-restoration. 

The show is being billed as an opportunity to reintroduce the public to works that were, in many cases, hung but never seen. “We are delighted to have a second chance to share this meaningful exhibition with the people of Australia,” said Matthew Teitelbaum, director of the Museum of Fine Arts, Boston. “French Impressionism is truly a revelation that brings together masterpieces of this transformational moment in the history of art and foregrounds the voices of the artists at the centre of it all.”

The exhibition also emphasizes the social and structural shifts that formed the backdrop to Impressionism’s rise: industrialization, urbanization, and the changing rhythms of daily life in modern France.

Berthe Morisot's daughter and step-niece

depicted in her work, Embroidery, 1889. 

National Gallery of Victoria

The paintings span from early plein air experiments of the 1860s through to the sun-drenched garden scenes of the 1890s and early 1900s.

A group of sixteen works by Claude Monet anchors the presentation, including several paintings from his Giverny period. 

But the exhibition also emphasizes the social and structural shifts that formed the backdrop to Impressionism’s rise ~ industrialization, urbanization, and the changing rhythms of daily life in modern France.

Tony Ellwood, director of the NGV, emphasized the depth of the Boston collection: “Their collection has the unique ability to narrate the entire trajectory of the Impressionist movement, from its precursors to its zenith, with rich detail and nuance." This exhibition is an opportunity to explore the full range of artists associated with it.

Many of the paintings were part of independent exhibitions organized by the artists themselves after being repeatedly rejected by the Salon, the official annual art show of the Académie des Beaux-Arts in Paris

Claude Monet's delightful painting of Camille

 Monet and a child playing in the artist's 

garden at Argenteuil, was created in 1875.

Musuem of Fine Arts, Boston 

Alongside well-known names, it includes paintings by lesser-known figures such as Louise Abbéma and works on loan from the NGV’s own collection, including Berthe Morisot’s Embroidery (1889) and Paul Signac’s Gasometers at Clichy (1886), which hint at the evolution toward Post-Impressionism and Divisionism.

While the show features paintings, it also incorporates archival material and contextual design to evoke the cultural atmosphere of 19th-century Paris and Boston. Letters, early reviews, and period decor are included to give audiences a sense of how these works were seen ~ and often criticized ~ in their own time. The design is intended not only to complement the art but to foreground the artists’ own words and intentions.

Many of the paintings were part of independent exhibitions organized by the artists themselves after being repeatedly rejected by the Salon, the official annual art show of the Académie des Beaux-Arts in Paris. Works like Degas’s At the Races in the Countryside and Renoir’s Mixed Flowers in an Earthenware Pot were once considered radical for their loose handling and informal subjects.

The show incorporates archival material and contextual design to evoke the cultural atmosphere of 19th-century Paris and Boston

Paul Cezanne's Fruit and a Jug on a Table, 1890-94.

Musuem of Fine Arts, Boston 

The Boston MFA has one of the largest and most comprehensive collections of French Impressionist art outside France, a result of 19th-century American collectors’ appetite for modern European painting. 

The relationship between the NGV and the MFA dates back more than a decade and has included loans, exchanges, and research partnerships.

From a civic standpoint, the exhibition is expected to draw substantial attendance. "It brings the world of art to Victoria, giving local audiences the opportunity to see and experience masterpieces that rarely travel,” said Colin Brooks, Victoria’s Minister for Creative Industries. “At the same time, exhibitions of this quality draw visitors from far and wide, injecting millions into our economy. French Impressionism is no exception, and we’re pleased to give this extraordinary exhibition the run it deserves.”

The exhibition at the National Gallery of Victoria will run through October 5th 2025. It is exclusive to Melbourne.

The Kimono is More than an Artefact and More than Clothing. It is a Concept Artists Will Make their Own

Installation view of the 'Kimono' exhibition on display from June 4th to October 5th, 2025, at NGV International, Melbourne, Australia. Photograph: Mitch Fong

By Sasha Grishin, Australian National University

Issey Miyake after Ikko Tanaka,
Sharaku, 2016. Coat, necklace,
hair comb, bangle and bag.
National Gallery of Victoria 
© Miyake Design Studio

The kimono garment, the national dress of Japan, carries within itself all of the magic and traditions of Japanese culture.

