Sunday, October 06, 2019

What about the People (and their clothing systems)?

Here at the Van Eyck Academy in Maastricht (The Netherlands) all roads are pointing to 4 November when our Research Collective for Decolonizing Fashion will host its day-long event,  Conversations to Redress a Fashion Disaster.

My first task, as a resident of the Academy, is to situate the ideas of the RCDF in the discourse on fashion and sustainability. We need to be clear about the link between decolonization, fashion and climate change. Within the present, dominant discourse, this link is not obvious.  

I looked up frameworks constructed by some prominent organizations to ameliorate fashion problems.  One was provided by the 'Fashion Industry Charter for Climate Action' a UN initiative to facilitate the fashion industry meeting the targets of the Paris Agreement. Not surprisingly the emphasis is placed on: 
·      low-carbon solutions and eliminating coal, 
·      reducing climate emissions from operations 
·      more efficient resource use  

Another framework was constructed by Fashion for Good. This initiative was co-founded by William McDonough, famous for having conceived (together with Michael Braungart) the notion of 'cradle-to-cradle', the core concept of the circular economy. He advocates "... an aspirational framework we can all use to work towards a world in which we do not simply take, make, waste, but rather take, make, renew, restore." This framework involves five 'goods':
·      Good Materials - safe, healthy and designed for reuse and recycling
·      Good Economy - growing, circular, shared and benefiting everyone
·      Good Energy - renewable and clean
·      Good Water - clean and available to all
·      Good Lives - living and working conditions that are just, safe and dignified

From these and other action plans, the familiar image of centre and periphery emerges. The centre is 'the fashion industry'; the periphery feeds it by supplying the raw materials and labour during production operations. The goal appears to be business as usual, radical only in encouraging more skilful treatment of material and ethical treatment of labour.

Other activist fashion groups echo the two examples that I have presented here; the discourse appears to have gelled around a focus on materials and energy use and labour ethics. 

Once again, the people and their culture are left out. I was relieved to hear Naomi Klein, in a recent talk about climate, disparaging goals and strategies that were to enable "change without having to change at all", "looking for a fix that is going to leave the status quo pretty much unchanged". 
"Now, as these so-called solutions are advanced .... the people ... seem to disappear .... This chronic forgetfulness about 'inconvenient other people' is the thread that unites so many fateful climate policies of recent years." (12.54) 

Her talk was about climate mitigation technologies but her insight applies to fashion. In the entire history of fashion studies, fashion theorists have rigorously and consistently denied that 'other' people have their own fashion systems. It is logical and consistent, therefore, that in this time of deep crisis, the clothing systems of the labourers producing the Western fashions continue to be denied or forgotten.  Similarly the clothing systems of indigenous peoples whose lands, forests and cultural systems are being destroyed are never mentioned. Why would there be attention, in a time of crisis, for something the existence of which has never been acknowledged by the industry? With sales estimated at $1.34 trillion in 2018, it would not in their bullying, maximizing interest.

Some organizations set up to ameliorate the 'fashion problem' have gone a little further in their focus. Fashion Revolution, for example, acknowledges culture in point 4 of its Manifesto 
"Fashion respects culture and heritage. It fosters, celebrates and rewards skills and craftsmanship. It recognises creativity as its strongest asset. Fashion never appropriates without giving due credit or steals without permission. Fashion honours the artisan."
While there is mention of culture, heritage and appropriation, but the focus is nevertheless still the needs of the Western fashion system. Point 4 fails to go so far as to consider the existence of, let alone support for, alternative clothing/fashion systems.

This is the narcissistic focus that the RCDF is trying to disrupt by shifting the floodlight to the periphery. This morning, I was inspired to write a list of Do's and Don'ts to bring attention to the cracks in the framework of even the most sincere attempts to redress the deleterious effects of 'the fashion system' on the environment.

Do's and Don'ts for 
Greenwashing your Clothing Purchases

Do buy clothing that is made responsibly by workers who receive a fair wage, work no more than 48 hours a week, are not children, have negotiating rights, and are allowed to form a union. 
            Don't enquire further about what has compelled them to take up a factory job -- whether they are migrants, widows, or forced off their land, whether they have small children at home, or are forced to bring them to the factory. Don't even think that they may be, or once were, designers in their own right and have their own clothing system that they would rather be attending to if market forces were less oriented to the centre. Do tow the line and convince yourself that a job in 'the' fashion industry is a boon because 'at least they have an income'. 

