Florence’s Fashion Fiesta: Pitti Uomo Menswear Autumn 2025 Streetstyle by Andrea Heinsohn

Striking a pose in a three-piece suit in Florence, Italy at the opening of Pitti Uomo. edition 107. Photograph and cover picture by Andrea Heinsohn

The cobblestone streets of Florence transform into a kaleidoscope of sartorial splendor as Pitti Uomo opens its doors for the Autumn/Winter 2025-2026 season. This iconic event, showcasing luxury and artisanal menswear, has become a cultural phenomenon where fashion doesn’t just reside within exhibition halls but spills onto the city’s historic piazzas, cafés, and alleyways. Story by Antonio Visconti. Photography by Andrea Heinsohn

Bold and colourful suiting

is a staple of Pitti Uomo 

"peacocks' in Florence

PITTI UOMO, much like Florence itself, is a meeting point of heritage and innovation, and this year’s streetstyle set the tone for what is shaping up to be a dynamic season in menswear. No event embodies the Italian art of effortless elegance quite like this tradeshow with 790 different designers and brands on display at the Fortezza da Basso. 

Outside, the streetstyle stars, often referred to as Pitti peacocks, make bold and charismatic statements with their attire. Editors, stylists, influencers, and celebrities all converge in Florence, each showcasing a personal interpretation of the season’s trends, often infused with meticulous Italian tailoring.

Think impeccably tailored double-breasted blazers paired with relaxed wool trousers or sharply cut houndstooth coats offset by chunky sneakers. Some embraced the resurgence of vintage aesthetics, sporting wide-legged trousers, velvet blazers, and bold geometric prints reminiscent of the 1970s. 

Others leaned into minimalism, creating a visual contrast with muted tones of taupe, camel, and charcoal gray juxtaposed with clean silhouettes.

Pitti Uomo men understand the transformative power of accessories, and this season, they didn’t disappoint. Wide-brimmed fedoras, intricately patterned silk scarves, and bold statement sunglasses were seen adorning many outfits, adding layers of personality to already polished looks. Footwear also took centre stage, with an array of options ranging from classic brogues and loafers to modern Chelsea boots and avant-garde sneakers.

Leather designs, another hallmark of Italian craftsmanship, were on full display. Many carried structured handbags or oversized tote bags, signaling a shift toward practical yet stylish daily essentials. The prominence of jewellery ~ chunky rings, layered chains, and vintage watches ~ underscored the growing importance of accessories in elevating a man’s wardrobe.

Outside, the streetstyle stars, often referred to as Pitti peacocks, make bold and charismatic statements with their sartorial savoir faire

Beautifully tailored, sleek, wool

overcoats were highlights at 

Pitti Uomo during wintry days

Florence’s chilly January air provided the perfect backdrop for displayin this season’s outerwear trends. Long wool overcoats in bold plaids, herringbone patterns, and textured fabrics dominated the scene, demonstrating how tailoring remains at the heart of menswear.

Quilted jackets and puffer coats added a more casual flair, particularly in striking colors like deep burgundy, olive green, and even metallic finishes. Capes and ponchos ~ an unexpected but welcome addition~ offered a dramatic silhouette, blending functionality with a sense of theatricality. These pieces weren’t just outerwear; they were statements, capturing the imagination of onlookers and streetstyle photographers alike.

While Pitti Uomo is rooted in tradition, it has also become a space where self-expression reigns supreme. Attendees often blend the old with the new, combining classic tailoring with streetwear influences or experimenting with gender-fluid silhouettes. Oversized blazers were paired with cropped trousers, while knitwear in unconventional patterns added a touch of whimsy to more formal ensembles.

Notably, this year saw a celebration of texture: plush velvets, smooth silks, and chunky knits were layered with precision, creating outfits that were as tactile as they were visually striking. This interplay of materials, colors, and proportions underscored a key takeaway from Pitti Uomo: menswear is becoming increasingly diverse, experimental, and boundary-pushing.