The basic features of the kimono are fairly simple. It is a wrapped front garment with square sleeves that has a rectangular body where the left side is wrapped over the right, except in funerary use.

The garment may be traced back to the Heian period as a distinctive style of dress for the nobility. In the Edo period (1603–1867) it came to a glorious culmination with colourful and expensive fabrics.

The great poet Matsuo Bashō once wrote “Spring passes by / again and again in layers / of blossom-kimono”. Since childhood I’ve loved the mystical image “blossom-kimono”.

In 2020, the Victoria and Albert Museum in London staged their epic exhibition Kimono: Kyoto to Catwalk, where hundreds of garments, accessories, prints and photographs charted the history of the kimono from the 17th century through to the present.

A new exhibition from the National Gallery of Victoria is similarly ambitious. Over 70 fabulous garments of exquisite craftsmanship – some made of silk with gold and silver embroidery and dazzling designs – have been assembled within a context of over 150 paintings, posters, wood block prints, magazines and decorative arts.

Although many of the items have never been previously exhibited in Australia, most are now in the collection of the NGV, with many specifically acquired for this exhibition.

Exquisite production

There are seven newly acquired Edo-period silk and ramie kimonos, richly decorated with leaves, tendrils and falling snow. They provide us with a glimpse at the wealth and sophistication of the samurai and merchant classes of the 18th and 19th centuries.

One of the highlights is the Uchikake Furisode wedding kimono with pine, bamboo, plum and cranes, from the early to mid-19th century.

It is a display of exquisite taste with satin silk, shibori tie dyeing, and embroidery with gold thread. The birds and the vegetation seem to float on the surface and must have created an amazing sight when worn.

Uchikake Furisode wedding kimono with pine, bamboo, plum, and cranes early–mid 19th century. Satin silk, shibori tie dyeing, embroidery, gold thread, 177.5 cm (centre back) 131.0 cm (cuff to cuff). National Gallery of Victoria, Melbourne Purchased with funds donated by Michael and Emily Tong, 2024

The garment is simple and functional and, despite the exquisiteness of its production, it is also restrained in contrast to the conspicuous exuberance of some examples of 19th century European courtly dress.

Some of these Edo period kimonos can become quite narrative-driven in their design, as with the Hitoe kosode kimono with themes alluding to eight Noh theatre plays of the late Edo period. Slightly smaller than the wedding kimono, that was 177.5 cm long as opposed to 167 cm, this one revels in a blue background on gauze satin silk with a multiplicity of little narrative scenes like an assembly of diverse stage sets.

Hitoe kosode, kimono with themes alluding to eight Noh theatre plays late Edo period. Gauze satin silk, paste resist dye, embroidery, gold thread, 167.0 cm (centre back) 124.0 cm (cuff to cuff). National Gallery of Victoria, Melbourne Purchased with funds donated by Jennifer Lempriere and Michael Pithie, 2024

The exhibition also includes the work of contemporary Japanese kimono designers including Hiroko Takahashi, Jotaro Saito, Modern Antenna, Tamao Shigemune, Y&SONS, Rumi Rock and Robe Japonica.

The kimono as a concept

The kimono is more than an historic artefact, one where ideas and methods of production were to remain constant for centuries. It is also an idea that inspires designers working in international fashion houses.

The NGV exhibition includes kimono-inspired works of Issey Miyake, Yohji Yamamoto, John Galliano, Comme des Garçon, Alexander McQueen, Givenchy, Zambesi and Rudi Gernreich.

Alexander McQueen’s Gown, belt and sandals (Dégradé) (2007) is one of the takeaway memories from this exhibition. The humble functional kimono has been totally transfigured.

To the silk-satin shell there have been added leather, metal and rubber accessories and synthetic shoulder pads. The purple and pink colour scheme and the sweeping sleeves that trail along the ground create a mesmerising and dominant phantom-like character that owns and dominates the space.

