{"id":4317,"date":"2026-09-10T19:40:20","date_gmt":"2026-09-10T19:40:20","guid":{"rendered":"https:\/\/thelb.al\/?p=4317"},"modified":"2026-09-11T05:23:48","modified_gmt":"2026-09-11T05:23:48","slug":"miss-poliestere-perplasja-mes-elisabetta-franchi-dhe-stefano-gabbana-hap-debatin-mbi-cilesine","status":"publish","type":"post","link":"https:\/\/thelb.al\/?p=4317","title":{"rendered":"‘Miss poliestere’, p\u00ebrplasja mes Elisabetta Franchi dhe Stefano Gabbana hap debatin mbi cil\u00ebsin\u00eb"},"content":{"rendered":"

Nj\u00eb replik\u00eb mes dy stilist\u00ebve rihap nj\u00eb debat q\u00eb industria e mod\u00ebs e shtyn prej koh\u00ebsh: \u00e7far\u00eb marrim n\u00eb t\u00eb v\u00ebrtet\u00eb kur blejm\u00eb nj\u00eb mark\u00eb?<\/em><\/strong><\/p>\n

 <\/p>\n

N\u00ebn nj\u00eb video ku Elisabetta Franchi shfaqej n\u00eb tapetin e kuq t\u00eb Festivalit t\u00eb Venecias, e veshur me nj\u00eb fustan t\u00eb mark\u00ebs s\u00eb saj, Stefano Gabbana komentoi: \u2018Miss poliestere\u2019. Franchi nuk e la pa p\u00ebrgjigje: e cil\u00ebsoi sjelljen e tij si \u2018t\u00eb trisht\u00eb\u2019 dhe i sugjeroi, nd\u00ebr t\u00eb tjera, ta linte telefonin m\u00ebnjan\u00eb. Shtoi menj\u00ebher\u00eb se nuk ishte hera e par\u00eb q\u00eb merrte prej tij komente t\u00eb k\u00ebtij lloji, por edhe se vler\u00ebsimi i saj p\u00ebr kompanin\u00eb Dolce & Gabbana mbetej i pandryshuar.<\/p>\n

Shk\u00ebmbimi u p\u00ebrhap menj\u00ebher\u00eb n\u00eb rrjet. Krahas reagimeve p\u00ebr komentin dhe p\u00ebrgjigjen e Elisabetta Franchi, diskutimi u zgjerua te materialet q\u00eb p\u00ebrdorin markat, \u00e7mimet e produkteve dhe cil\u00ebsia q\u00eb u ofrohet bler\u00ebsve.<\/p>\n

Komenti nuk shpjegonte n\u00ebse i referohej fustanit konkret, prodhimit t\u00eb mark\u00ebs apo pozicionimit t\u00eb saj n\u00eb treg. As p\u00ebrb\u00ebrja e veshjes s\u00eb p\u00ebrdorur at\u00eb mbr\u00ebmje nuk \u00ebsht\u00eb b\u00ebr\u00eb publike. Megjithat\u00eb, fjala ‘poliestere’ mjaftoi p\u00ebr t\u00eb rikthyer nj\u00eb pyetje q\u00eb e shoq\u00ebron prej koh\u00ebsh industrin\u00eb: kur blejm\u00eb nj\u00eb veshje, sa paguajm\u00eb p\u00ebr materialin, prerjen dhe punimin, dhe sa p\u00ebr emrin n\u00eb etiket\u00eb?<\/p>\n

T\u00eb dh\u00ebnat financiare t\u00eb dy kompanive i shtojn\u00eb debatit nj\u00eb element tjet\u00ebr. Elisabetta Franchi regjistroi n\u00eb vitin 2024 rreth 171 milion\u00eb euro t\u00eb ardhura dhe 40 milion\u00eb euro EBITDA, rezultati i aktivitetit kryesor p\u00ebrpara interesave, taksave, zhvler\u00ebsimit dhe amortizimit. Dolce & Gabbana, nj\u00eb prej emrave m\u00eb t\u00eb njohur t\u00eb luksit italian, realizoi 1.86 miliard\u00eb euro t\u00eb ardhura n\u00eb vitin financiar t\u00eb mbyllur m\u00eb 31 mars 2026, por raportoi mbi 100 milion\u00eb euro humbje operative dhe 464.5 milion\u00eb euro borxh financiar neto.<\/p>\n