The trends showcased here often serve as a bellwether for global menswear, trickling down from luxury brands to high-street retailers 

The crowds gathered at the 

Fortezza da Basso to see

the designers on show 

Pitti Uomo’s influence extends far beyond the medieval streets of Florence. The trends showcased here often serve as a bellwether for global menswear, trickling down from luxury brands to high-street retailers. This season, the emphasis on individuality, craftsmanship, and the merging of traditional and contemporary aesthetics suggests a continued shift towards personal style over prescriptive fashion rules.

Celebrities and influencers play a significant role in amplifying the event’s reach. Their curated looks, captured by street-style photographers, quickly find their way to social media, sparking conversations and inspiring audiences worldwide. Whether it was a subtle nod to sustainability through vintage pieces or bold experimentation with avant-garde designs, their outfits underscored how Pitti Uomo continues to be a melting pot of creativity.

With this new 107 edition of Pitti Uomo, one thing is clear: Florence remains at the heart of the menswear conversation. The Autumn/Winter 2025-2026 season has set a high standard, showcasing a harmonious blend of tradition, innovation, and personal expression. 

From the grandeur of the city’s historic architecture to the dynamic street style that fills its squares, Pitti Uomo encapsulates the spirit of modern menswear. It’s more than a trade show; it’s a cultural moment, a celebration of artistry, and a testament to the enduring appeal of fashion as a means of storytelling. The Pitti Uomo peacocks may return to their roosts, but their sartorial influence will linger, shaping trends and inspiring wardrobes for seasons to come.

Scroll down to see more highlights from Pitti Uomo number 107 Autumn/Winter 2025-2026

What Will Men be Wearing in 2025, According to Milan Fashion Week

Comfortable classics were the key at Milan Men's Fashion Week for Fall 2025 along with a neutral colour palette. pictured at Brett Johnson's latest collection. Photograph: Anna Nguyen

We’re fresh off the heels of Milan’s Men’s Fashion Week, and the fashion world is abuzz with talk about the styles that will inevitably inform fashion throughout this fall and beyond.

This season, Milan’s looks were either classic styles or comforting pieces that are likely to stay relevant in the men's fashion world for several years.

The question is, what can we learn about upcoming men's fashion trends as we look back at the entire week? Keep on reading to find out our takes on what Milan means for fall fashion on the whole. 

Don’t Doubt the Denim

Double denim might’ve been on the back burner for years, but if you take any lessons from Milan’s men’s week, let it be this: you don’t want to doubt the power of double denim right now. We saw this style cropping time and again, not just from one designer, but from…well, most of them if we’re honest. Dolce & Gabbana and Massimo Georgetti from MSGM went particularly full throttle on the denim front, with entirely denim ensembles dazzling on the catwalk. Even brands that typically stay away from denim in their collections appeared to dabble this year, including Brunello Cucinneli, who showcased raw-edged denim in place of more typical casual cashmere looks. 

The Peak of Practical Performance

Runway fashions might not be practical, but this season in Milan there were plenty of comfortable go-to outfits. This was perhaps most evident from London designer brand Saul Nash during a Milan debut that included high-performance outerwear such as enveloping parkas and chunky multi-purpose cummerbunds. And, Saul Nasuh weren’t the only ones dabbling in practical outerwear. This year’s show also saw Italian brand Brioni transforming its iconic tailored blazers with detachable insulating gilets for the first time. In fact, there was a parka coat in pretty much every collection!

A Nod to Accessories

The accessories on display at Milan’s Men’s Fashion Week tend to be as hot as the fashions themselves, and in previous years have included everything from beanies to men’s silver necklaces. This year’s accessories were every bit as interesting and included Church’s high-tech lace-ups in the Biblioteca Braidense library and a new model of Derby boots by Santoni. Luxury luggage also gave us all something to talk about, with Valextra zooming in on ‘commuter-intended signature designs with modern needs in mind’, which included new proportions for both the Boston Babila weekender bag and Avietta briefcase.

