- / Impegno civile
Tra neuroplasticità, memoria ed emozione, l’intelligenza umana resta un territorio non replicabile: così il cervello diventa l’ultimo archivio vivente e creativo
ISSUE NO. 31
Caterina Ravaglia outlines her production principles for Kate Cate: “The leathers come from the food industry. I select tanneries based on audit reports and use vegetable tanning instead of chrome. I fight against pollution caused by chrome usage, and I aim to reduce the amount of water needed for chrome washing. Choosing vegetable tanning is risky, because customers sometimes complain about the natural stretch marks on leather. These imperfections would be hidden by polyurethane tanning, but I’d rather accept a return than compromise my integrity.”
“For adhesives, I try to minimize toxicity by using high-quality mastic. I’ve made only one footwear model with a rubber sole. Recycled plastic isn’t ideal because recycled polymers are always bound using a percentage of virgin plastic. This is still an open challenge. I’ve tested all vegan leathers but don’t find them ethical, as they still require polyurethane to bind the plant materials. Cactus leather, imported to Italy from Mexico, has a CO₂ footprint that’s not advantageous. For now, reusing animal leather is the most valid option.”
Metal components: “I use brass, which is 100% recyclable. It’s an alternative to zamak, a cheaper, oil-based alloy. The metallic mesh covering the heel of the Kate model is made of brass. We had to build a custom machine to work the mesh, supported by a suede net embedded under the insole.”
The Formificio Romagnolo – for insoles, soles, and heels – is part of the footwear supply chain. Kate Cate’s straw bags were born during a trip to Tuscany. “I stopped in Signa, near Florence, where I found the last two surviving local companies specializing in straw weaving. Compared to the less expensive Moroccan technique, these artisans first create a braid of straw, then wet it and sew it around a brass mold shaped like the inside of the bag.”
In Forlì, there’s a company called Formificio Romagnolo with an archive of all shoe molds—a heritage made of both machinery and the workers’ know-how. “Shoe production is a science: each piece, depending on the design, can consist of ten to twenty components. Before final assembly, every element is made separately by a specialized supplier. If these local businesses aren’t supported, the closure of even one can disrupt the entire supply chain.”
There’s no surplus in stock: “Kate Cate’s production is small and non-seasonal. The belt is a key accessory—timeless and durable. 80% of my collection is carry-over. Another of my battles is against fast fashion: the first step is consuming less and focusing on longer-lasting items. Venetia La Manna, a UK activist, exposes greenwashing campaigns by multinationals and organizes protests outside fast fashion stores. I don’t sponsor this approach—it’s already implicit that Kate Cate’s production must have minimal negative impact.”
A few years ago, a scandal erupted in Tuscany when illegally dumped chrome was found. “I don’t use vegetable tanning for bragging rights—I own a farm in Tuscany. If my neighbor buried chrome in their field, mine would be contaminated too. It’s an ethical and self-protective choice.”
Kate Cate was born from Caterina Ravaglia’s focus on leather goods. “Before founding Kate Cate in 2018, I worked in Bologna for a company that developed a fully biodegradable bioplastic. I oversaw the material’s use in the fashion industry. From there, I began researching leather coatings—most leather accessories are treated with plastic layers.”
“When I moved to Emilia-Romagna, I started experimenting in a belt workshop in Rimini with alternatives to plastic coatings, starting from simpler items like belts and straps since I wasn’t yet skilled enough to handle complex products like shoes. Kate Cate wasn’t born as a business project, but from a personal passion for leather. I started selling on digital platforms. I graduated from Pennsylvania State University in mass communication and advertising.”
When the pandemic hit in 2020, Caterina retreated to the hills of Monteromano, on the border between Ravenna and Tuscany, where her parents owned uncultivated land, mostly chestnut groves. “I met peers from across Italy who had moved there to farm: they kept part of the crops and sold the surplus at local markets. I got into agriculture and started studying medicinal plants. After a year, I enrolled in an agricultural school in Minoprio, near Como, and became an agricultural technician.”