Shifrat nuk tregojn\u00eb se nj\u00ebra mark\u00eb prodhon domosdoshm\u00ebrisht m\u00eb mir\u00eb se tjetra. As nuk provojn\u00eb se artizanati sjell humbje dhe kompromisi sjell fitim. P\u00ebrmasat, struktura, investimet dhe modelet e biznesit t\u00eb dy kompanive jan\u00eb shum\u00eb t\u00eb ndryshme. Por ato vendosin p\u00ebrball\u00eb dy realitete: nj\u00eb mark\u00eb m\u00eb t\u00eb vog\u00ebl me marzhe t\u00eb forta dhe nj\u00eb sht\u00ebpi historike luksi q\u00eb, pavar\u00ebsisht t\u00eb ardhurave shum\u00eb m\u00eb t\u00eb m\u00ebdha, po p\u00ebrballet me v\u00ebshtir\u00ebsi t\u00eb konsiderueshme financiare. Dy bilancet ngren\u00eb nj\u00eb pyetje q\u00eb shifrat, t\u00eb vetme, nuk mund ta zgjidhin: a \u00ebsht\u00eb e mundur t\u00eb ruhen materialet, artizanati dhe cil\u00ebsia duke mbetur nj\u00ebkoh\u00ebsisht fitimprur\u00ebs? Apo presioni p\u00ebr t’u rritur dhe p\u00ebr t\u00eb shitur m\u00eb shum\u00eb po i shtyn markat drejt kompromiseve q\u00eb, me kalimin e koh\u00ebs, prekin vet\u00eb produktin?<\/p>\n

\"\"<\/p>\n

‘Made in Italy’ nuk \u00ebsht\u00eb vet\u00ebm nj\u00eb e dh\u00ebn\u00eb gjeografike. N\u00eb mod\u00eb, ai \u00ebsht\u00eb kthyer n\u00eb nj\u00eb premtim q\u00eb lidhet me materialet, prerjen, p\u00ebrpunimin, v\u00ebmendjen ndaj detajit dhe nj\u00eb tradit\u00eb t\u00eb gjat\u00eb mjesht\u00ebrie.<\/p>\n

Ky reputacion nuk \u00ebsht\u00eb krijuar nga nj\u00eb mark\u00eb e vetme. Pas tij q\u00ebndrojn\u00eb breza rrobaqep\u00ebsish dhe artizan\u00ebsh, fabrika tekstilesh, punishte familjare, prodhues l\u00ebkure, modelist\u00eb dhe stilist\u00eb. S\u00eb bashku kan\u00eb nd\u00ebrtuar nj\u00eb sistem q\u00eb ka ditur t\u00eb lidh\u00eb pun\u00ebn e dor\u00ebs me industrin\u00eb dhe tradit\u00ebn me k\u00ebrkimin, duke e b\u00ebr\u00eb mod\u00ebn italiane t\u00eb dallueshme n\u00eb t\u00eb gjith\u00eb bot\u00ebn.<\/p>\n

Origjina i jep nj\u00eb marke italiane nj\u00eb avantazh q\u00eb nuk nis me koleksionin e saj t\u00eb par\u00eb. Ajo hyn n\u00eb treg brenda nj\u00eb kulture mode tashm\u00eb t\u00eb njohur dhe trash\u00ebgon besimin q\u00eb \u00ebsht\u00eb krijuar ndaj materialit, mjesht\u00ebris\u00eb dhe aft\u00ebsis\u00eb prodhuese italiane. A do t\u00eb perceptohej dhe do t\u00eb vler\u00ebsohej nj\u00ebsoj Elisabetta Franchi n\u00ebse do t\u00eb ishte nj\u00eb mark\u00eb norvegjeze, e prodhuar dhe e pozicionuar n\u00eb Norvegji? Nuk mund ta dim\u00eb. Por origjina italiane i shton vler\u00eb produktit dhe ndikon edhe n\u00eb \u00e7mimin q\u00eb publiku pranon t\u00eb paguaj\u00eb.<\/p>\n