Do buy clothing that involves low transportation costs because emissions from transportation, both by sea and air, are contributing alarmingly and increasingly to global warming.
            Don't even think about buying local. The price will be too high. Don't think about local craft systems that are unsupported and disappearing because labour 'is so much cheaper' off-shore.     Don't think about alternative clothing systems that may be disappearing on this planet so that production for 'the Western fashion system' may thrive. 

Do try to purchase clothing with pure and natural fibres as this will reduce the use of fibres made from hydrocarbons and facilitate recycling.
            Don't ask yourself who is growing the cotton/linen/hemp/silk/wool, where it is coming from and how its production fits into and influences their lives. Does it enhance or is it deleterious? In the first place you will have a hard time finding the answers; in the second place, it may take your focus away from "the look" and your humanity might mean that you reject a beautiful item of clothing just because you care about the well-being of other people.
            Don't bother your head about ecosystems that might have been transformed or destroyed to fit into the 'supply chain' of Western fashion.

Conversations to Redress a Fashion Disaster RCDF at the Jan van Eyck Academy

For one week, starting 3 November, the Dutch 'Jan van Eyck Academy' in Maastricht (, will devote time and attention to the most pressing problem of our age: climate change. 

The Van Eyck Academy is a well-reputed multiform institute whose facilities for fine art, design and reflection are the envy of every artist and it opens its doors as widely as possible to engage participants in its stimulating programmes. During the week long Climate Urgency Marathon in November, artists will examine their roles and responsibilities. The Research Collective for Decolonizing Fashion has agreed to curate the Monday, 4 November programme on fashion and climate. We have been given a 3-month residency, with access to all the facilities of the Academy, to facilitate preparation of the event.  
It is a challenging and exciting assignment. Certainly sustainability, including climate change, weighs heavily on the mind of everybody associated with the fashion industry (see  the Fashion Industry Charter for Climate Action
Coloniality, on the other hand, is an all but forgotten ingredient in the mix. The task of the RCDF is to bring this crucial issue to the fore. We are in a whirlwind of meetings with students, discussions with experts and serious research in libraries.

I will be filling one month of the residency and my term has just begun. During the course of the next weeks, I will be writing blogs to share with you how we are giving shape to our programme. 
The first next step will be to construct the November 4 agenda with the other RCDF members involved in the Van Eyck programme (Angela Jansen, Toby Slade, Erica de Greef). Stay tuned.

In the meantime, don't forget to put 4 November on your agenda. Come to the Van Eyck in Maastricht and take part in Conversations to Redress a Fashion Disaster  ( It is open to the public and will be conducted in English.

To whet your appetite for more, chew first on this useful reference on decoloniality: 
G.T. Reyes, 'A Pedagogy of and Towards Decoloniality'.

Saturday, June 08, 2019

Giving a Damn and Hyperopia: Decolonizing for Sustainability

The more effectively a clothing company functions the more destructive it is (to the world). That is the nature of the beast. (Kate Fletcher)

On the 5th of June, 2019, I attended a community event at ArtEZ (a tertiary art and design education institution in Arnhem, The Netherlands). The Union of Concerned Researchers in Fashion was the first item on the agenda. Kate Fletcher, Research Professor at the Centre for Sustainable Fashion at University of the Arts London and one of the original founders of the Union, was there to explain the Union. She elicited interests and concerns specific to Arnhem/The Netherlands. Laudably, the Union organizes such assemblies to keep in close touch with its members. 

[I encourage readers to look up the union website: concernedresearchers.orgArtEZ stands firmly behind this initiative just as I do. It has the potential, as a global movement, to be a game changer that we so desperately need. Print out the Manifesto and hang it on walls and doors!] 

Kate Fletcher said something during her introduction that remained on my mind throughout the afternoon: "It turns out that it is easier to conceptualize the end of the world (as we know it) than a world that is not driven by capitalism." Think about that! Scary! --  given that it behooves us to think of, and live, alternatives to capitalism if we would like to postpone the end of the world. 

The group split up into smaller discussion units to hash out a variety of fashion sustainability concerns and then reported back. We did not discuss that scary paradox but the entire session was devoted to fashion re-visioning. Kate Fletcher's words were always in the back of my mind.

