Assignment #1 project proposal/ timeline

1. Project Proposal:

Collection one is a red couture dress, I already started working on the pattern, and design embroidery pattern on the dress. My inspiration for this dress is from Frank Lloyd Wright’s stained glass design.

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My dress design will be a full length evening dress with a left bottom front opening. It will be fully embroidered with sequins and beads with Swarovski crystals as final touch. I will be sourcing out to Let the professional, to do all the sequins and beads embroidery following my designs and guideline. What I need to hand out for the professional will be: first, the dress pattern pieces with embroidery pattern on top, because some parts will not be fully embroidered. Second, sketch of the dress and embroidery guidelines with details of shapes and size of the beads and sequins. Once I get back all the embroidered pieces, I will hand sew all Swarovski beads on some specific area around the dress. *However, there will be chances that I will fail in the out-sourcing part. I would like to consider this couture dress as an addition to my senior project.

2. Sketches and design shown in the pictures:IMG_20180201_0001.jpg

 

EMBROIDERY PATTERN CREATED BY USING AI AND PSScreen Shot 2018-01-30 at 10.21.08 PM.png

 

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Project proposal 2:

Collection two is five pieces of up-cycled denim with other different pre-owned silk scarves and printed materials. I will be going to mostly use the clothing from thrift shops like denim jeans and silk printed scarves. For denim the selection, I will choose some light weight denim and deconstruct them. Sketches and designs need to come up by the time I collect enough materials to start with.

Inspiration: nearly 3 years ago, I learn about how fast fashion make us over-consuming and over-spending, and also make most of us follow every changing of new trending cycles. I begin to ask more questions about where my clothing came from, what it is made of, and who made it. Basic on my research, people often throw away many of the cheap prices and the poor quality items without second thoughts, and these trendy throw-away are fulfilling our world. And the production process creates demand for a whole supply chain of destruction, from planting heavily sprayed monoculture crops like cotton to pouring toxic dyes into rivers.  Yet there is a conundrum: if we buy less, that’s great for the planet but bad for not only the economy overall, but the millions of people who rely on the manufacturing industries for their livelihoods. upcycled fashion become one of the most innovative ways to maintain economic growth without being destructive. Upcycling is a way of processing an item to make it better than the original. In the example of clothing, this is often taking something that doesn’t fit or is stained/torn and refashioning a wearable product from it. Upcycling can be done using either pre-consumer or post-consumer waste or a combination of the two. Pre-consumer waste is produced while items are being manufactured (such as the pieces of fabric leftover after cutting out a pattern) and post-consumer waste results from the finished product reaching the end of its useful life for the consumer (such as a T-shirt that doesn’t fit anymore).

There are plenty of benefits to this, including:

  • Sustainability – Upcycling reduces clothing and textile waste by reusing deadstock or gently used fabric to create new garments and products. Making a single cotton T-shirt requires over 700 gallons of water, whereas using a pre-existing T-shirt to make something new requires nearly no water. In addition, upcycling can divert some of the 85% of textile waste that ends up in landfills.
  • A Cheaper Wardrobe – Upcycling can be less expensive since used or pre-existing materials are typically a fraction of the cost of newly-made materials and textiles.
  • Uniqueness – Upcycling requires creativity to envision the potential of existing materials to create something new and beautiful.

Marc Jacobs x Julie Verhoeven Bold Denim Print Silk Scarf :Marc Jacobs x Julie Verhoeven Bold Denim Print Silk Scarf 88835 Blue Fabric.jpg

 

2. TEMPORARY SKETCHES:IMG_20180201_0002.jpgIMG_20180201_0003.jpgScreen Shot 2018-02-01 at 11.11.46 PM.png

 

3. detailed timeline (week by week)

TIMELINE:

Screen Shot 2018-02-01 at 10.53.17 PM4. resources needed and where they will be obtained (include swatches)

I will be using all used denim and silk materials. All used cloths will be find from thrift stores. ex. Goodwill, out of the closet and some local thrift store.

For embroidery beads, I will go to downtown The Beads Factory.

5. detailed cost estimate

doted paper: $55

Collection one: Embroidery beads: $200

Collection two: used cloths: $300

6. materials to begin working in class

make patterns for up-cycle denim and silk print materials.