P\u00ebr k\u00ebt\u00eb arsye, marr\u00ebdh\u00ebnia me ‘Made in Italy’ nuk mund t\u00eb jet\u00eb vet\u00ebm p\u00ebrfitim. \u00c7do mark\u00eb q\u00eb mb\u00ebshtetet tek ai em\u00ebr ka edhe p\u00ebrgjegj\u00ebsin\u00eb t\u00eb kontribuoj\u00eb n\u00eb ruajtjen e cil\u00ebsis\u00eb, mjesht\u00ebris\u00eb dhe njohurive q\u00eb vazhdojn\u00eb t’i japin kuptim.<\/p>\n

Kjo p\u00ebrgjegj\u00ebsi nuk p\u00ebrfundon me respektimin e kushteve ligjore t\u00eb etiketimit. Kur nj\u00eb konsumator lexon ‘Made in Italy’, ai nuk mendon domosdoshm\u00ebrisht p\u00ebr origjin\u00ebn doganore t\u00eb produktit. Mendon p\u00ebr materialin, mjesht\u00ebrin\u00eb dhe gjith\u00eb zinxhirin italian t\u00eb prodhimit. Por sa nga ky p\u00ebrfytyrim gjendet ende n\u00eb produkt?<\/p>\n

\"\"<\/p>\n

Kjo nuk do t\u00eb thot\u00eb se nj\u00eb material sintetik \u00ebsht\u00eb domosdoshm\u00ebrisht tregues i cil\u00ebsis\u00eb s\u00eb dob\u00ebt. Vlera e tij varet nga m\u00ebnyra si p\u00ebrdoret, funksioni q\u00eb kryen dhe punimi i veshjes.<\/p>\n

P\u00ebrshtatja me tregun \u00ebsht\u00eb e pashmangshme. Nj\u00eb mark\u00eb duhet t\u00eb prodhoj\u00eb, t\u00eb pun\u00ebsoj\u00eb, t\u00eb shp\u00ebrndaj\u00eb, t\u00eb eksportoj\u00eb dhe t\u00eb mbetet ekonomikisht e q\u00ebndrueshme. N\u00eb nj\u00eb industri q\u00eb punon n\u00ebn trysnin\u00eb e kostove, koleksioneve t\u00eb shpeshta, shp\u00ebrndarjes n\u00ebp\u00ebr bot\u00eb dhe komunikimit t\u00eb pand\u00ebrprer\u00eb, shpejt\u00ebsia dhe kontrolli i shpenzimeve ndikojn\u00eb drejtp\u00ebrdrejt n\u00eb bilanc.<\/p>\n

Nj\u00eb kompani q\u00eb nuk fiton nuk mund ta mbroj\u00eb p\u00ebr shum\u00eb koh\u00eb artizanatin, vendet e pun\u00ebs dhe njohurit\u00eb q\u00eb ka krijuar. Por edhe nj\u00eb kompani q\u00eb rrit p\u00ebrfitimin duke ulur vazhdimisht cil\u00ebsin\u00eb mund t\u00eb dob\u00ebsoj\u00eb arsyen p\u00ebr t\u00eb cil\u00ebn produktet e saj vler\u00ebsohen.<\/p>\n