Gown, belt and sandals (Dégradé), 2007. The blue lady (La Dame Bleue) collection, spring-summer 2008. Silk (satin), patent leather, leather, synthetic fabric (shoulder pads, wadding), cotton (laces), metal (fastenings), rubber, (a) 176.0 cm (centre back) 33.5 cm (waist, flat) (dress) (b) 37.0 × 61.0 cm (belt) (c-d) 23.0 × 19.5 × 80.0 cm (each) (sandals). National Gallery of Victoria, Melbourne, Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government’s Cultural Gifts Program, 2021 ©Alexander McQueen

It is difficult not to be impressed by McQueen’s vision, but we have now moved quite a long way from the kimono.

The kimono is a wonderful concept – an armature on which to hang many different ideas. The beauty of this exhibition is that it frees the idea of a garment from a static piece of cloth, at best to be displayed on a dummy, to something approaching a concept in design that artists will clasp and from which they will create their own work.

There are many rich nuances in the show, for example the superb almost monochrome and somewhat gothic Men’s undergarment (nagajuban) with graveyard, skulls and crescent moon (c.1930).

Men’s undergarment (nagajuban) with graveyard, skulls and crescent moon c. 1930. Silk, wool, cotton 127.0 cm (centre back) 130.5 cm (cuff to cuff). National Gallery of Victoria, Melbourne Maureen Morrisey Bequest, 2018

At the same time, we have Women’s kimono with geometric design and accessories (c.1930) with its polychrome exuberance with reds, blacks and greys combining geometric motifs with soft organic feather-like forms.

Bashō’s “blossom-kimono” was a meditation on the passing of time and the hope that a young girl will live to experience wrinkles that come with old age. The kimono in this exhibition celebrates the passing of time and generational change within the life of an immortal idea about function, form and ideas of beauty.

Kimono is at the National Gallery of Victoria until October 5.

By Sasha Grishin, Adjunct Professor of Art History, Australian National University

In Vogue: the Nineties Were a Boom Time for Australian Fashion and Faces. What Happened?

Collette Dinnigan was the first Australian designer to show at Paris Fashion Week in 1996 . Pictured above is a look from her last collection in the French capital at Le Meurice Hotel for Autumn/Winter 2013. 

By Sasha Sarago

The In Vogue: The 90s series transports audiences back to the glamour and grandeur of a transformative decade for fashion. Set against the backdrop of New York, London and Paris, the series explores the rise of supermodels, designer powerhouses and fashion’s global influence. But the fashion scene in Australia  ~ a country that was also enjoying a meteoric rise in international success at the time ~  does not crack a mention.

The 1990s marked a golden era for fashion. Supermodels like Linda Evangelista, Naomi Campbell, Cindy Crawford and Christy Turlington became style icons. Designers like Tom Ford, Jean-Paul Gaultier, and John Galliano pushed the boundaries of fashion creating moments that defined the times and influenced everything from pop culture to politics.

Even though Australia may not have had the runway clout of Paris or New York, the nation was making significant strides in fashion during the same period. Australian designers’ and models’ distinct styles were impressive – giving fashion heavyweights a run for their money.

So, what went wrong?

The 90s turned the fashion industry upside down.

Australian designers, international success

In the 1990s, Australian designer houses such as Alannah Hill, Collette Dinnigan, Akira Isogawa and Sass & Bide signified Australia’s “coming of age” in fashion, with each designer bringing a unique flair and Australian sensibility to the international market.

Alannah Hill created a whimsical aesthetic with an edgy twist. Her designs, worn by celebrities Nicole Kidman, Helena Christensen and Courtney Love, earned her a cult following. Business skyrocketed from her Chapel Street boutique in Melbourne to the department stores Selfridges and Browns in London and Bergdorf Goodman and Henri Bendel in Fifth Avenue, New York City.

In 1996, Collette Dinnigan gained worldwide acclaim as the first Australian designer to showcase her collection at Paris Fashion Week. Dinnigan’s delicate lace dresses and couture craftsmanship found a spotlight at London’s Victoria & Albert Museum’s Fashion in Motion exhibition. Striking while the iron was hot, Dinnigan secured a lingerie collaboration with Marks & Spencer.

