As Gen Z rewrites the rules of fashion consumption, favouring sustainability, authenticity and a new kind of brand loyalty, luxury maisons are under pressure to understand what truly resonates with younger audiences. To unpack this shift, we spoke with Claudio Marenzi, Herno’s Executive Chairman and a key figure in Italy’s high-end manufacturing sector. With notable openness, he discussed the rise of vintage, the power of communication and the uncomfortable truths behind the industry’s sustainability claims.
Beatrice Longo: How do you believe fashion maisons are perceived by the new generations?
Claudio Marenzi: Well, first of all I think it’s essential to distinguish between male and female perceptions of high-end fashion. Women tend to have a special attention for accessories, while men have a different drive; they’re generally less interested in fashion phenomena, meaning those universally renowned brands such as Gucci, Dior, or Louis Vuitton. However, this has been the case in all eras. Specifically for Gen Z, we can all agree that you are looking for values that go beyond mere brand recognition. Brands today are required to express those values, even just through words or on social media. For example, there is a reason why so many teenagers or young adults buy vintage fashion. It’s not just a trend. Vintage has become a true parallel market to high-end fashion. It embraces concepts of circularity, and therefore sustainability and inclusivity, especially in terms of pricing. Young vintage buyers may feel distant from high-end fashion maisons, yet there is always a tendency to gravitate towards well-known brands, even within the vintage market.
Beatrice Longo: Do you think fashion still holds the same cultural influence it had for previous generations?
Claudio Marenzi: Communication is fundamental. Communication is ultimately a matter of economic resources: the bigger the brand, the more resources it has, and the more opportunities it has to ‘win’ in terms of visibility and reputation. Big, universally recognised brands, for instance, are staples — and will remain staples. They have major resources to invest in communication and marketing, which allows them to engage younger generations. Despite the huge appeal of vintage fashion – particularly among the young – staple brands like Dior still manage to influence consumers’ choices even when there seems to be no direct benefit to the brand. This is one of the ways these brands exert influence: they create brand loyalty through curated vintage. As mentioned, even while buying vintage, consumers tend to remain attached to the same widely recognised brands.
Beatrice Longo: What do you think Gen Z expects from the fashion industry regarding sustainability, inclusivity, diversity, and transparency? Would you say some brands use these values as a façade, simply to preserve their reputation?
Claudio Marenzi: These values are undoubtedly desired. From boomers onward, we all wish we had had more sensitivity towards these issues – and today we are trying to promote them. There is a societal tendency, especially in the Western world, to almost force ourselves to be ‘good’ regarding these topics. Yet there are countless pragmatic obstacles. Price, for instance. Gen Z often confuses democratic prices with sustainable or inclusive products. Obviously, a seventy-five-dollar jacket is far more democratic than one costing seven thousand, and this is often viewed positively, but most of the time there is a very different reality behind that ‘democratic-price’ jacket. Think about labour costs. Everything that falls under fast fashion or mass market is produced in countries where labour and infrastructure costs are extremely low, and where no one truly cares about sustainable or inclusive practices. Nowadays, these topics revolve around a system of certificates which, while having given rise to major businesses, is also incredibly fake. It’s easy to monitor supply chains in European countries, but there are plenty of ‘ghost’ countries where no one even dares to inspect. These aren’t just values; everyone wishes they could contribute more. On the other hand, communication – once again – is essential. The more resources a brand has, the more it can invest in communication, making itself more credible. A massive presence guarantees massive influence. Brands truly have the power to get into people’s heads. What matters is whether they’re telling the truth. Consumers, especially younger ones, should be vigilant, able to distinguish lies from reality. Clearly, everyone tries to make the most of their capacities. Herno, with its strong manufacturing DNA, has always ensured proper control over its production chain, we always keep track of our products; I could even tell you the names of the workers.However, we too had to formally certify our sustainable practices; without certificates, publicly, it’s almost as if you’re doing nothing. I’m very aware of the abyss between words and actions, which is why, again, I urge you to pay attention to what brands claim to be doing versus what is actually happening.
Beatrice Longo: Finally, do you believe the fashion industry is sustainable?
Claudio Marenzi: I think it depends on what you mean by ‘sustainable’. A significant part of the fashion industry is trying to reduce pollution and waste through circular practices. Then there are those who strongly promote this through marketing campaigns, and those who do not communicate their efforts as much. Herno, for instance, began addressing sustainability in 2010, when it wasn’t yet a ‘hot topic’ and Herno itself wasn’t as large as it is today. I personally launched a project to make our operations fully autonomous in terms of electricity, an initiative that came at a huge cost at the time, but it was worth it. ‘If I take care of my garden, and my neighbour does too, through such small steps the whole world becomes better.’ We then followed a virtuous path: wanting to preserve our production system while growing as a business, we started investing in more sustainable and less energy-consuming machinery. Together with other businesses, we even developed a protocol – the PEF (Product Environmental Footprint) – to track the environmental impact of each product. In the end, the issue is extremely complex, but I am an optimist. I believe we will get somewhere, that your generation and those to come will greatly contribute to fixing what has been broken for years. You must keep your attention high on this topic, just as you’re doing now. This particular care for a better world is vital, despite every mistake that has been made and those still to come.
In the end, Marenzi’s reflections highlight a tension that our generation feels every day: fashion needs to be better and the industry to prove it. From the rise of vintage to growing aware of sustainability, Gen Z isn’t just simply consuming differently; it is reshaping the conversation. And perhaps that is the real shift: young people are no longer just the audience brands speak to, but the pressure point pushing fashion toward a more honest future.
By Beatrice Longo
