Lowbrow Reader Show at Housing Works

Mikkel Hess of Hess is More and designer Henrik Vibskov drumming...

Housing Works, a terrific charity known for its pioneering work fighting AIDS and homelessness, is pairing up with one of our favourite publications: The Lowbrow Reader--edited by Fashion Projects contributor Jay Rutttenberg--for a show on November 4th to celebrate the Lowbrow's new issue.

The show will include performances by the Danish-born, New York–based band Hess is More and the singer-songwriter Jeffrey Lewis as well as comedians, readings and more.

The show starts promptly at 7pm on November 4th at the Housing Works Bookstore on Crosby Street in Soho.

For more information, visit their site

Where Worlds Collide: Second-hand Clothes Reconsidered

by Patty Chang

Mitumba trader in Mathare Valley, Photo from REculture

Three things over the past few months got me thinking about second-hand clothes: (1) bedbugs, (2) the public debate waged through social mediaearlier in April that pitted development specialists against entrepreneur Jason Sadler over his questionably well-intentioned but spectacularly ill-conceived 1 Million Shirts for Africa project, and (3) the link between second-hand clothes and sustainability with the rise of environmentally conscious and socially responsible designers and consumers, who care about each step of the production process (re: ethics, labor conditions, carbon emissions, biodiversity, waste, animal welfare, etc.) Bedbugs aside, the last two points touch on the uneasy relationship regarding “doing good”, charities, and commerce, as well as a process more colloquially known as “aid dumping” which informs the subject of this post.

In 2008, Oxfam published a survey that estimated that in the U.K. alone, close to half or 2.4 billion items of clothes remained unworn gathering dust on shelves and hangers in British homes. The charity urged consumers to be more environmentally conscious and help fight poverty by donating their unwanted clothes to charities across the U.K. The U.S. spent a collective $282 billion in 2006 on new clothes and the average American got rid of 68 pounds of clothing and textiles. According to Goodwill, approximately 23.8 billion pounds of clothing and textiles end up in U.S. landfills each year. In an effort to make a dent in the percentage of discarded clothing, Levi Strauss & Co. partnered with Goodwill to launch in 2010 a product care tag that also encourages people to donate their unwanted clothing. With the rise in environmental responsibility over the past decade, more consumers are dropping off their excess clothes at their local charity or thrift shops. Many of us would concede that donating unwanted goods to charity is morally the right thing do, and a win-win situation – your items are going towards those in need and you get a tax write off.

Bale of Second-Hand Clothing. Image from Collective Selection

While a cohesive definition of “sustainability” on the supply side of the fashion industry has yet to emerge, as consumers we are often called upon to recycle and reuse, barter, swap or buy second hand where possible or even simply buy fewer but more durable items to contribute to the overall concept. And by extension, some people deliberately seek out second-hand clothes as a form of validation of their ethical stance on wasteful over-consumption and over-production of clothing for what some deem to be ‘superficial’ purposes.

How your clothes donated to charity organizations winds up at market stalls in far off foreign locations has been the subject of increasing scrutiny. The process goes something like this: before second-hand clothes can be re-consumed or take on a ‘new’ life with other owners, charitable organizations like the Salvation Army and Goodwill need to sift through the loads, price, and evaluate the items at their warehouses. Special period clothes are set aside for foreign and domestic vintage garment buyers. The rest of the load is indiscriminately compressed into 50 kg or heavier bales sometimes containing other unsorted clothing. The lowest quality clothing is shipped to Africa, medium-quality to Latin America, while Japan gets the bulk load of the top-quality items. Used clothing companies known as “rag traders” pay a few cents per pound for what they take and relieve logistically overburdened charities of these donations. Some estimate that as much as 75 percent of the clothes we donate in the U.S. to charities are exported globally to Africa, Asia, and Latin America. Once the bales arrive at the country of destination, they are sold off to wholesalers and pass through a number of transactions before they end up for sale at local market stalls (see here for a firsthand account). By the way, since 1990 the second-hand clothing trade in U.S. and foreign markets is valued at approximately $1 billion annually.

Monrova, Liberia, Photo from Foreign Policy

Media coverage of Western cast offs to developing and least developing countries has not been positive, especially the impact of the second-hand clothes trade in sub-Saharan Africa. While various regions are affected by the trade differently, sub-Saharan Africa is the number one destination for these garments. Some argue, with much eye rolling, that the dumping of Western “leftovers” in Africa is symptomatic of a culture of excessive overproduction of low grade clothing waste. Still, others assert that the ailing local textile and garment industries are direct products of neoliberal markets and adverse economic policies dictated by the World Bank and International Monetary Fund. The cases of Zambia and Uganda are often cited as examples in which cheap North American or European second-hand clothes flood the local markets and undercut the competitiveness of local textile industries, and with that, induce the decline of ‘traditional’ culture. In the sub-region of West Africa, where the dumping of cotton on the international markets has already produced adverse impact on the 10-15 million small farmers, the recent trends in a study by Oxfam show that out of the 41 textile and clothing industries that were in existence in the region in the mid-1990s, only six were operating at full capacity in 2004, and only three had satisfactory levels of performance. These trends have been detrimental to national policy makers who strove to transform the cotton fiber into finished and semi-finished products to stimulate employment and industry in the region. Countries like Eritrea, India, Indonesia, Nigeria, the Philippines, and South Africa enacted protectionist trade policies to ban the trade of used clothing in what they claim to be because of porous borders and illegal smuggling practices that went along with the trade.

