Monthly Archives: May 2018

The Family Heritage

It was a hot July evening, during the craziness of my wedding preparations 6 years ago, when my grandmother called me to her room to discuss something important. She had her old wooden trunk open and a bunch of jewelry boxes sitting on her bed. This was one of those activities that she does only did when she was feeling down, so as soon as I walked in I was concerned. The bed was loaded with open boxes of fine jewelry, she was sorting and deciding which pieces needed a good cleaning before the wedding. Most of it was decades old, and I was drawn to this one particular piece that I had never before seen the likes of.

Being a fashion design student, I had been familiar with vintage clothing and shoes of different cultures. But Pakistani vintage jewelry? It was something that I had always overlooked. Of course, I knew it was there but during those years, I would much rather purchase an impressive vintage dress that would make a huge visual impact. Jewelry always seemed subtle in comparison.

This particular piece of my grandmother’s collection that I was drawn to, was a unique piece indeed. The piece belonged to my grandmother’s grandmother. Which was passed down to her. It might be older than that we don’t know that for sure. This would mean that this earring set was at least 150-year-old. It was pure 24 carat gold with 9 precious stones (it is called a nauratan- 9 jewels) encrusted in the leafy pattern. The stones included pearls,  rubies, sapphires, turquoise, emeralds, zircon, hessonite, diamond  and red coral.

The earring was with some intricate detailing and tiny pearl tassels. The flowers were mounted on gold coloured leafy design. The design was very vintage looking gold. The earring was about 3.5 to 4 inches, with a clasp back.

As I held that earring in my hand for the very first time, I was in awe. It was then my grandmother told me how this particular earring set had been passed down generation to generation. My grandmother had acquired this from her mother on her wedding and had later passed it on to my mother for hers. My mother had polished it and given it back to my grandmother for safe keeping. She told me that she wanted to pass this piece of our family heritage down to me, so I could continue the tradition. I was so excited. It became my treasured piece and was so different from anything else I’ve had ever worn. I wore it so often during the first few months of my marriage. When I was moving to the States, I had handed the earring back to my mother for safe keeping.

That earring is a proof of quality and craftsmanship from the late 1800’s (if I’m not wrong). And I’m blessed to be the one it was passed on to by my grandmother. I might pass it on to my baby sister on her wedding someday, as I want her to cherish our heritage too!

care + repair: everything you own is handmade by c. zimmerman

 

A bevy of samples, bits of clothes, scissors and needles covered the desk at the front of the classroom and Professor and crafter Kat Roberts began to speak. Discussing the history of clothing production she ruminated on how fast fashion has alienated people from the care and keeping of clothes. This process happens in a multitude of ways; production wise, fast fashion clothing is not manufactured to last, individually many people have lost the skills associated with tending to worn clothes and culturally, the value of clothing is often constructed around trendiness over longevity or craftsmanship. Roberts discussed the semantic distinction between handmade and mass-produced; while the former brings to mind artisan production, the latter fails to acknowledge the many hands and invisible labor that goes into making all clothing. To contextualize the conversation of our workshop, Roberts mentioned that in actuality, all clothing is handmade. While many of us don’t have the time to make our clothes, taking a moment, in this case a few hours, to mend to our worn items provides a pause to reflect on these labors and our relationship to them as Fashion Scholars participating in the Fabric of Cultures project.

After a brief demo of various stitching techniques, Roberts showed various samples and outlined different techniques for repair, from machine sewing to hand sewing, from patching to sashiko mending. These techniques and their requisite aesthetic can be modified to fit the maker’s desire; low contrast stitching and matching patches for a subtle look, or high contrast and decorative stitching for a more bold one. One of the participants, who works at a high end Italian fashion house, remarked that the swatches reminded him of some of the company’s work, and we briefly discussed high end fashion’s obsession with appropriating the ‘worn look’.

With two participants admitting to limited sewing experience, and another mentioning how “terrible” they were at it, Robert’s simple instruction and handouts provided everyone with the confidence to start stitching. We rummaged through a stack of various denim and printed fabrics (of note was a particular green velvet patterned with stars), threaded our needles and began to make small patches. With our hands busy, the conversation flowed freely, from our current research topics, to the rise of streetwear in Couture, to the performance of gender through dress vis a vis Foucault and Butler. Many people noted how the time simply flew by, and our occupation with small bits of cloth enabled many of us to get to know one another for the first time.