7. Research paper with bibliography

For my final project, my inspiration came from an unlikely but well known artist. He is well known for his paintings, drawings and sculptures. Yet his work inspired me to come up with a line that is inspired by his view of the world. Pablo Picasso took current events of his time disassembled them and brought them back together in a single piece or painting. Like Picasso, I want to take the current state of fast fashion and analyze it. Then by using the human figure I want reconstruct it into a new form; upcycled denim.

Pablo Picasso was constantly evolving in his career and went through several phases or artistic periods. He went through the blue and rose periods, then demonstrated his interest in African influences, and he also focused on cubism. One of the most wholesome period as an artist was in his later work where he would get elements from all of his older works and combine them into one masterpiece. His inspiration came from the injustices that he saw in the world, including war. However, a significant period in his career was when he began creating work in the style of analytical cubism. Here the representation of the subject is presented in the most basic of shapes. The change in color is very gradual and not too obvious. Yet, the viewer can still make out what Picasso wanted them to see.

Picasso once said, “Art is the lie that tells the truth.” In fiction or a fantastical world like art, a true artist can inject reality into their creations. Through the use of symbolism Picasso can express symbolic images that represent death, starvation, inequalities and other social issues that affect the world. He did this in one of his most well-known paintings, Guernica, which is a cubist style painting in black and white that shows the effects of war on mankind and animals alike. This painting looks like a set of images that were each taken from different places and all carefully reused in a single canvas and to represent something completely new. Although, this painting was displayed in the World’s Fair (where the theme was technology), Picasso’s work highlighted the world events and the consequences for the environment including both humans and animals.

In a way Picasso changed the traditional forms of creating art by destroying the usual way of painting. By this I mean the usual use of time and place in painting. However, in his version of cubism the subject becomes a part of the environment. He broke the mold from his old training in classical painting, but instead of getting rid of the pieces, he put them together using the inner geometry of the objects. Where the lines of the shapes are clearly visible but do not interfere with the overall message of the new painting.

Lastly, Picasso also was quoted saying, “Every act of creation is first an act of destruction.” When an artist begins a new painting, sculpture or project, they must get their supplies from raw materials like trees and minerals which are cut down and turned into paintbrushes canvases and paint. This is only on the material side of things. Then there are the ideas and inspirations behind the creation of art. Sometimes an artist might pick only certain parts of inspiration or a piece of an idea to begin a new work.

This is precisely what I will be doing for my final project. Like I mentioned in the introduction my project will consist of garments created using upcycled denim. I will get denim jeans and other denim products and deconstruct them until they lose their original design and purpose. The idea behind this is because old clothes can harm the environment and most of the time they end up in landfills and when transported create the release of carbon emissions. There is no better way to recycle these old jeans than by reusing them. So after the jeans are deconstructed, I will put different pieces of the different garments together in a way that they match my proposed design. That way we are not leaving the earth man made material that it cannot decompose. Unfortunately, fast fashion and consumerism has made it seem like most clothes are disposable and this is an issue we are facing today.

In conclusion, Picasso’s works in cubism in his paintings has inspired me to create my line of upcycled denim. Like Picasso’s idea of destroying to create, I will use today’s issues with fast fashion and I will deconstruct and create new garments from old ones. Every piece of reused denim is a part of the fast fashion world but will now represent something new and unique.

 

 

Bibliography

Oppler EC, ed. Picasso’s Guernica. Norton critical studies in art history. New York: WW Norton & Co.; 1988.

Penrose R. Picasso: his life and work. London: Granada; 1985.

Steer G. The tragedy of Guernica: town destroyed in air attack. The Times, April 28, 1937 [cited 2003 May 1].

 

8. Demos or help needed this semester

I need help with silk fabrics handling (including how to sew different material with silk)

 

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Art 3560-Visual Journal Forum 1

When we use rhetorical situation as it relates to writing in the arts, the writer himself/herself is the artist. It varies what kind of artist he/she will be, the way they write will depends on their culture, personal characteristics and interests. There are many different types of mediums in art, such as: painting, photography, print, sculpture, garments, dance, music, etc. It depends on the artist and medium they show; different purpose will come out follow by displaying/ performing the art medium.

