3 Questions for Victoire Satto
Co-founder of a media platform The Good Goods
With her brother Thibault, she co-founded The Good Goods, a media platform dedicated to ethical fashion. Victoire Satto looks back at how the project has evolved since it was created three years ago. With The Good Goods offices moving to La Caserne, the biggest ecological transition accelerator for the fashion and luxury industries, she also analyses the transformations that are needed and the efforts for more responsibility that have already begun in the sector.
How did The Good Goods start?
I was trained as a doctor, a radiologist to be exact. I’ve also always been fascinated by fashion, but I didn’t really know how to make it a career. In addition, I have a lot of empathy for people and, due to my upbringing, I’m very concerned about ecology. And finally, I’m hyperactive, and I need to write. So at first I wrote about fashion and society for a range of media. These different interests and activities inspired me to conduct a study on fashion’s environmental impact. In doing so, I discovered not just harmful practices but also the positive initiatives to transform an industry using unsustainable methods! I also realised that there was no format targeting people with values and the means to consume more responsibly. I talked about this with my brother Thibault who wanted to start a business that would make a difference, and we decided that this direction had potential.
Three years ago The Good Goods was created. Initially we designed it as a kind of tracking system for all the themes related to ecological and social transition for the fashion industry. A year ago we decided to reach out more directly to the general public. We became a true media platform that covered themes concerning innovations, sustainable initiatives, socially- responsible products, and alternative consumption models (circular, artificial intelligence …) in fashion. Though my scientific background comes out, we’re really committed to making sometimes-complicated subjects easy-to-absorb and understand. So now The Good Goods has a relatively unique B2B2C approach – it’s an information source, a podcast series, a directory, and a map of responsible boutiques for new and used clothes.
Did the general public’s response meet your expectations? Have you defined a typical profile of your audience?
The Good Goods’ transformation occurred in October 2020, so that’s recent. But we see that the gamble to expand our target is paying off: site traffic tripled in the first month. Choosing dichotomy – having separate channels for professionals and the general public – clearly helps the responsible fashion cause. Our audience is 65% women and 35% men, but we’re moving to a higher percentage of men. A third of the audience is between 25 and 34 years old and is mostly urban. Though there are a lot of Parisians, the numbers are still spread out among large- and medium-sized French cities. We observe strong interest from the 18- to 24-year-olds, an age group that’s primarily female.
What’s also noteworthy is that, even though our audience appears quite diverse, we have still identified three profiles. The first is mostly feminine, in the upper socio-professional category and with strong buying power. They want information on responsible initiatives but aren’t ready to make radical changes in their lifestyles. Their goal is to have fun and make better buying decisions without going into the details. The youngest category, the Gen Zs, are militant ambassadors. They learn from our content and pass it on, and they prefer information about the second-hand market and the circular economy. They are concerned about ecology and go even further than that subject since they’re generally aware of the common ground of all struggles. Finally, the profile where there are the most men is older with strong buying power and a very purist approach. They spend less frequently, but they’re very demanding.
The FFPAPF has launched its Ressources Green platform with a list of structures to help brands improve their supply chains and be better organised. What do you think about this tool? Are there currently enough solutions in place to help the fashion industry be more responsible?
The Fédération’s platform is very interesting since it gives visibility to professionals who are committed to change, and it facilitates and promotes interaction and collaboration. I think it’s necessary since the solutions for better manufacturing exist. The Made in France movement, on-demand manufacturing … all the tools are available but, after years of looking for answers at great distances and standardising them to achieve economies of scale, we’ve forgotten how to use good sense. It’s important to help businesses go back to those solutions and apply them. It’s also critical for them to be able to measure their impact and communicate efficiently on the activities they carry out. We have to show the fashion industry that there’s everything to gain by going to CSR experts for answers at every level: from design to logistics to packaging to the manufacturing chain. It’s important because today consumers are more open to imperfect brands in transition who are making real efforts than to brands who practice greenwashing. Transparency and humility are the values that count.
That much said, both what I see and my “enthusiastic pessimist” temperament make me believe that things are changing. Prevention works! And, oddly enough, I see very positive aspects in the situation the pandemic has created. People have become aware that manufacturing on the other side of the world doesn’t work, and that has happened at the same time that style has become a real part of ethical fashion. Necessity and desire are meeting up. There are also solid efforts coming from industry. As for regenerative fashion, which means clothing becomes a resource instead of waste, it’s now being spearheaded by big names such as Patagonia and Timberland … and that’s cause for much hope.