Collette Dinnigan’s designs were celebrated in a 2015 retrospective exhibition. 4Susie/Shutterstock

Akira Isogawa, known for his blend of Japanese and Western aesthetics shared his first collection in 1994. He has presented subsequent collections in Paris bi-annually, a legacy sustained since 1998. Innovative from the jump, he turned early constraints to strengths. When the budget for his first big show didn’t stretch to shoes, he sent models down the runway in little red socks. The fashion statement helped him eventually secure more than 50 retail partners.

Sass & Bide, founded in 1999 by friends Sarah-Jane Clarke and Heidi Middleton, brought a youthful, urban energy from London’s Portobello Road Markets back to Australian shores. Their signature brand quickly gained popularity and was acquired by Myer in a A$42.3 million two-part deal. Australia was no longer a disconnected island but a wild card in the global fashion ecosystem.

Australian faces and Elaine George’s Vogue cover

Australian designers weren’t the only superstars gaining fashion fame.

By the time the supermodel phenomenon etched itself into the fashion zeitgeist, Australian model and businesswoman Elle Macpherson (known then as The Body) was already well known. Australian models Sarah Murdoch, Kristy Hinze, Kate Fisher and Alyssa Sutherland would follow.

Sarah Murdoch (nee O'Hare, pictured with Anneliese Seubert and Emma Balfour in 1996) graced Australian catwalks in the 90s. Patrick Riviere/Getty

Magazine cover models throughout the 90s showed sun-kissed “girl next door” charm. The exception was Emma Balfour, often touted as Australia’s androgynous counterpart to Kate Moss’s grunge-bohemian look.

But 1993 produced a turning point in Australia’s beauty paradigm. It was the year Elaine George, Australia’s first Aboriginal fashion model, arrived on the cover of Vogue Australia magazine, making fashion history. Elaine’s presence highlighted the Australian fashion industry’s prioritisation of Eurocentric beauty ideals.

First Nations beauty and fashion talent urgently needed celebrating. But Vogue’s Australian readers had to wait until October 2000 until Torres Strait Islander singer-songwriter and actress Christine Anu was featured on the cover. The gap showed the stain of underrepresentation and inequity within Australian fashion’s reputation had remained.

The 2000s, when fashion got much faster

While the 1990s were a period of optimism and growth for Australian fashion, the momentum failed to continue into the 2000s. Several factors contributed to this decline.

One of the most significant changes was the rise of fast fashion in the early 2000s. Brands like Zara, H&M and Forever 21 began dominating the global market with affordable, quickly produced garments.

This shift left many independent designers, including those from Australia, struggling to compete. The slow, meticulous craftsmanship that had defined Australian designers in the 90s could not keep up with the fast-fashion cycle.

Another challenge was the lack of sustained support for the Australian fashion industry. Unlike New York, London or Paris, which had well-established fashion infrastructures, Australia’s fashion scene was still relatively young. There was no long-term strategy to nurture emerging talent or to promote Australian fashion on a global scale. Many designers either relocated abroad or found it difficult to maintain the same level of success they had achieved in the 90s.

A new Renaissance?

The story of Australian fashion in the 1990s is one of promise, yet ultimately missed opportunity. Today, Australia has a chance to enter a new renaissance fuelled by digital innovation and its unique cultures.

The rise of digital fashion enables Australian designers to break free from the constraints of traditional fashion markets. With virtual clothing (simulated for real wear or digital realms), AI-powered design tools and metaverse runways, Australian creatives can harness technology to showcase their work globally.

The championing of Indigenous models, designers and multicultural identity is essential. This inclusivity could position Australia as sustainable and ethical fashion innovator and present a compelling alternative to the fast-fashion giants.

Sasha Sarago, First Nations Cultural Innovation Lead - Beauty and Technology, Charles Sturt University

Does Renting Clothes Instead of Buying Them Have a Real (Positive) Environmental Impact?

New research challenges the assumption that clothing rental services are inherently sustainable. 

By Joëlle Vanhamme, EDHEC Business School and Valerie Swaen, Université catholique de Louvain (UCLouvain)

Is renting clothes instead of buying them truly better for the planet? As the textile industry faces growing scrutiny for its environmental impact, clothing rental services promise consumers the opportunity to refresh their wardrobe frequently while lowering their carbon footprint. But is this solution as eco-friendly as it appears?