One example of audience: When writing a collection of treasures visual art pieces for auction, their audiences would be rich and successful men and women. In this case the context must be clear, they must provide as much information they can to their audiences to persuade them to purchase. The writers who create item descriptions, would first create a clear great title for the items and then list down detailed accounts, the location, time periods and cultural significance along with the visual art piece. The more proof and details provided for the visual art pieces, the more authentic the pieces could possibly be. This will make buyers more likely to bid for the art pieces.

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The other example of medium: Banners and posters may be for the purpose of informing and persuading to take action. An interactive quilt banner made by Professor Lung, Chyna and I was used to celebrate the 100 years of Garment Work in LA.  The celebration was hosted by UCLA Labor Center, and organized by Caroline Luce, and her labor history students. Also, students used the banner marched with the Garment Workers Center on May 1, 2017.

Screen Shot 2017-09-06 at 10.39.36 PM.pngAs an art student, I am always questioning and curious about things I see, I listen and I touch. When I was kid, I always enjoyed the holidays, because that’s the time when family and friends will give me gifts. When I began attending college, I started to see holidays such as Christmas, in a different way. The more I understand the background and history of where Christmas Day come from, the more I doubt the way people celebrate this holiday. I realized that this holiday is all about consumerism and about money most of the time. That’s when I decided to create an art work to express my feelings in December 2015, and I came up with a photographic theme of the holiday season. I went to visit different cathedrals and churches, and I used my black and white film camera to take photos of both the outside and inside of them. Around the same time period, I also went to different malls, outlets and plazas to take photos of Christmas trees, holidays decorations, and people who shop there. One thing I found that’s ironic, is that photos from the cathedrals and churches from my films are lonely and quiet. In contrast, photos from malls and plaza came out very crowded with a lot of holiday spirit. At first I didn’t purposely photograph empty seats inside the cathedral, and lonely outside buildings. My plan was to show the difference of people between who go to church and malls, and what they would wear to church and mall.

Fortunately, what came out from the film was surprisingly great. I decided to pick and print a set of 10 photographs as my project, and I titled it as HOLIDAYS. I displayed them in the order of 1,3,3,3 from top to the bottom. The top photo is a well decorated hand crafted real wood Altar placed one side in the end of the cathedral wall. Right underneath is a photo of two little girls taking pictures with the snowman and snow woman outside a real life size beautiful gingerbread house. And on both sides of this picture, there are two different tall Christmas trees from different malls and plazas. Underneath of both Christmas trees was the full view of two different churches and cathedral building structures. In between them was an open view of the inside of the cathedral with lights coming in though a cross window and light reflecting on the marble floor, and a great number of pews from in the distance. The bottom three photos were within the same background of the bottom of the big Christmas tree that has a sign indicating, “The world’s largest Christmas tree”. There are many people taking photos in front of it, and I captured the scenes with different groups as they took selfies.

My whole purpose of this layout is to inform my audience whom are making money and consuming in our society to rethink. To rethink the history and religion’s meaning to the holidays, to consider how consumerism affects our society, and to rethink the values of tradition. I was happy that my message from this collection got acknowledged when I displayed it in front of my class and the student COMA Gallery. Some replied with shock to see the comparison between the empty cathedral and crowded mall, it gave them an impact to reconsider the meaning of the holiday.

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Art3410 Assignment # 2B Physical reproduction

IMG_4299One of these great innovators in couture was Christian Dior, who reinvented haute couture during a time span of ten years. Before one can delve into how Dior change couture and fashion in general we must look into his history and how he got to be one of the most famous designers of all time.
Christian Dior’s life was more than complicated than it might seem at first glance. As a designer in post-world war II, he had much to prove not only to himself but to the public who was hungry for the visually pleasing couture fashion trends of the time. He wanted to change the wartime look for a more feminine look. Shortly before his death, Dior had written a book of his feelings towards his short lived fame. In his memoir Dior by Dior, he tries to publicize an internal conflict that has been looming inside him since his rise to fame.

The “Junon” dress, is French for Juno who is an ancient Roman goddess she is known as the one who makes the child see the light of day. The dress is like an upside down blooming flower with shiny sequins petals that shimmer under the spotlight. The creamy silk net gown with embroidered sequins is one of the most popular designs in Christian Dior’s collection of Autumn/Winter 1949-1950.