Takeaway

Milan’s Men’s Fashion Week always marks an exciting moment in the fashion calendar, and this year was no exception thanks to shows that spoke to a modern audience. From drop-dead denim to accessories that look great and serve a practical purpose, Fall 2025 looks set to bring men’s fashion-forward in all of the right ways.

Influence, Authority and Power: How Elite Women Played a Crucial Role in the Italian Wars of the 16th Century

Portrait of Isabella D'Este by Titian, circa 1530. Oil on canvas, Kunsthistorisches Museum, Vienna. Cover picture by Elli Ioannou for DAM

By Susan Broomhall, Australian Catholic University and Carolyn James, Monash University

Wartime has often presented opportunities for women to step into leadership roles denied them in peacetime. The Italian Wars, a series of military conflicts fought mainly in Italy between 1494 and 1559 by Europe’s dominant political powers, were no exception.

By the end of the wars, many parts of Italy had fallen under Hapsburg rule, joining an empire that stretched across much of the European continent and even to the Americas, shaping Europe’s power hierarchies for centuries to come.

Our new research has revealed the significant roles elite women played in prosecuting war and negotiating peace during this pivotal time in European history. We looked particularly at Isabella d’Este (1474–1539), marchioness of Mantua, and her sister-in-law, Lucrezia Borgia (1480–1519), duchess of neighbouring Ferrara.

Battle scene on the tomb of Francis I of France, in the Saint-Denis Basilica. Racinaire/Wikimedia Commons, CC BY-NC-SA

Men deputised women to free themselves up to fight. They knew these women were well educated and would handle affairs competently. The women we examined made important administrative, diplomatic and financial contributions to retain power in small Italian states often perilously close to the front line.

Against all odds, both Mantua and Ferrara survived the wars, remaining in the control of the Gonzaga and Este families, respectively. This was in no small part because of the work of the prominent women within these ruling dynasties.

Lucrezia Borgia

Following her marriage in 1502 to Alfonso I d'Este, heir to the duchy of Ferrara, Lucrezia Borgia made important economic and political contributions to the war effort.

Dosso Dossi, Battista Dossi (attributed to), Lucrezia Borgia, Duchess of Ferrara. National Gallery of Victoria

Ferrara was threatened first by its neighbour, the Republic of Venice, intent on expanding its land borders, and later by Pope Julius II, who wished to reclaim Ferrara as territory for the Papal States.

Lucrezia invested her dowry in land reclamation and food production. This was crucial to her husband’s capacity to pay for innovative new cannons, which proved lethal in a surprise attack in 1509, destroying the invading navy of the powerful Venetian republic.

In 1512, Alfonso was lured to Rome by the Pope to negotiate a peace settlement, only to find himself arrested and imprisoned. This left the duchess to oversee military preparations. With the Pope’s army occupying nearby towns, Lucrezia quickly organised the fortification of bastions on Ferrara’s borders.

The Castello Estense (Castello Estate) today in Ferrara, Italy. Angelo Cordeschi/Shutterstock

She also outwitted the Pope’s spies by using an ingenious secret code. During Alfonso’s imprisonment, Lucrezia secretly updated him about the war. Unlike the usual system of encryption, Lucrezia’s worked by providing seemingly innocuous family news about their son, the state of her health and that of other family members. These were in fact strategic messages.

Alfonso finally escaped the Pope’s clutches with the help of Rome-based allies, and returned to Ferrara and the defence of the city-state he ruled.

Isabelle d'Este

Leonardo da Vinci, 1499/1500, Portrait of Isabella d'Este, Black and red chalk on paper. Louvre Museum/Wikimedia Commons

Isabella d’Este, who became marchioness of Mantua when she married Francesco Gonzaga in 1490, was likewise a crucial actor.

She was 20 when Charles VIII of France invaded the Italian peninsula in 1494, and assumed increasingly weighty political responsibilities while her husband devoted himself to fighting.

Her authority was initially fragile. The citizens of Mantua were sceptical of the capacity of such a young woman. So Isabella commissioned works of art that associated her with virtues such as prudence, magnificence and fortitude.