This is the question we sought to answer in our recent study. We chose to examine the hidden effects of consumer behaviour when using access-based services (ABS) instead of owning clothes.

Beware of the rebound effect

Our qualitative and quantitative studies highlight a surprising fact: far from always reducing the ecological footprint, clothing rentals can actually encourage increased consumption among certain types of consumers! The cause? The rebound effect, a phenomenon that occurs when the expected environmental gains are reduced, cancelled out or even reversed by compensatory behaviours on the part of consumers.

These issues are part of a wider debate on the limits of solutions perceived as ecological and on how consumers and businesses can react to avoid the pitfalls of overconsumption disguised under a different name.

ABS are built on a simple idea: instead of owning a good, the consumer benefits from it temporarily in exchange for the payment of a monetary contribution. Possession is no longer an imperative. This paradigm shift has been made possible by the rise of digital platforms in transport (Uber), leisure accommodation (Airbnb), household appliances and, more recently, fashion.

Popular flexibility

Clothing rentals, once reserved for special occasions such as weddings or galas, are now available for everyday wear. Platforms such as Le Closet and Coucou allow consumers to hire designer clothes for a few days or a few weeks, before returning them to rent new ones.

Consumers especially value the flexibility and variety these services provide. They can stay up-to-date with fashion trends without committing long-term, all while engaging in a consumption model presented as more sustainable. Textile production is among the most polluting industries, especially with the rise of fast fashion. In principle, subscribing to a clothing rental service should not only limit the quantity of clothes produced, but also extend their life by offering them to several successive users.

When the cure turns to poison

Through conducting interviews with 31 users of Franco-Belgian clothing rental platforms, we identified various rebound effects that challenge the idea that renting clothes is inherently more sustainable than buying them.

Rebound effects occur when efficiency gains or practices that are supposed to be sustainable, such as clothing rental, paradoxically lead to an increase in consumption.

The easy access – variety and low cost of rented clothes can encourage a more frequent use of the service, or even lead to buying clothes impulsively (some people even buy clothes they initially rented!) – can cancel out the expected environmental benefits of renting instead of buying (direct rebound effect).

On the other hand, someone who saves money by renting clothes may use those funds to buy other goods or services in other product categories (high-tech products, travel, household equipment, etc.), thereby increasing their total consumption and their ecological footprint.

Our quantitative study of 499 users allowed us to reach this conclusion, but it is crucial to understand that these effects are not homogeneous and vary according to consumer groups and their psychological motivations.

The rebound effect is not homogenous

Our study identifies two of the five groups analysed – representing about one-quarter of clothing rental service users – as particularly prone to experiencing negative rebound effects.

The “thrill and pleasure seekers” group (7%) is characterised by a strong search for stimulation and hedonistic motivations and is mainly made up of men. For them, renting clothes does not reduce their overall consumption, and on the contrary, it can increase it by stimulating their desire for novelty and diversity.

The group of “contextually apathetic spenders” (18%) displays paradoxical behaviour: although they are not particularly motivated by pleasure or stimulation, and reduce their consumption of clothes by renting, they increase their purchases in other product categories after renting clothes. They are also the least frugal, which reinforces their propensity for indirect rebound behaviour. They tend to be young urban men, often single and highly educated. These results highlight the need to address the diversity of consumer behaviour within the sharing and ABS economy, and to adapt strategies for each consumer group.

Other avenues for responsible fashion

Although ABS have the potential to promote more sustainable consumption habits, they can also encourage behaviours that negate these benefits – or worse, exacerbate environmental impacts. This research, therefore, challenges the assumption that clothing rental services are inherently sustainable.

What are the avenues for more responsible fashion? As ABS gain in popularity, it becomes crucial to understand how to maximise their ecological potential while minimising undesirable rebound effects. To achieve this, businesses and consumers alike may need to rethink their approach.

The implications for managers and policy-makers are clear: it is not enough to promote clothing hire as a sustainable solution. With around a quarter of users of clothing rental services likely to exhibit negative rebound behaviour, it is essential to identify these consumers and provide them with appropriate information and incentives to limit these effects.