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Considered among the most outstanding dresses Dior has ever designed, the strapless bodice is overstated with clear crystal beads and a thin trim of fabric along the neckline and waistline, creating a slimming effect on the waist. Shimmering blue, green, and rust sequins are greatly encrusted at the hem but progressively fade as they travel up the gradually fading petal of the skirt, which appears to be shaped in imitation of eyeless peacock feathers, referencing the bird that is closely linked with the patron goddess of Rome. The use of graduation draws attention towards the voluptuous skirt, which makes the lower body appear wider and fuller with its horizontal hemlines. This complements the tiny waist line above the skirt and highlights the hourglass figure. The silk net fabric invokes a sense of lightness and angelic appeal when the iridescent sequins catch the light.

One of the tools of the trade that all of these designers used for their haute couture designs was the tambour hook for the tambour embroidery. The tambour hook is not a typical needle but rather a very fine hook that is used to punch through the preferred fabric for embroidery. This hook is used for tambour beading which is the name of the method for this particular type of embroidery. Tambour comes from the word drum in this case the drum is represented by the fabric being pulled by a frame. This particular method is favored by those who practice haute couture since threading is nonstop and it is relatively easier and faster to stitch. This technique was created in Europe in the late 1700’s.

The frame typically consists of wood but can be made of other materials and also varies in sizes depending on the individual needs of the project and the designer. Then the fabric is pulled by the frame and held in place and in position for the designer to work on. Then the designer might sketch on the fabric to have an outline of the design that will be produced. There is only one type of stich that must be learned to master the use of the hook and to become very efficient. The hook is punched through the tightly stretched fabric to catch a fine thread from beneath and draw it up, creating a linked, chain-like stitch. This is repeated until all the embroidery pieces are attached to the fabric according to the designer’s plan.

The handbook La Broderie de Lunéville by Mick Fouriscot and Roland Gravilier, offers a detailed explanation of how to use the embroidery frame for the tambour embroidery method;Screen Shot 2017-03-29 at 8.34.26 PM.pngScreen Shot 2017-03-29 at 8.34.35 PM.png

The assembly of the fabric on the loom:

  1. Sew the embroidery fabric on the first seam.
  2. Mark with two pins where the fabric will come to position on the second stitch.
  3. Sew the embroidery fabric on the second stitch.
  4. Slide the slats into the mortises.
  5. To stretch the embroidery fabric, push the studs apart and nail them in place.
  6. Lay the first zipper, holding it with pins, starting at the top left. Proceed in the same way with the second pull.

For lightweight fabrics, edge the fabric before attaching the pull tabs.

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Needle/Hook used

The chain:

  1. Hold your hook well vertically with your right hand.
  2. Stitch the hook straight into the canvas (fig.1).
  3. Place your left hand under the loom and slide the wire into the hook (fig.2).
  4. When pulling on the hook, pull the thread above the fabric to form a loop on the spot (fig.3).
  5. Rotate the half-turn hook (fig.4) so ​​that it is directed in the direction of work (fig.5).
  6. Draw in the canvas to make the next point (fig.6).
  7. Continue this way (fig. 7 to 13).
  8. 1 to 13 show a line of points running from left to right.

In my reproduction project I would like to make one of the embroidered sequins petal. I first make my own embroidery frame by re-using old bed woods. I follow the assembly of the fabric on the loom steps to sew the embroidery fabric onto the frame. I use both traditional hand sewing method and tambour embroidery method to apply sequins onto fabric (total 50 hrs).

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Poster Board

Haute Couture: The House Of Dior

Christian Dior’s life was more than complicated than it might seem at first glance. As a designer in post-world war II, he had much to prove not only to himself but to the public who was hungry for the visually pleasing couture fashion trends of the time. He wanted to change the wartime look for a more feminine look. Shortly before his death, Dior had written a book of his feelings towards his short lived fame. In his memoir Dior by Dior, he tries to publicize an internal conflict that has been looming inside him since his rise to fame. For every piece Dior created there is a background story for it that comes from his inspiration and his own imagination. Since he was raised in a wealthy family, Dior understood luxury and fine arts and took some of his creativeness from paintings by Ingres and Modigliani.it is no surprise that after he caught a break from both wars that his focus was in couture, or haute couture to be more precise. His focus was on the curvaceous female form and he constantly used bone, bodices and corsets.