Kate Cate was on hold for two years. “In 2023, I resumed work on the brand and began seeking investors to develop the footwear line—an inherently industrial sector due to minimum production requirements. Although the project began in 2018, it only resumed a year and a half ago. The brand name Kate Cate reflects two sides of me: one loves tradition, slow pace, and methodical artisan work; the other is rebellious and drawn to urban life.”
The farm near Monteromano spans 12 hectares on the Emilia-Romagna/Tuscany border. “Three thousand lavender plants for organic oil. I don’t use any treatments, not even copper-based ones permitted in organic farming.” Chestnuts are used for marron glacé production. “I’m renovating a farmhouse using only local materials. The stairs are made from chestnut wood. I planted four varieties of artichokes.”
“I try to combine natural elements that benefit both production and the soil.” The beehives are for honey and pollination. “After the landslides two years ago, I began planting vetiver—a plant from Haiti with strong, fast-growing roots. Its roots are fragrant and can replace plastic or lead nets for erosion control. I apply the same principle to growing potatoes. Since wild boars inhabit the area, instead of fencing the fields, I plant potatoes among lavender. Boars don’t eat lavender, so the potatoes are left alone.”
“As a child, I worked at a riding stable in the Romagna Apennines during the summer, where they practiced western gymkhanas and roping. That western aesthetic influenced Kate Cate’s image. As I grew older, indie-rock exploded. I embraced the skinny look from bands like Radiohead and the Rolling Stones. There’s a strong connection between Kate Cate and live music—we produce guitar straps and collaborate with both big-name artists (Lenny Kravitz, Beyoncé, Dua Lipa for Illusion, Cesare Cremonini, Damiano David) and independent bands. Music uses clothing to express the persona, unlike fashion that ends in itself.”
Ravaglia started in fashion as a model, gaining insight into how photographers, stylists, and casting directors work. “I later moved into photo/video production and even into labs studying leather coatings alongside chemists. I’ve been trained from production to product marketing. What sets me apart from many brands is the direct relationship with producers. Typically, communication between the design office and factory goes through intermediaries, leading to inaccuracies.”
Kate Cate isn’t a fashion brand, and doesn’t aim to be, Ravaglia emphasizes. “I grew up in the world of big names and realized not everyone aspires to that. I prefer speaking to people who dress in under a minute and feel comfortable in jeans and a t-shirt.”
Trust in luxury fashion is fading due to investigations into labor exploitation and illegal hiring practices. “These probes are affecting the entire industry indiscriminately, even brands that genuinely protect workers. I follow the Leather Working Group’s audits, an international organization that certifies leather companies based on environmental impact reduction efforts.”
“Some brands avoid the luxury label and take a more empathetic approach to customers. The final price reflects production cost, justified by quality and durability. It’s a new way to communicate ‘Made in Italy’. Prices remain high but aren’t just for a privileged few.”
Graduated in communication from Pennsylvania State University, Caterina founded the brand Kate Cate in 2018. Since 2020, she has also developed a farm in Monteromano. Both projects combine local production with environmental stewardship. Her circular approach favors concrete action over marketing-driven environmental claims, aiming for responsible use and reuse of resources.
ISSUE NO. 31
Lampoon is a cultural magazine.
Culture today means sustainability – in its honest meaning.
Culture has always been about human respect, tolerance. It’s not only about accepting human diversity but it’s about searching for the beauty of every human peculiarity.
Inclusion is the first value that defines art. Culture today means one thing only: to be part of a community, to think as a community.
Reading Lampoon, you see that these themes are smoothly aligned. A good part of the articles’ content discusses practices to restore our environment and stories about understanding the others.
Reading Lampoon, you find a dialogue between science and creativity. From sharp and edgy photo sessions to fashion, architecture, technology – the commitment is dedicated to a future that is all about us – together.
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