Finding other incentives

Rental companies’ communication strategies need to be differentiated according to consumer segments. For people looking for stimulation and pleasure, hedonic incentives unrelated to the clothes rented, such as competitions, games, rewards or gifts, can be effective. For apathetic consumers, reminders of the negative consequences of their behaviour can make them think more carefully about their choices.

Companies should avoid solely emphasising the inherently hedonic aspects of clothing rentals, as this approach may inadvertently reinforce negative rebound effects. Instead, they should highlight the ecological benefits and promote value co-creation with consumers, addressing their needs while minimising environmental impact.

For example, clothing rental services could encourage the more responsible long-term rental of eco-designed products from brands that share the same ecological values. Instead of promoting the rapid rotation of items, they could encourage users to reduce the frequency of exchanges and limit the number of items that can be rented at the same time.

Efforts on all fronts

Companies could also raise consumer awareness about the environmental impact of their choices by sharing data, such as the carbon footprint of rented clothes or the number of additional uses a rented garment achieves compared to a purchased one.

Clothing rental companies should collaborate to share information and develop a deeper understanding of the environmental impacts of their practices. Through such cooperation, they can better target consumer segments and promote more responsible consumption behaviours.

At the same time, consumers play a crucial role in transforming fashion toward more thoughtful consumption. This shift begins with rethinking their relationship with fashion and adopting a minimalist approach that priorities quality over quantity.

Consumers can also choose “ethical” pieces – responsibly manufactured garments that combine style and durability. Before renting a garment, they might ask themselves, “Do I really need this?” Such mindfulness can help prevent impulse rentals and reduce environmental impact.

Achieving sustainability in clothing rental platforms requires a shared commitment from both businesses and consumers. Only through collaborative efforts can these apparel – based services deliver on their promise: reducing fashion’s carbon footprint while fulfilling consumer aspirations.

Joëlle Vanhamme, Professeur de marketing, EDHEC Business School and Valerie Swaen, Professeure ordinaire, Université catholique de Louvain (UCLouvain)

The Psychology Behind the Breakup of Elon Musk and Donald Trump

According to former White House strategist Steve Bannon, what really caused the crash was when the president refused to show Musk the Pentagon’s attack plans for any possible war with China.

By Geoff Beattie, Edge Hill University

It is not a good break-up. These were always two big beasts used to getting their own way. Two alpha males, if you like the evolutionary metaphor, trying to get along. And now the Donald Trump and Elon Musk relationship is in meltdown.

Who could forget that iconic image from just a few short weeks back? Elon Musk standing behind the seated US president, Donald Trump, in the Oval Office, towering over him. Trump, his hands clasped, having to turn awkwardly to look up at him. That silent language of the body. Musk accompanied by his four-year-old, a charming and informal image, or that great evolutionary signal of mating potential and dominance, depending on your point of view.

These were also clearly two massive narcissistic egos out in their gleaming open-top speedster. Musk was appointed special advisor to Trump, heading the Department of Government Efficiency, cutting excess and waste. The backseat driver for a while.

There were a lot of bureaucratic casualties already, roadkill at the side of the highway as the sports car roared on with frightening speed. But things were always going to be difficult if they hit a bump in the road. And they did. Perhaps, more quickly than many had imagined.

There were differing views on what caused the crash. Many pointed to the dramatic fall in Tesla’s sales – a 71% fall in profits in one quarter – and the inevitable impact on Musk’s reputation. Since the break-up, Tesla’s share price has also dropped sharply, as investors have panicked. The attacks on Tesla showrooms couldn’t have helped either.

Others pointed to Trump’s proposed removal of the tax credit for owners of electric vehicles, or the political backlash in Washington over Space X’s potential involvement in Trump’s proposed “golden dome” anti-missile defense system.

However, according to former White House strategist Steve Bannon, what really caused the crash was when the president refused to show Musk the Pentagon’s attack plans for any possible war with China. There’s only so far being the president’s best buddy can get you. Bannon is reported as saying: “You could feel it. Everything changed.” That, according to Bannon, was the beginning of the end.

Elon Musk has criticised Trump’s ‘big, beautiful bill’.