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THE NEW LOOK- ‘BAR’ SUIT

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CHRONOLOGY: THE DIOR YEARS 1946-1956

1946 8 October: the meeting between Christian Dior and Marcel Boussac leads to the founding of the couture house ‘Christian Dior’.

1947 12 February: presentation of the first collection, Spring-Summer 1947, with two lines Corolle (Corolla) and En huit (Figure eight). ‘Christian Dior has revolutionized Couture, rather like the Marne Taxis have saved France’, proclaims the very influential editor of Harper’s Bazaar, Carmel Snow. The New Look was born. Christian Dior is awarded the Oscar of Haute Couture by Mr Neiman Marcus in Dallas, Texas. The house has ninety employees, a turnover of 1.3 million francs and accounts for 75 per cent of all French haute couture exports. October: founding of Parfums Christian Dior. Creation of the perfume Miss Dior.

1948 31 July to 13 August: a Christian Dior parade of fifty-five original and adapted garments, organised by the department store David Jones, is held in Australia. 28 October: founding of Christian Dior New York, Inc for luxurious ready-to-wear and accessories. Founding of Christian Dior Perfumes New York, Inc. In Paris, opening of Christian Dior Furs and a millinery department. 1948 Spring-Summer collection: Zig-Zag line (airy flights and geometric designs). 1948—49 Autumn-Winter collection: Cyclone line (under the sign of wings).

1949 Christian Dior is the first couturier to sign a licence contract. First stocking license in the United States: Christian Dior Hosiery. Christian Dior invents the pointed reinforced stocking heel. The Kings and Queens Ball given by Comte Etienne de Beaumont: Christian Dior comes dressed as a lion, in a costume made by Pierre Cardin, former Premier d’Atelier (head of workroom) at Christian Dior. 1949 Spring-Summer collection: Trompe-l’Oeil line (pocket and decollete effects). 1949—50 Autumn-Winter collection: Milieu du siecle (Midcentury) line (airy and loose-fitting cut). Over 1200 dresses are ordered in eight days.

1950 First tie licence in the United States: Christian Dior Ties. Founding in Paris of the Christian Dior Diffusion department, responsible for wholesale, export and license agreements. Christian Dior is awarded the Legion d’Honneur by the Ministry of Trade and Commerce. Dresses made for Marlene Dietrich for Alfred Hitchcock’s film Stage fright.

1950 Spring-Summer collection: Verticale (Vertical) line (neat and flowing). 1950—51 Autumn-Winter collection: Oblique (Oblique) line (pink and grey velvet).

1951 Creation of the stocking department. Creation of Dior Sport, ribbed stockings in four colours. The personnel now number 900. The Beistegui Ball at the Labia Palace in Venice, for which Christian Dior designs several costumes and some spectacular capes. With Salvador Dali, he creates a living painting entitled The giants. The book Je suis couturier by Christian Dior is published by Conquistador. 1951 Spring-Summer collection: Ovale (Oval) line (constructed/natural line). 1951—52 Autumn-Winter collection: Longue (Long) line (entirely new proportions).

1952 Founding of Christian Dior Models Ltd in London. 1952 Spring-Summer collection: Sinueuse (Sinuous) line (blousons and sweaters). 1952—53 Autumn-Winter collection: Profilee (Profile) line (shapely waists and curves).

1953 Founding of the Christian Dior Delman Company, manufacturing made-to-measure shoes designed by Roger Vivier. 1953 Spring-Summer collection: Tulipe (Tulip) line (fuller bust, slender hips). 1953—54 Autumn-Winter collection: Vivante (Alive) line (inspired by the Eiffel Tower and the domes of Paris; nicknamed the Shock Look in England, because the skirts are shortened to 16 inches, about 40 cm, above the ground).

1954 Opening of Christian Dior Ltd in London. The House of Christian Dior Paris employs a thousand people and is located in five buildings, with twenty-eight workrooms.

1954 Spring-Summer collection: Muguet (Lily-of-the-valley) line (volume of hat, bust and skirt).

1954—55 Autumn-Winter collection: H-line (the Flat Look, nicknamed the String Bean line).