By the end of the day, some wind had returned to my sails. A collective framework had emerged. We all talked about the same things: making fashion more fair; making fashion better meet our needs by bringing it closer to home; making fashion more precious so that we stop throwing it away so wantonly; recognizing the physical world in our clothes. Two red threads that ran through it all included: 'caring' and 'togetherness', two of the words that Kate would bring back to share with the Union. 

I brought them home with me, too. The power of caring and doing it collectively! Eureka! The wrench in the capitalist wheel! Collective caring demolishes the primary credo of maximizing wealth at all cost. It would change everything. Nature would not be raped and pillaged to satisfy vanity; labours of love would prevail above worker exploitation; our clothing would not be made of oil and would biodegrade; and I daresay all wearers of such clothing would be happier. But how to achieve this utopian world, so exciting to consider? 

Aye, there's the rub!

We need examples. As I cogitate on Professor Fletcher's visit, I am struck by how profoundly we need anthropological knowledge, awareness of how other societies have organized their apparel, the awareness of alternatives. How limited we are if we can't think of a single one!

The word 'fashion' is no doubt part of our problem. The literature references the 'fashion system' as though it were singular -- while in fact it has morphed endlessly since fashion began (whether that beginning is assigned to the 17th 18th or 19th century). It has trickled up and trickled down and spread sideways, imposed itself and appropriated. As economics made visible, fashion's talent is to adapt endlessly to change. To position Western fashion as a monumental entity relative to non-fashion is to promulgate two pieces of fake news at once. Western fashion is, in fact, varied and not monumentally singular. And because fashion is ubiquitous, non-fashion doesn't exist. Everywhere there is and always has been fashion, in every society and in every time period. The examples out there are endless. The notion of fashion has shortened our vision.

Decolonizing fashion is of critical importance in this time of environmental crisis. It makes it possible to see different fashion systems; acknowledge and respect them; give them room to survive; learn from them: care about them collectively. That would be a fashion revolution. 

Sunday, March 17, 2019

Ailsa's Magic

My friend Ailsa Kay is at the Weaving Centre now. She is generating hope and happiness!

The day after she arrived, the women in Lasma's family all gathered to help her learn to weave. They posted pictures on Facebook, a sign of their intense excitement: they wanted to tell the world! For the occasion they all donned the  'bulang' headcloth, something that they have only ever done once before (when tourists visited). They clustered around Ailsa solicitously showing her how to stiffen the warp yarns with starch in preparation for weaving and they let her do it. Because they don't share a common language, the Simalungun girls are thrilled to be practising their English (with the help of Google) and Ailsa is no doubt learning a few words of Simalungun and Indonesian.

On the face of things, it may seem a simple matter to receive a visitor. For us at the Weaving Centre it is a Very Big Deal. For years, now, we have been working on our building, and specifically the Guest Room, to bring it up to the minimum standard that a Western visitor can expect. Our challenges have been significant, most of which fit under the heading 'Poverty'. Povery influences hope, will, knowledge, aspirations and belief in the future.  'Why would anybody visit the village?' the locals ask. It is ugly, and slummy, strewn with plastic garbage. So why would they devote time and money to a pipe dream of having visitors come? The charm the village once had was lost when people migrated from the ancient location beside the stream with the traditional architecture and built shacks along the road where they had better access to electricity and transportation. The village has lost its soul and is in disarray. The inhabitants are in basic survival mode. Bare, minimal survival occupies all of their time and thoughts. In some sections, clusters of families share a single toilet. Running water in a kitchen is a luxury dream. Hygienic standards cannot be upheld. The number of suicides is high though I don't know the rates. All of the farmers struggle against a system that benefits the middleman and the market but not them. How can they possibly believe that their weaving arts are of any importance or that visitors would want to visit their village to learn about those arts?  They themselves have learned from bitter experience that the market won't support their work. Besides, how could they possibly accommodate such a visitor? For them it is all a very far-from-their-bed scenario.

That is where my role comes in. I encourage, facilitate, discuss visions, allow myself to be laughed at and sometimes scorned; my motives invite incredulousness and inspire distrust -- and I plug on, trying to to keep their weaving arts front and centre in my thoughts, and hold onto the conviction that one day.... the skills in the village will be universally treasured. If only we can keep those skills alive in the meantime!