Kur nj\u00eb mark\u00eb k\u00ebrkon t\u00eb prodhoj\u00eb m\u00eb shpejt dhe me kosto gjithnj\u00eb e m\u00eb t\u00eb ul\u00ebta, pasojat nuk ndalen te nj\u00eb veshje. Ato kalojn\u00eb te prodhuesit, punishtet dhe njer\u00ebzit q\u00eb zot\u00ebrojn\u00eb njohurit\u00eb e zanatit.<\/p>\n

N\u00eb Itali, mij\u00ebra nd\u00ebrmarrje t\u00eb vogla dhe t\u00eb mesme mbajn\u00eb nj\u00eb pjes\u00eb t\u00eb r\u00ebnd\u00ebsishme t\u00eb prodhimit bot\u00ebror t\u00eb artikujve t\u00eb luksit. N\u00eb k\u00ebto punishte ruhen teknika dhe dije q\u00eb k\u00ebrkojn\u00eb vite p\u00ebr t’u fituar. Nj\u00eb mark\u00eb mund t\u00eb ndryshoj\u00eb nj\u00eb furnizues ose t\u00eb z\u00ebvend\u00ebsoj\u00eb nj\u00eb material, por nj\u00eb mjesht\u00ebri e humbur nuk rind\u00ebrtohet me t\u00eb nj\u00ebjt\u00ebn leht\u00ebsi.<\/p>\n

Publiku nuk ka gjithmon\u00eb informacion mbi zinxhirin e prodhimit apo koston reale t\u00eb nj\u00eb veshjeje. Megjithat\u00eb, mund t\u00eb shoh\u00eb p\u00ebrb\u00ebrjen, materialin dhe punimin dhe t\u00eb pyes\u00eb se \u00e7far\u00eb e p\u00ebrligj \u00e7mimin.<\/p>\n

\"\"<\/strong><\/p>\n

Moda nuk mund t\u00eb prodhoj\u00eb sot nj\u00ebsoj si pes\u00ebdhjet\u00eb vjet m\u00eb par\u00eb. Teknologjia ka ndryshuar materialet, proceset e pun\u00ebs, shp\u00ebrndarjen dhe marr\u00ebdh\u00ebnien me publikun. Edhe artizanati, p\u00ebr t\u00eb vazhduar t\u00eb ekzistoj\u00eb, duhet t\u00eb gjej\u00eb m\u00ebnyra t\u00eb reja p\u00ebr t\u00eb punuar dhe p\u00ebr t\u00eb arritur te njer\u00ebzit.<\/p>\n

Ruajtja e cil\u00ebsis\u00eb nuk n\u00ebnkupton refuzimin e ndryshimit. Prodhimi n\u00eb num\u00ebr m\u00eb t\u00eb madh nuk e p\u00ebrjashton gjithmon\u00eb kujdesin dhe teknologjia nuk e zvog\u00eblon vetvetiu vler\u00ebn e pun\u00ebs s\u00eb dor\u00ebs. R\u00ebnd\u00ebsi ka n\u00ebse ndryshimi p\u00ebrdoret p\u00ebr t\u00eb zhvilluar materialet, p\u00ebr t\u00eb p\u00ebrmir\u00ebsuar prerjen dhe jet\u00ebgjat\u00ebsin\u00eb e produktit apo vet\u00ebm p\u00ebr t\u00eb prodhuar m\u00eb shpejt dhe me kosto m\u00eb t\u00eb ul\u00ebt, nd\u00ebrsa \u00e7mimi dhe premtimi i mark\u00ebs mbeten t\u00eb nj\u00ebjta.<\/p>\n

\u00c7do mark\u00eb duhet ta negocioj\u00eb k\u00ebt\u00eb kufi me koh\u00ebn. Duhet t\u00eb kuptoj\u00eb \u00e7far\u00eb mund t\u00eb ndryshoj\u00eb dhe \u00e7far\u00eb duhet t\u00eb ruaj\u00eb. P\u00ebr nj\u00eb mark\u00eb italiane, vlera nuk gjendet vet\u00ebm te emri i saj, por edhe te nj\u00eb histori materialesh, mjesht\u00ebrish dhe njohurish q\u00eb nuk i ka krijuar e vetme.<\/p>\n