So now we watch Trump and Musk stumbling away from the crash scene. One minute Trump is putting on a show for the cameras. He’s beaming away and introducing the “big, beautiful bill”, a budget reconciliation bill that rolls together hundreds of controversial proposals. Next, he is accusing Musk of “going crazy” and talking about withdrawing government contracts from the Musk empire.

Musk is unhappy too. “I’m sorry, but I just can’t stand it anymore. This massive, outrageous, pork-filled Congressional spending bill is a disgusting abomination,” he wrote on X. “Shame on those who voted for it: you know you did wrong.”

Rejection and repositioning

He says he’s disgusted by the bill. Disgust is one of the most primitive of all the emotions. A survival mechanism – you must avoid what disgusts you. He’s social signalling here, alerting others, warning them that there’s something disgusting in the camp.

Musk is highly attuned to public perception, perhaps even more so than Trump (which is saying something). With his acquisition of X (formerly Twitter), Musk was able to direct (and add to) online discourse, shaping public conversations.

Psychologically, Musk’s rejection of Trump is an attempt to simultaneously elevate himself and diminish the man behind the bill. He can call out the president’s action like nobody else. He is positioning himself anew as that free thinker, that risk taker, innovative, courageous, unfettered by any ties. That is his personality, his brand – and he’s reasserting it.

Trump on Musk’s criticism of the ‘big beautiful bill’

But it’s also a vengeful act. And it’s perhaps reminiscent of another political insider (and geek), former Downing Street adviser Dominic Cummings, who was sacked by the then UK prime minister, Boris Johnson, in 2020. Cummings was accused of masterminding leaks about the social gatherings in Downing Street.

He went on to criticise Johnson as lacking the necessary discipline and focus for a prime minister as well as questioning his competence and decision-making abilities. The revenge of a self-proclaimed genius.

And revenge is sweet. In a 2004 study, researchers scanned participants’ brains using positron emission tomography (PET) – a medical imaging technique that is used to study brain function (among other things) – while the participants played an economic game based on trust. When trust was violated, participants wanted revenge, and this was reflected in increased activity in the reward-related regions of the brain, the dorsal striatum.

Revenge, in other words, is primarily about making yourself feel better rather than righting any wrongs. Your act may make you appear moral but it may be more selfish.

But revenge for what here? That’s where these big narcissistic egos come into play.

Psychologically, narcissists are highly sensitive to perceived slights – real or imagined. Musk may have felt Trump was attempting to diminish his achievements for political gain, violating this pact of mutual respect. This kind of sensitivity can quickly transmogrify admiration into contempt.

Contempt, coincidentally, is the single best predictor of a breakdown in very close relationships.

Disgust and contempt are powerful emotions, evolving to protect us – disgust from physical contamination (spoiled food, disease), and contempt from social or moral contamination (betrayal, incompetence). Both involve rejection – disgust rejects something physically; contempt rejects something socially or morally. Musk may be giving it to Trump with both barrels here.

Break-ups are always hard, they get much harder when emotions like these get intertwined with the process.

But how will the most powerful man in the world respond to this sort of rejection from the richest man in the world? And where will it end?

By Geoff Beattie, Professor of Psychology, Edge Hill University

West Africa’s Designers are World Leaders When it Comes to Producing Sustainable Fashion

West African fabrics and design offer a more sustainable way to produce fashion 

By Adwoa Owusuaa Bobie, Kwame Nkrumah University of Science and Technology (KNUST)

Every few weeks global fast fashion brands mass produce their latest clothing, pumping out garments to be sold around the world. There is growing criticism that it’s socially irresponsible to produce such large volumes of clothes so often. It leads to surplus and waste that takes a toll on the environment. And by requiring new styles so often it also stifles designers’ creativity in an industry that thrives on it.

Sustainable fashion means clothes being produced and consumed in ways that are socially responsible. But the conversation about sustainable fashion has centered mainly on the western and Asian fashion industries. Africa is discussed only as the dumping ground for the tonnes of disposable and secondhand clothes produced by fast fashion brands. My study bridges this gap by showing how fashion designers in west Africa produce their work.