Enter Ailsa! Is she the first Western, white woman to ever sit down and learn to weave in Simalungun? I have never heard of another doing that. I think that she is making history! She is generating pride, hope and new visions of the future in the weaving family. They have allowed me to persuade and lead them all this way in preparation for her visit, on condition that I bear all the risks. Will Ailsa's visit re-kindle belief in their beautiful weaving tradition? Will they take on the dream/goal of having it survive? Will they assume some initiative and dedicate themselves to that dream? To what extent can and will that dream support them? The future is filled with so many unknowns...will global warming smash all of our dreams? ... I have no recourse but to struggle on, undaunted, with hope, no recourse but to believe in a supportive future. Otherwise I would give up.

Guru Op Elza oversees
Ailsa is my dear friend, my guest, and dare I say it? a little bit of a guinea pig as well. She has listened to my stories about the Weaving Centre for years. She is well-travelled, balanced, and an anthropologist. She was ready for the adventure. Our fingers were crossed.

In preparation for her (and those following her!?) Lasma's husband, Pak Sandi, (at my behest and cost, of course)  installed running water in the kitchen, built a strong bed frame for the mattress, had the bathroom tiled, and has begun to grow organic vegetables on our grounds. We have a loom for guests, and sufficient yarn, and now that the gardening season is tapering off, Ompu Elza is willing to put on her other hat of 'weaving guru'. 

Lasma is playing House Mother, Agustina is interpreter, story-teller and warm companion; all are helping out in their own way. (The two sisters shot the video accompanying this blog.) My friend, Ailsa, is playing along in a warm and communicative way, suggesting strategies to make the guest room more homey and conveying what her 'fresh eyes' see in what we have done and its potential.  She is happy to contribute in her way to making the weaving centre into a 'real' craft Homestay. Already they adore her and she is being taken up in the RBTS family. 
Lasma stocked up for Ailsa's visit 
It is working like magic. This evening Lasma called me and showed me the fire they had built to roast the organic corn just plucked from our land. They were enjoying the warmth of the flames, laughing and singing. The scene touched me. It was nurturing -- and I hope sustaining for all of them. They are all searching for their direction in life.  Sitting around the fire they were sharing and finding comfort and insights by being together. Differences of language were being bridged and the interference of outmoded concepts that have broken up the common humanity of North and South were rendered irrelevant and absurd. It crossed my mind that perhaps precisely this is what the Weaving Centre may  really be about: bonding, mutual understanding, linking North and South, making the unlikely possible, finding a shared direction. The envisioned future may never come, but we have had this moment, precipitated by the precious weaving tradition of Nagori Tongah. It will last forever. It makes me feel richly satisfied and filled with joy.

Tuesday, February 12, 2019

Birthday Bulang for Mom

On Valentine's Day, February 14, my Mom turns 90. This is very special for the entire family. For her birthday, I have given my Mom a bulang textile. 

This is not the way a bulang would be given in the Simalungun culture where the cloth originates. If we were Simalungun, my Mom would have given me a bulang when I married, and the cloth would have symbolized her relationship to me (ergo the relationship between my lineage of birth and the lineage into which I marry), and also my identity as a married woman. I would have acquired, by marrying, the 'right' to wear it. The bulang from her would be the very special, inalienable one that I would keep carefully and honour forever. Eventually my descendants would also keep it, in memory of me and the indestructible tie that my marriage created between two lineages. When I give my Mom a bulang at age 90, on the face of things it has nothing to do with the original meaning of the cloth as an object of cultural exchange. But there is another way of looking at it.

I still only have one weaver in the former 'weaving village' in Simalungun where I work, but that 'accomplishment', if I may call it that, has been the result of a huge investment in time, energy and resources, especially given that we also work with naturally dyed cotton and try to reconstruct bulang versions to which Dutch museums have provided access. I cannot claim to have 'revived the bulang' but I can say that through my efforts (and of course those of many collaborators) some 'revivals' have been woven that have quite a lovely quality.

Op. Elza resumes weaving her bulang
Until now, I have not sold any of the weavings. In the first place, given the investment, any price that these textiles could fetch would be too low.