Justifications in defense of second-hand clothing trade tend to point out that it creates employment in recipient countries, especially in the form of transporting, cleaning, repairing and restyling clothes. Development economist Steven Haggblade has argued that second-hand garments provide low-cost (or more affordable) clothing for people living in poverty. His study of Rwanda in the 1980s demonstrates that while the country was an outlier in that did not have an indigenous textile and a garment manufacturing industry, the second-hand clothing trade created better paid jobs in cleaning, repairing and restyling of garments for the 88 percent lost of employment in the informal sector tailoring.

Along similar lines, anthropologist Karen Tranberg Hansen has argued with respect to Zambia that it’s too easy to blame used clothes imports for the poor performance of local textile and clothing industry which were already ailing prior to the liberalization of trade import regulations. She views the embrace of the second-hand clothing trade as a response to the economic woes of the early 1990s. Moreover, she claims that the second-hand clothing trade has generated more income for locals and the government from import tariffs. Her analysis also moves past the argument of the consumption of Western goods in Africa (especially clothes) as a symbol of Western domination and global imperialism. Instead, she convincingly shows us how Zambian men and women have culturally re-appropriated and re-defined Western notions of dress to their own contexts and outward function of their identity. Lastly, she’s quick to point out that countries like Kenya and Uganda which are large importers of second-hand clothing also have textile and garment manufacturing firms that export to the U.S. under the provisions of the African Growth and Opportunity Act (AGOA).

George Packer proclaims in a matter of 5,000 words, “I have become a convert to used clothing. Africans want it. It gives them dignity and choice”. Me, on the other hand, I’m not all that sure. I often think about Anthony Appiah’s case for cosmopolitanism. While he acknowledges that many people in least developing countries are simply too poor to live the life they want lead, irrespective of what one calls ‘choice’, he also queries the premise of a cultural expression of “authenticity”. He notes that if people in impoverished communities one day become richer and still choose to wear T-shirts, then “Talk of authenticity now just amounts to telling other people what they ought to value in their own traditions”.

Still yet, the question remains whether impoverished recipients of Western cast offs should pay for items effectively donated to non-profit charities?

IXEL MODA 2010: A Sustainable Fashion Conference in Cartagena, Colombia

Work by the Colombian Slow Fashion Designer Juliana Correa of ONA

I was recently invited to speak at IXEL MODA—a conference on Latin American fashion that takes place each year in Cartagena, Colombia and was co-funded by Erika Rohenes Weber and Danilo Cañizares.

The conference had both an academic and a business and development component. The academic side of the conference, which was organized by the Latin American fashion scholar Regina Root, focused on the theme of sustainability—a particularly interesting theme in the context of Colombia’s ongoing environmental and social problems.

Departing from her historical studies in Argentinean fashion, which were discussed in her recent book Couture and Consensus, Root discussed the need for inclusiveness in developing the country’s fashion system. Marsha Dickson, who is also U.S.-based, spoke about ethical fashion and social responsibility and the phenomenon of Fair Trade, as well as the difficulty of defining the terms. Arturo Tejada spoke on the importance of fashion education in the promotion of sustainability within the fashion industries. Kathia Castilho, from the Universidade Anhembi Morumbi as well as the editor of the Brazilian fashion journal dObra[s] spoke on fashion and language, while I spoke on the phenomenon of slow fashion, tying it to earlier experimental fashion movements and, in particular, deconstruction fashion.

Also of interest were presentations by Laura Novik, who spoke on sustainability and slow fashion in the context of Chilean fashion, which she promotes through her organization Raizdiseno, as well as the Brazilian journalist and academic Carol Garcia, who traced the tension between globalization and authenticity by following the permutation of Latin American symbols historically and cross-culturally. Garcia wrote a book on the topic titled “Moda Brasil: Fragmentos de um Vestir Tropical” (Fashion Brazil: Fragments of a Tropical Way of Dressing), San Paulo: Anhembi Morumbi Editor, 2001, which unfortunately has not yet being translated into English.

Work by the Colombian Slow Fashion Designer Juliana Correa of ONA

The event also showcased Colombian designers, some of whom fall within the slow fashion movement. Of particular relevance is the work of Alfonso Mendoza, whose jewelry is based on the region’s Afro-Caribbean heritage and includes local artisanal craft and fibers, as well as the experimental work of slow fashion designer Juliana Correa of ONA.

Another aspect of the conference discussed the need for a greater development of Colombian fashion both as actual industry and image industry and included a number of government officials, particularly ones connected to Inexmoda the Colombian Institute for exports and fashion. The intermingling of business and government officials alongside academic discussions made for interesting exchanges of ideas across what is generally an often strict divide based on—at least, in this case—the false assumption that the former might not be interested in academic discourse.