Prèt-a-porter (ready-to-wear) clothing is mass produced by fashion houses – as opposed to couture that is made to measure. West African fashion designers produce what I have termed customised prèt-a-porter – a limited-edition ready-to-wear model that creates the latest fashions in measured volumes.

This is a model for sustainable fashion that allows more space for creativity and innovation and also uses environmentally friendly laundry measures to ensure the long lifespan of clothes.

Customised ready-to-wear fashion

Fashion from Africa has attained global recognition thanks to the creativity of today’s designers. However, very little is known about how the production strategy they use contributes to sustainable fashion.

Designers in Africa are likely to face economic, social, and political challenges that limit production and efficiency in the industry. However, many of the designers in my west African study turned these challenges on their head: while the market limits the possibilities of scaling up production, it in effect endorses innovative sustainable fashion practices.

But west Africa’s contribution to sustainable fashion is not just shaped by what the market won’t allow. As I find in my study, designers are also guided by the socio-cultural milieu of the fashion consumption in the cities where they live. Designers tap into this culture and grow it.

I found that the factors that shape fashion consumption in west Africa include the need to produce clothes that assert social and economic status (exclusivity), the ability to make designs that are not easily replicated (uniqueness), and the creativity to project the personality of each client in the clothes (individuality). While these needs can easily be met through bespoke production, applying them to the kind of ready-to-wear mass production done by fast fashion brands in the west is challenging. Not so with west Africa’s customised prèt-a-porter fashion model.

West African designers offer a much wider variety of creative designs compared to the homogenised designs of fast fashion brands. Most release collections only twice a year – summer and winter – instead of every two weeks like western fast fashion brands. By producing collections less often, west African designers can invest time in creating innovative designs.

Exclusivity, uniqueness and individuality

To achieve exclusivity yet remain affordable, many west African designers use cheaper machine-produced African wax print fabrics but design them flamboyantly to attain a high-end fashion standard. Or some might combine socially valued cloths with less socially valued ones. For example, wax print is combined with exclusive fabrics like the handwoven cloths aso oke and kente or with lace and other imported fabrics.

Making unique designs often requires a little tweaking of popular styles – like offering different sleeve styles and necklines, or using appliques and accessories. Laurie, a participant of the study explains that in stocking different shops across the world with her collection, “I give you at least three sizes … and then maybe two [styles] each”. Thus, in one store, she might stock two pieces of one design across the four sizes she produces, producing eight variations of one design. Of the 40 or 50 pieces she offers a store she’s featuring five or six unique designs.

Most designers emphasised the need to project personality through their pieces. Some do this by catering to a particular target market – like corporate women, businessmen and religious leaders. A Ghanaian designer like Naa projects her personality through her clothes by making something “Naa would like to wear”. Before she produces a collection, she makes a few pieces for herself within the prevailing trend in order to test the market. The styles that receive the most compliments become her collection.

Longer lasting and sustainable

By considering the consumer’s socio-cultural needs in the production process, designers produce more personalised pieces. These create an emotional bond between the clothes and the wearers. Clothes become difficult to part with and are kept for longer, extending the shelf life of west African fashion.

Long periods for the sale of each collection also prevents the pile-up of unsold clothes.

And the traditional methods of maintaining and laundering clothes doesn’t just protect the clothes, it also protects the environment. Hand washing is a longstanding method of caring for locally produced clothes and designers insist that this old method is the best. They instruct their customers on how to maintain the clothes through aeration and hand washing. This reduces the frequency of washing, protecting the environment from high emissions of carbon dioxide and pollution from dyes.

The longevity and exclusivity of the clothes offers a great alternative to the imported second-hand clothing that often ends up in landfills. (That said, the clothing market in west Africa lacks a well-structured second-hand clothing trade system for locally-produced fashion. This would ensure the even distribution of quality clothes among people with different socio-economic backgrounds.)

Ultimately, however, recycling or upcycling are reactive solutions to problems created by fast fashion. Customised prèt-a-porter production, on the other hand, is a proactive way of addressing unsustainable fashion practices.

Adwoa Owusuaa Bobie, Research Fellow, Center for Cultural and African Studies, Kwame Nkrumah University of Science and Technology (KNUST)