"How can one be dressed in Chanel and not have enough money to buy a beer?" This question, posed by Italian anthropologist Giulia Mensitieri, highlights the stark contrast between the opulence of the fashion world and the harsh realities faced by those who work behind the scenes. In La mode: le plus beau métier du monde, a graphic novel published on October 1st by La Découverte/Delcourt, Mensitieri recounts 15 years of research into the exploitative and precarious conditions within the prestige fashion industry. The book is illustrated by Danicollaterale, whose dark and creative visuals complement the narrative. Initially released as an essay in 2018 and later in a pocket format in 2020, the work is based on her fieldwork in Paris and Brussels between 2010 and 2014. Mensitieri’s research reveals a sector that contributes more than 3% to the French GDP—surpassing the automotive industry—and supports nearly a million people. However, it is one of the least documented industries, despite its high visibility in media. She describes the intense labor conditions, such as a dozen women working overnight in a small Parisian apartment to transform a piece of fabric into a haute couture dress, which could sell for 70,000 to 100,000 euros. Yet, each worker would leave with only the equivalent of the minimum hourly wage in cash. These workers may be students, factory workers, immigrants from Asia, or professional tailors brought in for extra help. The fashion industry’s economic realities include practices like "debt work" in modeling, where agencies pay for a model’s expenses and then expect repayment, often leaving them in debt. Similarly, "prestige-based compensation" is common, with more prestigious magazines often offering no payment at all, relying on unpaid labor for their editorial content. Some photographers even pay for their own travel and accommodation, thinking it is an investment in their careers, while others receive compensation in the form of shopping vouchers, which can be worth more than the work itself. One example cited by Mensitieri involves a chief editor giving a photographer a 100 euro envelope for 48 hours of work, despite carrying a 20,000 euro bag. Mensitieri notes that the fashion industry lacks union representation, with only employer associations providing any form of support. Workers are often reluctant to speak out about their struggles, fearing retaliation or loss of opportunity. To young people aspiring to enter this world, she advises to "take the beautiful but know what your rights are." While she does not name specific brands, she points out that attempts to censor her work have increased, with some of her talks being canceled. She clarifies that her goal is not to denounce but to illustrate how this part of capitalism functions, offering a critical look at the industry without taking a moral stance.