This self-fashioning is on display in a medallion by Gian Cristoforo Romano. The obverse portrait evokes ancient Roman empresses and an illustrious dynastic pedigree. The reverse features Sagittarius flying above a winged female victory, an allusion to the marchioness’s fitness to exercise authority.

Gian Cristoforo Romano, 1498, Isabella d'Este (1474–1539), bronze. The Metropolitan Museum of Art

In 1512, the French military campaign to take territory in northern Italy collapsed. The victorious Spanish-led league – a coalition of powers including the papacy – convened a congress in Mantua to divide the spoils of war.

Pope Julius II – an ally of the Spanish Holy Roman Emperor, and determined to reclaim the duchy of Ferrara – demanded the imperial army oust Ferrara’s Este rulers as soon as the congress concluded.

As a woman, Isabella could not hold an official role at the congress. However, like Lucrezia Borgia, she worked diplomatically behind the scenes to save the Este regime of her brothers.

Isabella focused her diplomacy on the imperial general and Spanish viceroy of Naples, Ramón de Cardona. Personally guiding Cardona and his entourage around her prized collection of antiquities and paintings by leading contemporary artists, she convinced her foreign visitors to take her seriously as a woman of diplomatic consequence and eventually persuaded Cardona to delay the attack on Ferrara.

The reprieve Isabella achieved proved lasting. Julius II died in early 1513 and his successor, Pope Leo X, did not pursue the restoration of papal rule in Ferrara. The threat to Este rule had dissipated.

New visions of women and warfare

The Italian Wars provided women with opportunities to showcase their administrative competence and diplomatic talents, manipulate their own public image and associate themselves with attributes that would bolster their legitimacy in similar ways to male leaders.

Many placed emphasis on advancing themselves as women of influence, authority or power, showing (for better or worse) they, too, could be protagonists of war as well as peacemakers.

Looking through the lens of gender and at the activities of women permits a reconsideration of where and how early modern war was conducted. It shows the conflicts played out not just on the battlefield and during official diplomatic encounters, but also through cultural forms of politics and the dynastic service of female as well as male actors.

Susan Broomhall, Director, Gender and Women's History Research Centre, Australian Catholic University and Carolyn James, Emeritus Professor in the School of Philosophical, Historical and International Studies, Monash University

In Vogue: the 90s was 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, Charles Sturt University

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.

In Vogue: The 90s is now streaming on Disney+.

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)

Gabrielle Chanel: The Untold Story of a Pioneering Self-Made Woman

Portrait of Gabrielle Chanel in Paris by George Hoyningen-Huene, 1935. Masthead picture by Elli Ioannou for DAM

By Séverine Le Loarne-Lemaire, Grenoble École de Management (GEM)

When we think of Gabrielle Chanel, her iconic fashion empire comes to mind. Yet, few associate her with the groundbreaking role of a self-made woman  ~ a trailblazer who defied societal norms to build a global empire. Though her name is synonymous with luxury and innovation, her entrepreneurial spirit remains undervalued, particularly in her native France. 

Creating an entrepreneurial empire from scratch remains a rare feat for women, even today. Chanel is one of the few exceptions. While her brand enjoys global recognition, her pioneering business acumen is often overlooked. In a country such as France, where stories of entrepreneurship rarely enter mainstream discourse, her achievements have not been celebrated in the same way they might have been if she were American. Yet, even in the U.S., where the “self-made man” myth thrives, the concept of a “self-made woman” remains underdeveloped.

Entrepreneurship research often highlights that building a sustainable business requires capital, which tends to favour those with pre-existing wealth or social connections – privileges disproportionately held by men. Academic studies, such as those by Le Loarne-Lemaire (2014), demonstrate how educational access and networks, often inherited, play a critical role. Entrepreneurs are frequently the children of other entrepreneurs, perpetuating cycles of privilege.

