Why does a family continue to work with centuries-old fabrics when everyone consumes new clothes that may not even last a year in the closet? In an era dominated by Shein and Temu – among other fast-fashion giants – there is a shop in Barcelona's Gothic Quarter that defies this logic and works in the exact opposite direction. At L’Arca, sheets, bedspreads, and curtains from the late 19th and early 20th centuries are transformed into wedding dresses or pieces of ready-to-wear. Its raw material is not just quality cotton, silk or linen: it is time. “It is part of a history and we are only writing a new chapter,” summarizes Carmina Pairet, one of the current managers of the space she shares with her sister Nina Balmes.This way of understanding fashion is not a recent trend, but the result of two family lines – one with roots in Maresme and the other in Garrotxa – that have revolved around lace for almost two centuries. The exhibition Treasures of L'Arca, which this year is hosted by the Museum of Arenys de Mar, recovers this history and shows how lace was much more than a decorative element: it also constituted a powerful industry, a business with international projection and a heritage that has managed to reinvent itself. But to understand why a family continues to work today with centuries-old fabrics, we must go back to Catalonia in the mid-19th century.When the tip was luxury, culture, and merchandise

In 1856, at the height of Barcelona's industrial boom, Casa Vives was founded, one of the companies that best understood the commercial potential of Catalan lace. Beyond the romantic imagery that surrounds it, lace was much more than an ornament: it was a prosperous industry, a business with an export vocation, and a product capable of competing in major international markets. The firm's participation in the Universal Exhibitions of Barcelona (1888) and Chicago (1893) is a good example of this. "Lace was luxury, culture, and merchandise," summarizes Carmina Pairet.

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The fashion industry is one of the sectors with the greatest environmental and climate impact globally. Nearly 100 billion garments are sold worldwide each year, and textile consumption is one of the most intensive in its use of raw materials, water, and greenhouse gas emissions.

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I propose an observation exercise. Look for a man of indeterminate age on the street wearing a dark, often faded T-shirt, a dull shirt, Bermuda shorts that have seen better days, and flip-flops that look like they're from another era. If the individual is young, he's probably wearing neutral sneakers from an internationally recognized brand with ankle socks. Have you seen any? I'm sure you have. Perhaps you fit the description yourself. It's an unwritten but easily identifiable law: a masculine visual code that repeats itself every summer like an unofficial uniform.

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It seems paradoxical that, in a predominantly female sector, where women are the main customers and represent the bulk of the workforce in the fashion industry, very few reach the top of the pyramid. According to the latest data, the female presence on the boards of directors of Ibex35 companies is less than 25%. However, the European Commission has established that, by 2026, at least 40% of the members of the boards of directors of listed companies must be women. In general management positions, the figure is even lower. We spoke to some of the fashion designers and executives who are leading a change towards equality in the sector.

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There is no goalkeeper guarding the door because you already have an exclusive ticket. The pass in question is a kind of golden ticket that immerses you in a curious experience. There is a fridge with soft drinks, juices, ginger shots in abundance, and even some beer. Promotional clothing is also on sale. dress code You are escorted to the room. In the red hallway, moving letters announce where you are. You enter in the darkness, take a seat among twenty people, the DJ sits down, puts on his own playlist – from Rosalía to techno and reggaeton – and suddenly, fluorescent lights come on everywhere. The mirrors reflect the perfect reflection for a selfie. You can't stop moving, but you are amazed: you realize that you are on a stationary bike and that the person in front of you is not Martin Garrix or David Guetta, but the trainer assigned to the class.

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