‘Made in Italy’ nuk mund t\u00eb mbetet vet\u00ebm nj\u00eb premtim n\u00eb komunikim apo nj\u00eb arsye p\u00ebr nj\u00eb \u00e7mim m\u00eb t\u00eb lart\u00eb. Nj\u00eb pjes\u00eb e asaj q\u00eb ky em\u00ebr premton duhet t\u00eb jet\u00eb e dallueshme n\u00eb produkt dhe nj\u00eb pjes\u00eb e vler\u00ebs q\u00eb krijon duhet t\u00eb vazhdoj\u00eb t\u00eb mb\u00ebshtes\u00eb sistemin q\u00eb e ka nd\u00ebrtuar.<\/p>\n

Suksesi financiar tregon se nj\u00eb model biznesi funksionon sot. Nuk tregon domosdoshm\u00ebrisht se ai po ruan vler\u00ebn nga e cila fiton. Moda mund t\u00eb ndryshoj\u00eb m\u00ebnyr\u00ebn si prodhon, shp\u00ebrndan dhe rritet. \u00c7\u00ebshtja \u00ebsht\u00eb n\u00ebse, gjat\u00eb k\u00ebtij ndryshimi, arrin t\u00eb ruaj\u00eb arsyen p\u00ebr t\u00eb cil\u00ebn vazhdon t\u00eb zgjidhet.<\/p>\n

\u2018Made in Italy\u2019 mund t\u00eb vazhdoj\u00eb t\u00eb shkruhet n\u00eb etiket\u00eb edhe kur materiali, mjesht\u00ebria dhe prodhimi humbasin gradualisht pesh\u00ebn e tyre. Por a do t\u00eb vazhdoj\u00eb t\u00eb p\u00ebrfaq\u00ebsoj\u00eb at\u00eb q\u00eb bota njeh dhe vler\u00ebson si cil\u00ebsi italiane?<\/p>\n

THELB,\u00a0<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Nj\u00eb replik\u00eb mes dy stilist\u00ebve rihap nj\u00eb debat q\u00eb industria e mod\u00ebs e shtyn prej koh\u00ebsh: \u00e7far\u00eb marrim n\u00eb t\u00eb v\u00ebrtet\u00eb kur blejm\u00eb nj\u00eb mark\u00eb?   N\u00ebn nj\u00eb video ku Elisabetta Franchi shfaqej n\u00eb tapetin e kuq t\u00eb Festivalit t\u00eb Venecias, e veshur me nj\u00eb fustan t\u00eb mark\u00ebs s\u00eb saj, Stefano Gabbana komentoi: \u2018Miss poliestere\u2019. […]<\/p>\n","protected":false},"author":2,"featured_media":4318,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[59,39,42],"tags":[],"tmauthors":[64],"class_list":["post-4317","post","type-post","status-publish","format-standard","has-post-thumbnail","category-kryesore","category-mode","category-tendence"],"_links":{"self":[{"href":"https:\/\/thelb.al\/index.php?rest_route=\/wp\/v2\/posts\/4317","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/thelb.al\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/thelb.al\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/thelb.al\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/thelb.al\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4317"}],"version-history":[{"count":1,"href":"https:\/\/thelb.al\/index.php?rest_route=\/wp\/v2\/posts\/4317\/revisions"}],"predecessor-version":[{"id":4322,"href":"https:\/\/thelb.al\/index.php?rest_route=\/wp\/v2\/posts\/4317\/revisions\/4322"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/thelb.al\/index.php?rest_route=\/wp\/v2\/media\/4318"}],"wp:attachment":[{"href":"https:\/\/thelb.al\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4317"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/thelb.al\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4317"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/thelb.al\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4317"},{"taxonomy":"tmauthors","embeddable":true,"href":"https:\/\/thelb.al\/index.php?rest_route=%2Fwp%2Fv2%2Ftmauthors&post=4317"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}