The self-made woman archetype

In this context, Gabrielle Chanel stands out as an anomaly. The American myth of the self-made man, as described by researcher James Catano, portrays an industrious, typically white male immigrant who rises from obscurity to create an economic empire. This archetype has roots in 19th-century America, with figures such as Andrew Carnegie embodying the ideal.

Chanel’s story flips this gendered narrative on its head. Starting from humble beginnings, she turned her life into a carefully crafted legend. Orphaned and raised in a convent, she took those early struggles and spun them into a mix of fact and fiction that defined her image. She controlled every detail – even designing her own gravestone.

A path forged through independence

Unlike heirs who build on family wealth, Chanel started with nothing. Lacking formal training in couture, she relied on creativity and her vision of women. Her first shop was funded with the help of a lover, but she repaid him. Even her partnership with the Wertheimer brothers, who helped scale Chanel No. 5, was carefully negotiated to retain control over her brand.

Chanel’s wartime actions, including collaborations with the Nazi regime, remain a contentious part of her legacy. Yet, it’s worth noting that she was not alone among French business leaders in making morally questionable choices during World War II. The scrutiny she faces today often exceeds that directed at her contemporaries.

Gabrielle Chanel stands out as a true self-made woman – arguably one of the first in capitalist history. Her rival, Elsa Schiaparelli, can’t make the same claim. Schiaparelli was born into privilege, with significant social and economic capital, and married a count before launching her business. Even in the United States, where entrepreneurship flourished, contemporaries such as Helena Rubinstein don’t fully fit the self-made mould – Rubinstein built her empire with the help of her husband.

The closest contender to Chanel’s title might be Elizabeth Arden. A nurse from rural Canada, Arden moved to New York to carve out her fortune. She opened her first beauty shop with her own savings and expanded it into a global brand and franchise. While loans helped fuel her growth – likely facilitated by her marriage to a banker – her husband’s attempts to impose his friends and ideas on the business underscored their dynamic. Coco Chanel, ever fiercely independent, would never have tolerated such interference.

The big names

If Chanel represents the myth of the self-made woman, why isn’t she celebrated that way? Would her achievements have been more widely recognised if she had built her empire in the United States? The answer is far from clear.

Before exploring the American angle, let’s take a closer look at the French context. Despite globalisation of culture and economies, certain myths don’t cross borders easily. In France, there’s a noticeable disinterest in the stories of entrepreneurs. How many people can name the founders of Carrefour or Seb? L’Oréal’s founder is somewhat known, but mostly due to the scandals of his descendants. Family business sagas, such as those of the Mulliez clan, garner more attention. Yet, the glorification of entrepreneurs – especially those who start with nothing – is largely absent. Even initiatives such as French Tech Nation and efforts by BPI France haven’t sparked a cultural shift.

For women entrepreneurs, there have been attempts to create female “role models,” but the focus is often on contemporary figures. Instead of drawing on the successes of the past, the spotlight is placed on profiles still in development. While this approach boosts visibility for current entrepreneurs, does it inspire the next generation? Research suggests it might not.

Chanel, despite being the subject of countless biographies in France, is rarely held up as an example in entrepreneurship courses or programs aimed at fostering female leadership. In France, the myth of the female entrepreneur remains unfinished – and the idea of the self-made woman is even further behind.

The paradox of the self-made man

Would Chanel’s achievements have been more celebrated if she had operated in the United States? Perhaps not. The American myth of the “self-made man” struggles to adapt to gender and contemporary realities. As Catano notes, the archetype elevates individuals who challenge societal norms while paradoxically reinforcing a rigid, masculine ideal that excludes women.

In the 1950s, when Chanel’s empire was thriving, the prevailing image of women in America was the housewife – a stark contrast to Chanel’s commanding role as a businesswoman. Even during the “working girl” era of the 1970s and 1980s, Chanel’s success might have seemed too audacious. Her story challenges traditional gender roles in ways that remain uncomfortable even today.

Xerfi Canal.

A myth still to be written

Chanel might be the ultimate symbol of a “self-made woman,” but that narrative remains largely untold. In fact, the idea of the “self-made man” itself – the classic rags-to-riches archetype – feels increasingly out of step with the times.