But there is more to it. The bulang has given me pause to consider its meaning and social role. Batak textiles used to be sacred objects. The ones currently woven are commodities, mere shadows of what they once were. Even used in ritual ceremonies, they are still only tokens of what they once were. The process of 'reconstructing' an old bulang inspires reflection on its purpose in this world. Is the modern version to be just for collectors and aesthetes with well-lined pockets? 

But to put the revived bulang back on the local market is to invite history to repeat itself. Even if it were to command a very high price, as a commodity the cloth would eventually be bargained down, the weaver would end up being exploited, and the middleman (right now that would be myself) would earn any profits to be gained. Fluctuations in currency and local and global markets are inevitable and eventually the weaver would again be squeezed out and have to retire her loom. That has already happened once in my weaving village, the end of a very long historical trajectory in which weavers were increasingly devalued and the quality of the cloth went into drastic decline. I know how the weavers have suffered and how the textiles have become cheap ersatz versions of what they once were. I don't want that to happen again and, after all of my efforts, I can't countenance myself as the author of such a repeat trajectory or the middleman. At the very least, that would create a different -- and undesired -- relationship between the weaver and myself. We are still working on the definition of 'revival' in a world that likes fast and simple commodities, a 'material world' that knows very little anymore about truly valuing objects. Putting the reconstructed cloth back on the market is to doom it and therefore also my purest ambitions.

On the other hand, friends tell me that by not putting it on the market, it is also doomed. Weavers need income. My own resources are also depleted and anything but infinite. I cannot continue to carry the project in this way forever.

Where lies the answer? I am still working on that.

The theme of continuity in the bulang is very important in the way the cloth is
constructed. Here the white warp has been 'sown' into the red warp in such a
way that both are continuous and uncut, symbolizing unbroken ties and time.
In the process, the bulang has given me many new insights. Traditional Batak gift giving, in which textiles figured central, was very little about material exchange and much more about symbolism, spirituality and the construction of identity and inalienable social ties. A bulang was transferred to bridge a social gap. It could do so because it was infused with spiritual content. It always moved between lineages where there was an affinal tie, that is, a political alliance forged by the union of a man and woman. If it was 'given', the giver acknowledged the social gap that required a bridge. The act of 'giving' was not solely one of handing over ownership but one of forging a tie. The bulang would unite the two kinship units forever. The act of giving acknowledged and defined the boundaries of social units at the same time as it bound them together. This is pretty different from a sale, in which the transfer of ownership is central and any social ramifications are arbitrary and random. In the giving of the bulang, the forging of an inalienable tie is central. The indigenous Simalungun economy ran on constructing and nurturing social ties, the ritual exchange of goods served that goal. That was the best insurance policy possible. Maximization was expressed in terms of healthy social bonds. Exploitation was neither a desired nor inadvertent end. Health, well being, and a long life with many progeny were the goals of life; amassing wealth made little sense except insofar as it could nurture social alliances.

I have enjoyed learning this. I realize now that an 'alternative economy' must operate on a truly different plane. The 'maximization of wealth' that dominates thinking in the current global context is a concept that interrupts the understanding of the bulang in its original habitat. My challenge now is how to construct a habitat that will allow the bulang to regenerate its original economy and offer the weaver, her family and village well being.

Mom and me
My Mom's 90th birthday gift is a step in that direction. My Mom has encouraged every inch of my progress in the revival of the bulang.  Her faith in my project has never wavered; she has supported it in every way she can. We already have an unbreakable tie, but I would like to express it by giving her a bulang. This gift will not unite social units the way a Batak textile is slated to do, but it will celebrate our tie and acknowledge her role in my life's work.  It will also link her forever to the weaver, Ompu Elza, Lasma's mother. The textile is too valuable to sell. The bulang that I gave to my mother is, for me, a multi-dimensional sacred object, and its value can never decline. It represents the special bond that we have, that can never be bought or sold, and will prevail forever. 

Thus the bulang is perhaps already regenerating its original economy.... Ironically, given that it is a piece of material culture, it has taught me how to acknowledge non-material dimensions of life and given me a means to truly honour the bond I have with my Mom.

Happy Birthday, Mom. You are mine forever, Valentine. 

Monday, January 07, 2019

Endangered Textile Design: Will we make room for it to survive?