This workshop coincided with Fashion Revolution Week, a week of action to commemorate the Rana Plaza collapse as a part of a larger project to support more transparency in the Fashion Industry. In one their toolkits (downloadable free online), #Haulternative, the Fashion Revolution team suggests getting crafty, and taking the time to repair or alter a beloved item of clothing as a possible action against the endless waste of the Fashion Production system. Our workshop, and the relaxed crafting and conversating certainly felt fitting, and allowed the participants to experience alternatives to traditional academic space, a welcome reprieve and a potent combination for rich conversation.

“Treat your friends like the good clothes they are” Joan Crawford

 

More resources and info at:

Fabric of Cultures

Fashion Revolution

“The History of Change is Filled with Clothes”

Title: “The History of Change is Filled with Clothes”

Publication: https://www.businessoffashion.com/

 

“A woman must not accept; she must challenge. She must not be awed by that which has been built up around her; she must reverence that woman in her which struggles for expression.” – Margaret Sanger

 

Equality is more than the right to vote, and last year’s protests on the red carpet were the start of a new revolution. From the Suffragettes to Nasty Woman, over the centuries, people have banded together to demand change and show solidarity through clothing. Whether it is a movement, protest, initiative or collaboration, clothing can help tell a story. In this case, shine a light on harassment, abuse and oppressive behavior in the workplace.

 

Women are fed up! The criminal acts and sadly, well known sexual misconduct of Harvey Weinstein, Bill Cosby, Matt Lauer, Louis CK, Al Franken, and countless others prompted a call for justice. Several A-list actresses leveraged their celebrity and raised their collective “voice” to demand change through their Time’s Up initiative, sending a powerful message that abuse of power would no longer be tolerated. Following “the honorable tradition set over a century ago by the suffragettes, who harnessed fashion, and the meaning of color as a method of communication,” Golden Globes attendees wore black as a message of hope and solidarity to victims. (Mower, 2018) In this instance, they chose the color black to symbolize unity and serve as a color of collaboration rather than one of mourning.

 

It’s interesting, an article of clothing on the surface seems innocuous but paired with a message, it is seen as hope, unity and cause for change. Choosing an easily accessible color brought the protest to the mainstream and it became a movement that extended beyond the awards shows. Whether individuals marched, watched from home or followed along on social media, they could join the cause. And they did! Women around the world donned black as a symbol of solidarity and a call for action. Seeing that they were not alone, individuals – both men and women – were inspired to come forward.

 

Protest clothing shows numbers and has proven successful in becoming a symbol of strength and resistance. Most important, it introduces a new perspective which has the power to unify and energize the masses. When Amelia Bloomer challenged the ideas of what a woman should be and wore pants, people “worried that the lack of hoop skirts would lead to the usurpation of the rights of man”. Pants then became a symbol of the women’s rights movement. The suffragette colors of purple, green and white were worn by women to identify themselves as supporters of the cause outside of rallies. (Komar, 2018) More than visually identifying supporters, protest clothing sparks conversations while also allowing people to support it even if they don’t want to talk about it.

 

The protests were a reminder of the many strong women before us who had the courage to stand up visually and fight for justice. Suffrage leaders, Susan B. Anthony, Elizabeth Cady Stanton and Lucretia Mott would have embraced Time’s Up show of strength and resistance. We are now in the second phase of the suffrage movement. Hillary Clinton said it best with her statement that “the rights of women and girls is the unfinished business of the 21st Century.” In this instance, wearing black helped spread a message of hope and showed resistance. It worked. The show of support gave women courage to come forward and tell their stories. “Shining a light on harassment has forged a community where women feel authorized to raise their voices in ways they never have before,” said Rachel Simmons a leading expert on girls’ empowerment. (Wallace, 2018)

 

Whether a person agrees with the movement or not, it is important for people to see. Most important is that conversations are occurring. The message was received and ordinary people ran with it. Sanyin Siang, a coach and adviser to chief executive officers recently said that “one of the wonderful upshots of the sexual harassment allegations is a greater sense of psychological security in the workplace.” (Wallace, 2018)

 

The movement and protests have also highlighted the work that still needs to be done. The unifying factor of the protest served as a wake-up call to our leaders in government, industry and business that “time’s up for pay inequality, time’s up for discrimination, time’s up for harassment of any kind, and time’s up for the abuse of power.” (Monae, 2018)