Today’s cultural spotlight favours contemporary role models over historical figures, as evidenced by Forbes’s power rankings. Modern entrepreneurial icons often come with pedigrees tied to elite institutions – Mark Zuckerberg from Harvard, Larry Page from Stanford. Even Elon Musk, who claims to have worked his way through college, benefited from a head start in social and financial capital. These realities undermine the self-made narrative, particularly in today’s tech-driven economy. The focus has shifted from celebrating humble beginnings to examining the broader impact of these empires.

Chanel, however, made a profound impact through her work. Her designs helped liberate women from the constraints of corsets, offering practical yet elegant alternatives that redefined fashion. But while her influence was revolutionary, social engagement wasn’t a hallmark of her career. Chanel made bold, sometimes ruthless decisions, such as shutting down her business and laying off her entire workforce during World War II. To be fair, few of her contemporaries demonstrated significant societal commitments either.

Gabrielle Chanel, an inspiration

“Different times, different values”? If the myth of the “self-made man” is losing relevance – challenged for its “self-made” ideal and its inherently masculine framing – Chanel’s story remains a lesson in resilience and innovation, one that deserves attention in both France and the United States.

Her life unfolded during the transformative 1920s, a period of newfound freedoms for women, later stifled by war and authoritarian regimes. Chanel navigated dominated business spheres with skill, never allowing herself to be dismissed or pigeonholed. Her career highlights the importance of partnerships and the reality that few entrepreneurs achieve greatness alone.

Chanel’s journey also offers a guide to securing funding and maintaining autonomy – skills critical to any aspiring entrepreneur. In many ways, she predated post-feminism by embodying its principles. She redefined entrepreneurship as a space where collaboration with men didn’t compromise her control or vision. Chanel’s legacy not only reshaped fashion but also challenged entrenched social hierarchies, proving that women could thrive and innovate in the entrepreneurial world.

Séverine Le Loarne-Lemaire, Professor, Head of the FERE Research Chair (Female Entrepreneurship for a Renewed Economy) Habilitée à diriger des recherches en sciences de gestion, Grenoble École de Management (GEM)

Everyone Will Want to See Yayoi Kusama at the NGV: Those Who Don’t Will Spend a Lifetime Regretting It

Yayoi Kusama © YAYOI KUSAMA Photo by Yusuke Miyazaki Courtesy of Ota Fine Arts

By Sasha Grishin, Australian National University

Now aged 95, Yayoi Kusama for many decades has been considered one of the most influential contemporary artists. She works across a wide range of art forms, including sculpture and installations, painting, graphic arts, fashion, video art, performance and writing.

Kusama’s immersive infinity rooms have mesmerised audiences around the world. The National Gallery of Victoria’s blockbuster exhibition sets out to rewrite the history books in its unveiling of her most recent infinity mirror work, My Heart is Filled to the Brim with Sparkling Light, together with nearly 200 other pieces by the artist, many never previously shown in Australia.

The earliest works in the show date from the 1930s and the most recent were made in 2024.

Kusama’s art has the rare ability to transform a personal nightmare into a vision of paradise – one that has no boundaries and defies definition through a rational intellect.

She translates her pumpkins, polka dots, river stones and flowers into a boundless universe of sensory experiences. There is no boundary between the animate and inanimate. Everything has a voice and spirit.

‘Lost in thought’

Kusama grew up on a plant nursery and flower and vegetable seed-propagating farm in rural Japan. In her autobiography, she recalls a childhood memory:

From a very young age I used to carry my sketchbook down to the seed-harvesting grounds. I would sit among the bed of violets, lost in thought.

[…]

One day I suddenly looked up to find that each and every violet had its own individual, human-like facial expression, and to my astonishment they were talking to me. The voices grew in number and volume, until the sound of them hurt my ears. I had thought that only human beings could speak, so I was surprised that the violets were using words to communicate. They were all like little human faces looking at me. I was so terrified that my legs began shaking.