Francesca Granata

Wrestling for Attention

Wrestlers' Performance in conjunction with Fashion Night Out at Project 8. Photo CK.

It has been interesting to notice how far fashion and the fashion week/show phenomenon has seeped into popular culture and public awareness. Fashion Night Out and the public show at the Lincoln Center seem to have aided the frenzied attention. Sometimes, the interest in the phenomenon is such that the spectacle is greater than the work on show, as commented by fashion critics such as Cathy Horyn in the New York Times. Hopefully, in the end all the frenzy will aid the awareness of fashion as an important socio-cultural phenomenon which mediates contemporary cultural anxieties and aspirations, in part specifically because of how central fashion is to the progressive spectacularizationof contemporary society.

As fashion theorist Caroline Evans writes: “In periods in which ideas about the self seem to be unstable, or rapidly shifting, fashion itself can shift to centre stage and play a leading role in constructing images and meaning , as well as articulating anxieties and ideals.” Evans, Fashion at the Edge, London: Yale University Press, 1993

My very favourite event/performance this fashion week was one at Project 8 in the Lower East Side. An ambiguous spectacle of male virility and physical bonding, it showed young wrestlers holding artfully choreographed wrestling poses. It seemed an ironic take on the choreographed and synchronized female dancers, such as the Tiller Girls, which Siegfried Kracauer placed at the center of the spectacle of modernity, or perhaps more simply an ironic reference to the fashion show as a carefully choreographed spectacle of bodies in space.

Francesca

Wrestlers' Performance in conjunction with Fashion Night Out at Project 8. Photo CK.

Fashion and the Humanities: Exploring New Angles

by Rizvana Bradley

I am currently completing my sixth year of Ph.D. work in the Literature Program at Duke University, and am working to develop a variety of critical approaches to theorizing fashion and the body. I have taught courses at Duke that are intended to enable students to recognize how various literary, filmic and artistic texts continue to richly shape fashion culture, and highlight the complex theoretical and social issues contemporary fashion thematizes.

Having greatly admired the academic work coming out of Central Saint Martins College of Art and Design, I was excited to introduce students at Duke to the field now referred to as critical fashion studies. Initially I was at a loss as to how to design such a course, as some four years ago there was nothing like the CSM model being taught in US universities. Typically courses would mention fashion incidentally, or as an object of inquiry. With respect to the latter approach, fashion is constructed either purely as an anthropological object, proposing an analysis of historical dress, or as a sociological phenomenon, providing a detailed account of subcultural styles, for example. I knew that content-wise, the course I wanted to develop would incorporate the best of these strategies, but be less a fashion history course. I was most interested in concentrating on aesthetics, and spotlighting the visionary photography and runway productions happening in fashion since the late 1980s.

From the start it was evident that students had little exposure to an international fashion culture, the richness and eclecticism of various fashion figures, image-makers, entrepreneurs and designers. The courses challenged them to think about designers’ creative efforts in refreshing new ways. The first course, “Contemporary Fashion: Image, Object, Idea,” I taught once. I then taught a course entitled, “Fashion, Literature and the Avant-Garde,” twice. The final course, “Art, Media and the Body,” placed fashion in dialogue with the contemporary arts more broadly. All of these courses include fashion in the context of discussions about contemporary artistic practices that are currently provoking key concerns in the humanities, specifically questions of discourse, identity, representation and subjectivity, as well as certain questions about aesthetics, materiality and difference. Students learn that some of the most innovative fashion designers explore these themes in complex, beautiful and challenging ways. For this reason, the readings for the courses draw from different disciplines, among them, philosophy, critical theory, science studies, and feminist theory.

Hussein Chalayan, Vogue, December 2008

Fashion does not exist in a vacuum, but is an art form that reflects socio-cultural mores, fears, anxieties and desires. Students are incredibly responsive to the visual material, and are required to analyze various collections by looking at detailed shots of garments, videos of runway shows, and interviews with designers. Key contemporary designers are examined against a backdrop of critical theory, feminist thought, history and philosophy. Students learn to approach fashion design with a critical (sometimes skeptical) eye and interpret the spectacle of a runway show or photographic image by relating the garments on models to such themes as trauma, modernity, gender, death and technology.

Collectively as a class, we explore the idea that the spirit of the avant-garde in fashion, runs parallel to the spirit of the artistic avant-garde in many ways, chief among them a resistance to representation, evident in a general turn toward abstraction. Increasingly fashion is partially turning away from the literal, from the tangible, and towards the ephemeral, the emotive and the affective. Students are encouraged to use a range of philosophical and critical themes to question the normative body, the virtual and figural construction of the body in time and space, and the bodily production of affect and sensation.

Studying designers as theatrical as John Galliano and Alexander McQueen, with the minimalist sensibilities of Yohji Yamamoto and Rick Owens, the different body experiments of Gareth Pugh and Walter van Beirendonck, and technological innovations of Hussein Chalayan, students were able to draw their own conclusions about today’s design practitioners, who seem to not only be working and making, but also thinking at the fringes of disciplines and design philosophies in order to expand the cultural scope of fashion today.