 

Fashion Revolution; Zara, Fast-fashion global brand of Inditex

Zara has become one of the leading fast-fashion global brand in recent years. The brand’s fashion-forward designs, quick turnaround products and affordable prices are changing the fashion industry. On Zara’s official website, indicates that Zara is one of the largest international fashion companies that belongs to Inditex, one of the largest distribution groups. Inditex (Industria de Diseno Textil), a Spanish corporation founded by Amanico Ortega in 1975, owns eight brands which include Zara, Zara Home, Massimo Dutti, Pull&Bear, Bershka, Oysho, Stradivarious and Uterque. Inditex present in 94 markets, 45 of them online, in all five continents with more than 7,000 stores and Zara has the most stores, currently 2,236 worldwide. The founder, Ortega has been on the Forbes list as one of the world’s richest person and resigned as chairman in 2011. Pablo Isla is current CEO of Inditex.

What is fast-fashion? In 1990, Jonathan Van Meter wrote a prescient article for the Vogue, “Fast-Fashion: Americans Want Clothing that is Quick and Easy”. Now fast fashion term evolved to design that reflects fashion runway shows and recent trends in affordable prices. Zara is known to be the pioneer of fast-fashion and has enormous number of stores globally and their merchandise move incredibly quickly, and the turnaround speed is so fast that Zara stores’ entire inventory changes within 11 days. How is this possible? In 2017, Zara manage up to twenty clothing collections and this is ten times more than the traditional biannual cycle of high-end fashion. Now more than half of the high-end companies, such as Prada and Louis Vuitton, are making four to six collections instead of two each year because of Zara.

Trendy fashion products are accessible and affordable by fast fashion brands, there are few other fast fashion brands trending, such as H&M, Topshop and Mango and I argue that Zara dismissed the image of “cheapness” from fast fashion brands. Zara achieved brand recognition through runway-inspired products, upscale stores, and low discounting improved their name value. What type of marketing or branding discourse did Zara provide to present their products affordable and yet fashionable? How did Zara establish brand recognition and name value globally? I reviewed article on “How Zara Grew Into the World’s Largest Fashion Retailer,” The New York Times Magazine, by Suzy Hansen (2012). She notes Inditex imitates the latest fashion and speed their cheaper versions into stores. Zara sells trendy and decently made inexpensive products in beautiful, high-end looking stores. Inditex is ambitious to find valuable real estate for their stores and prefers iconic buildings, in 2011, they paid $324 million to buy a space at 666 Fifth Avenue in New York, a building best known for being the most expensive ever sold in Manhattan.However, Zara cannot avoid the major problems that fashion companies’ encounter, particularly poor or even deadly factory conditions along with factory workers’ low wage. Most recently in 2017, Zara factory workers in Turkey were unpaid for three months. They placed notes inside clothes which customers purchased in Istanbul and the notes indicated that, Bravo Tekstil clothing factory in Istanbul, which is one of Zara’s factory, owed the workers three month pay and severance allowances. The factory closed overnight, and the factory owner and management fled with funds without any further notice. This caused an outrage from the media and in result, Inidex paid the factory workers. Through global sourcing of clothing manufactured in developed countries, the fashion industry has been widely criticized of poor working condition even death among workers.

One of the notorious deadly building collapse recently involved with the fashion industry was in 2009 at the Rana Plaza in Bangladeshi. The building collapsed and at least 142 people died, and more than 1,000 workers were injured. These factories were making clothing for European and American brands, which include Spanish brand Mango and low-cost British brand Primark. The price competition among low-cost suppliers resulted in difficult or dangerous working conditions, commonly known as “sweatshops”. This tragic accident brought international awareness to provide safe environment and healthy working conditions for factory workers. As a designer myself and working in the fashion industry, it is heartbreaking to hear such tragic news and urge the fashion industry to improve labor and factory conditions, which include paying workers properly and consider their well-being as well.

Zara achieved brand recognition and name value through its success and I argue that the brand dismissed the image of “cheapness” of fast-fashion. However, through researching the global fashion brand, I realized that Zara cannot avoid the notorious problems related to fast-fashion brands and urge Zara to become a moral role-model among the fast-fashion retailers.