Portrait of Yayoi Kusama c. 1939. Image courtesy of the artist © YAYOI KUSAMA

Her life is punctuated with numerous hallucinations, bouts of self-doubt and depression and her desire to obliterate herself.

She reflected:

I fight pain, anxiety, and fear every day, and the only method I have found that relieved my illness is to keep creating art.

Since 1973 Kusama has lived voluntarily in a psychiatric hospital. On a daily basis, she travels to her studio to work on her art.

A profoundly moving exhibition

As with many of Kusama’s exhibitions, the show at the NGV is overwhelming. It occupies virtually the entire ground floor space of NGV International on St Kilda Road.

The immersive infinity rooms are a mind-bending experience. The recent one made in 2024, Infinity Mirrored Room – My Heart is Filled to the Brim with Sparkling Light, is mesmerising and having its international premiere here in Melbourne.

Visitors in the Yayoi Kusama exhibition at NGV International, Melbourne until April 21 2025. © YAYOI KUSAMA Photo: Danielle Castano

The earlier piece, The Hope of the Polka Dots Buried in Infinity Will Eternally Cover the Universe (2019), with its six-metre-high black tentacular forms covered in yellow polka dots is a highlight of the show, also premiering in Australia at this exhibition.

Visitors in the Yayoi Kusama exhibition at NGV International, Melbourne until 21 April 2025. © YAYOI KUSAMA Photo: Danielle Castan

What are we to make of Kusama’s oeuvre as assembled in this huge and profoundly moving exhibition? What I did not expect from this exhibition was the sense of a prolonged cry of pain with the artist consciously seeking self-obliteration through her art.

Having experienced a traumatic childhood and being forced by her mother to spy on the infidelities of her father, Kusama expressed a revulsion to sex and in the 1960s and 1970s produced numerous works covered with flabby penises, including Ceremony for Suicide (1975–76).

Installation view of the Ceremony for Suicide, 1975–76, as part of the Yayoi Kusama exhibition at NGV International, Melbourne until April 21 2025. © YAYOI KUSAMA. Photo: Kate Shanasy

Also having experienced hallucinations from an early age, by remaking these hallucinations in her art she could maintain her sanity. Although this strategy did not always work and she attempted suicide on a number of occasions.

Kusama has marketed herself as an extrovert character in her red wig, a little like Andy Warhol in his platinum wig.

Installation view of Song of a Manhattan suicide addict, 2010, on display as part of Yayoi Kusama at NGV International, Melbourne until April 21 2025. © YAYOI KUSAMA. Photo: Sean Fennessy

Kusama appears in this guise in her video performance piece in this show, Song of a Manhattan suicide addict (2010).

Behind the extrovert glitter that runs throughout the exhibition, there is the sound of a suppressed scream of pain and the desire to lose identity by melting into infinity through the multiplicity of images endlessly repeated.

The Spirit of the Pumpkins Descended to the Heavens (2017) is one of her most obsessive and memorable pieces, where through a small viewing window you catch a glimpse of yourself endlessly repeated until you are completely obliterated and lost in infinity.

Installation view of The Spirit of the Pumpkins Descended to the Heavens, 2017, on display as part of Yayoi Kusama at NGV International, Melbourne until April 21 2025. © YAYOI KUSAMA. Photo: Sean Fennessy

In Dots Obsession (1996/2015), you do not peer in to a space but physically negotiate a space into which you are completely dissolved.

The idea is that we, or even our entire planet, is a mere dot lost within an infinity of dots.

Visitors in the Yayoi Kusama exhibition at NGV International, Melbourne until April 21 2025. © YAYOI KUSAMA Photo: Danielle Castano

With about ten immersive pieces in the NGV show with their kaleidoscopic infinity rooms and with very few people permitted to enter at any one moment, queues will be long and the clatter of the selfies deafening.

Yayoi Kusama is an exhibition that everyone will want to see; those who don’t will spend a lifetime regretting it.

Yayoi Kusama is at NGV International until April 21 2025.

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