The more I learn about the position of weavers in Indonesia, the more I feel concern that they are no longer in a position to continue to grow their design traditions. I especially see the drastic effects of poverty. How can a weaver allow her imagination to take flight when she is worried about where school fees will come from, how she can pay for medicine for her sick husband and whether the weather will allow her to reap a sufficient harvest? Moreover, when she weaves, she cannot hope to earn nearly what she deserves for her time and effort. These days she must compete with mechanical looms that appropriate her heritage designs. To corner an external market, she is encouraged to work within an aesthetic genre that is not hers; her own cultural market is too poor to pay for her best work. When the fashion world appropriates her designs, she is often demoted to the role of underpaid labourer if she is involved in the process at all. She is definitely between several rocks and a hard place. This is especially painful when compounded with the awareness that these exquisite, rich Indonesian woven traditions are the result of the skill and creativity of generations upon generations of village weavers. Does this mean that these traditions are doomed to come to a halt forever? Surely computer generated 'indigenous' designs are not the answer! What about creating room for the weaver through respect, a living wage, market improvement, appropriate policy that protects her role as creator of her own heritage!

Dr. Geneviève Duggan (field area: Savu) and I decided that we wanted to call badly needed attention to these issues. Luckily we are able to do that within the context of ICAS, the International Convention of Asian Studies at Leiden in July 2019. We will be chairing a Roundtable devoted to the topic. This is the introduction that we wrote for our event.

How indigenous weavers create design in their communities has not been sufficiently studied. 
The topic has become urgent because indigenous weaving traditions are in sharp decline.  

The goal of the Roundtable on Endangered Textile Design is to explore the cultural nature of indigenous textile design creation. The topic has been selected on the understanding that the loss of indigenous design is not inevitable, but the result of identifiable social forces, hence the possibility of remedial strategies.

The Roundtable will also examine exogenous forces that have an impact on indigenous design production. Indigenous weavers currently suffer from a loss of social and economic room to continue to grow their design traditions. Enclosures, appropriations, and 'design assistance' from exogenous worlds need to be evaluated for their effect on weaver latitude. 

The Roundtable is set up to encourage discussion, generate feedback and elicit additional information. Will a consensus of concern emerge? Can a basis for policy recommendations be established?

Wednesday, August 01, 2018

Decolonizing Fashion -- and the Bulang

I wrote a blog for our Research Collective for Decolonizing Fashion and felt it fair to share it here as well, since my recent ideas have been so strongly informed by the Weaving Centre in North Sumatra.

Not too long ago, I attended the State of Fashion exhibition in Arnhem (June - July 2018).  It was a magnificent exhibition, well worth the more than 12 hours that I spent there in total. As someone who has considered the decolonization of fashion from an anthropological viewpoint[i], the exhibition gave me important new insights into what decolonizing can and should mean. It really is a revolutionary concept. I learned that much of thought-shaking significance has transpired since I wrote about what amounts to the racism of Western Fashion -- but I also perceived that the State of Fashion still needs to undergo more decolonizing to become whole.

Let's face it. The West is NOT superior. It is the Big Bad Wolf. The West is the undisputed leader in destroying our beautiful-but-abused Planet Earth. The conceit that we in the West have managed to uphold as descendants of the Enlightenment and the Industrial Revolution is surely due for eternal rest, but it is still ubiquitously alive and, unfortunately, kicking. Fashion is our proof. The West had it, but the rest did not, according to conventional wisdom. Now that the rest seems to be having it too, we lull ourselves with the happy delusion that the world has become a more fair place and that 'they' have caught up. In reality, this global fashion system demonstrates that the tentacles of our destructive, now global, economic system have reached the farthest corners of the globe. It is exploiting the universal human need for clothing and body decoration to reproduce itself everywhere like a virus. The process is complex and can inspire creative anti-fashion, contra-fashion, alternate fashion and subversive fashion responses as people tangle with its dominance, but it also true that local indigenous systems of clothing dynamics are wiped out quietly in its path and claim no headlines as they go. 

At the State of Fashion event, people who work critically within the fashion system scrutinized it thoroughly and unapologetically. Fashion has failed, was their message: it is hugely wasteful, the most destructive industry after oil and gas; it serves to make the rich richer on a massive scale; it ruthlessly denies local creativity; it alienates us all by failing to take account of our emotional needs; it heartlessly tells us that we are lacking unless we buy in, literally; it straightjackets us into filling expectations about gendered ways of being; it refuses to keep abreast of developments that could reduce our ecological footprint; it uses fibres that destroy our rainforests and water; pesticides and herbicides that ruin our soils, dyes that turn our rivers black; labour practices that reduce makers to slaves. Buying in is an agonizing form of global suicide. This is not the fashion that we want!  We are seduced and railroaded into buying and wearing what we abhor in principle.