1955 Opening of the boutique at the corner of rue Francois 1er. Opening of the Gifts—Tableware department. 3 August: a lecture by Christian Dior at the Sorbonne titled Aesthetics of fashion’ before 4000 students. ‘Doesn’t fashion unite the two spirits of geometry and fineness?’, he said. Yves Saint Laurent, young winner of the wool design contest, for which Christian Dior was a member of the jury in 1953, is engaged to work at the studio. He becomes the only assistant Christian Dior ever had. Christian Dior designs Olivia de Havilland’s wedding dress. 1955 Spring-Summer collection: A-line (a contrast of waisted shapes with diagonals). 1955 Autumn-Winter collection: Y-line (simplicity and length).

1956 Fourteen dresses made for Ava Gardner for the film The little hut by Mark Robson.Twenty-five thousand customers pass through the Christian Dior salons in a single season. Publication by Amiot-Dumont of Christian Dior’s memoirs Christian Dior et Moi. Launch of the perfume Diorissimo. 1956 Spring-Summer collection: Fleche (Arrow) line (slenderized and feminine). 1956—57 Autumn-Winter collection: Aimant (Magnet) line (rounded shapes).

 

The ‘Juno’ Dress

The “Junon” dress, is French for Juno who is an ancient Roman goddess she is known as the one who makes the child see the light of day. The dress is like an upside down blooming flower with shiny sequins petals that shimmer under the spotlight.

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Tambour embroidery

Tambour Embroidery is one of the most efficient embroidery method in haute couture. Instead of a needle, very fine, sharp hook is punched through a tightly stretched fabric to catch a fine thread from beneath and draw it up, creating a linked, chain-like stitch. The name “tambour work” comes from the way the fabric is held taut between two round, fitted hoops, resembling the head of a small drum, or tambour. A pattern was usually marked on the fabric, to be followed by the embroiderer, and designs were commercially available. Because the thread is continuous, a practiced worker could stitch more rapidly than by other traditional embroidery methods. It also required less concentration, which made it perfect for being industrious while socializing with friends. The finished work could be almost lacy – a popular effect when working with white thread on a white fabric – or dense with shades of color.

 

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Autry Museum

I visited the Autry Museum were I got to see a variety of clothes from different cultures.

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One piece that caught my eye was a Buckskin Dress that belongs to the permanent collection: How the West was Worn, from Frontiers and Fringe under Art of the West. This dress was made by Susie Smoke, from the Oglala Sioux tribe from Pine Ridge, South Dakota. This piece was made around the 1920’s, and like the name implies, the dress is made of buckskin which is most likely from a male deer. The skin then is smoked to give it this soft honey color as well as create an almost waterproof layer. The dress is covered with colorful beads that outline the extremities but also form the figures of other Native American men on horseback. The beads that are made of different colored glass represent elder natives from that same tribe, the Oglala Sioux. The dresses are typically made by the mother or grandmother and given to the next generation women of the tribe. Each dress was unique and tailored specifically for the young woman as she entered adulthood. This is easily one of the best pieces this museum in my opinion.

Manifesto Critiquing Fast Fashion

Fast fashion as the name implies means getting the trendiest clothes out of production as soon as possible. The large fashion companies make profits by selling in volumes, so production must be swift and successful. Unfortunately, in order for this inexpensive clothes to be shipped to stores all across first world countries, they are made in developing nations for many reasons. One reason is cheap labor; these large companies take advantage of the people in countries like Bangladesh who are unprotected by the lack of labor laws. Aside from the low wages, there are also poor working conditions, again due to the lack of safety laws in these nations. They have no fire escape, no fire extinguishers and have no formal training with machinery most of the time. Lastly, these companies have children making garments in the factories, thanks to the lack laws that should protect innocent children from being forced into these conditions.

These companies are really clever and distort reality when it comes to getting the consumers attention. They use high fashion designers’ names and place them on the label of the garments they sell. This in turn makes consumers go shopping for these clothes that are nothing but fast fashion pieces with a designer’s signature on them.

As consumers, we have got used to paying very little for the clothes that we wear, that we forget how valuable a piece of clothing can actually be. We are supporting these billionaire companies but more importantly we are harming the nations and the people that produce these cheap goods.