So, what is the fashion that we want? Can do we achieve it again? (Yes, it was once available.) What are the changes needed? How do we go about achieving those changes? What kinds of new systems and structures do we need to create?

The State of Fashion shone its light on a plethora of strategies currently being explored: new dyes, fibres, construction techniques. New systems of making, new ways to value and not waste, new ways to recycle and re-use. It encouraged conscious reflection on what fashion is and what it should do for us, and on the thought systems incorporated in the making of fashion. It was deep, thorough and thoughtful and it should be required fare for all. May the exhibition travel!

What I saw in the exhibition and its programs was a gratifying awareness of humanity. It was not Us vs them (the West vs the rest, Those with Fashion vs those without). It was about constructing a new, global fashion morality; about respect for our deepest needs and longings as creative, gendered, caring, diverse humans; about fairness to all involved in fashion production, and also consumers and our dear Mother Earth. It passionately and earnestly conveyed the imperative of breaking free of the straightjacket into which the global Fashion system has strapped us and the boundless potential that revised clothing production holds for creating goodness in the world.

For all its rightness, however, it failed to integrate the fundamental awareness that fashion is NOT and has NEVER BEEN exclusively Western. It focused on the reformation of the Global Fashion System. Yes! Necessary! Kudos! But it did that almost exclusively, and in so doing, it continued to walk on the same fundament on which the Western Fashion System was constructed in the first place.  Its recognition that there are other fashion systems was weak. They have always been there -- although now largely forgotten and ignored, and worse yet, undermined and destroyed by that obese, conceited Western variant. Among those desecrated systems are examples of what is being sought in the West: sustainable systems that meet local needs, that don't harm the earth, that respond to local creativity, that are not exploitative, that are meaningful, that do good for all involved. They were always overlooked in Fashion Studies. Now they are still being overlooked in critical fashion analyses.

I attended a thoughtful session in which I tried to explain my own efforts to keep an exemplary system in a Southern nation alive. "Who can support me in this effort? How can I find support?" I asked. From this radical group, I expected and desperately wanted an endorsement, a recognition of the preciousness of my alternate, non-Western fashion and of its importance as an ideal or a model for our current industry, an answer to so many of our questions, a possibility of working together, of turning the non-Western example into a potential hero of a disastrous Western story, a way to build more fairness in the story of North and South. I was disappointed.   One answer that I received was, "Why not appeal to a church group for charity? They may be interested in craft." And that from a foremost leader in The Netherlands for changing the fashion industry. I should not have been surprised. I know that there is still no extant framework by which to assess my tale and my passionate quest to save an indigenous fashion system. I want collaboration, and recognition from industry and producers that what the Global Fashion System has almost completely decimated is still available to be supported and recognized as the ideal that they are looking for. Before it is too late, and the last jewels have been quashed in its merciless path.

There is plenty of urgent work to do. We, the Research Collective for Decolonizing Fashion still need to impress upon teachers and practitioners how powerful and pervasive the colonial and racist notion of Fashion still is, that a new Fashion model must accommodate and respect cultural diversity and multiple historical narratives, that our Obese Global Fashion Mono-System must, in the future comprise diverse threads, diverse patterns, multiple layers, and various techniques; that it must be restorative of what it has crushed in its thoughtless, greedy pursuit of wealth. For me, that would be 'the new luxury'. It is there, and has been there all along, but it will not be seen or found unless fashion is decolonized.

[i]Niessen, Sandra. 2010. “Interpreting ‘Civilization’ through Dress” in the first international (10-volume) Encyclopedia of World Dress and Fashion  Vol 8: West Europe, Part I: Overview of Dress and Fashion in West Europe. Oxford: Berg Publishers, pp. 39-43. 

Niessen, Sandra. 2003. “Afterword:  Reorienting Fashion Theory”  In Niessen, S.A., A. Leshkowich, and C. Jones (eds.)  Re-orienting Fashion:  The Globalization of Asian Dress.  Oxford:  Berg Publishers.  pp. 243-266.