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2:04

Best. Actress:

2:12

With a million people in the world, we all

2:14

have one thing in common. Everyday.

2:16

We all get dressed. Like

2:20

actually do more? In the new one When

2:22

asked why we were. In

2:24

a serious answer has a profile the. Him

2:27

in custody exactly?

2:30

Processors are, you know On the

2:32

podcast, April and I are dedicated

2:34

to exploring and celebrating the humanity

2:36

behind the clothes we wear and

2:38

the threads that really connect us

2:40

all. Throughout. The past. Present and

2:43

future. And today it is more

2:45

important than ever to foster. A more thoughtful

2:47

relationship with the clothing we were. And

2:49

the people that make it so as

2:51

to counteract that fast fashion world that

2:53

we all know is working to destroy

2:55

our planet to the tune of producing

2:57

one hundred billion pieces. Of clothing

2:59

per year. But. Hook is

3:01

not lost. There are actually so

3:04

many incredible companies collect his and

3:06

also individuals working to remind us

3:08

about the value of dress and

3:11

textiles. and that includes Alabama Chanin,

3:13

Sounded. Over two decades ago by

3:16

Natalie Chan and in, as you

3:18

may have guessed, Alabama. The. Company

3:20

is committed to quote the

3:22

ideas as sustainable design, preserving

3:24

craft traditions and producing locally

3:27

and ethically with the highest

3:29

possible quality standards and close.

3:31

So. This goes into everything the Alabama

3:33

tenant as from the harvesting of the

3:35

cotton to the making of the garment.

3:38

And all of this is so

3:40

incredibly sought out and really reflects

3:42

their commitment to the designing and

3:44

crafting of products and also their

3:46

dedication to the people who make

3:48

them. Yeah. It really is such

3:50

a beautiful company, doing really, really

3:52

important work, and they also working

3:55

to create clothing consciousness in their

3:57

communities through their schools, as well

3:59

as are non profit organization Project

4:01

Driveways which supports research including. Things.

4:03

Like an oral history project and an

4:06

annual suppose the Am which we had

4:08

the distinct honor at presenting virtually at

4:10

last month. So they suppose he i'm

4:12

every year brings together scholars, activists, And

4:15

makers working to make the world a

4:17

better place through fashion and textiles. And

4:20

this your scene was the future. Am

4:22

as intended as a conversation about a.

4:25

Better way for future tax them and

4:27

your fracturing. And as we

4:29

do unto us to be took the

4:31

seem as an invitation to explore the

4:34

history of textile manufacturing through the lens

4:36

of Kashmiri cell production. Ask

4:38

and walks Mrs. Clinton's and Triangle

4:40

Shirtwaist factory fire and we did.

4:42

All of this is the intention

4:44

and answering the question was formed

4:47

the beginning of our talk title

4:49

Life as and History Matters Lessons

4:51

from the past to save our

4:53

future Without further ado. Welcome.

4:55

To a live recording of dressed. April

4:58

Cassidy we welcome you to the The

5:00

Runway Symposium. Thank you for joining us.

5:04

Thank. You for having us. So.

5:06

My name is April Callahan. And.

5:08

I'm Cathy Zachary. And

5:10

we are assassin historians friends for a

5:12

very long time and also cohosts and

5:14

creators. Address the the History of Fashion

5:17

podcast and we just wanted to say

5:19

thank you so much to Project Sideways

5:21

and also Alabama Channon for having us

5:23

today. We. Are very pleased to

5:25

be or with all of you who

5:27

absolutely surprise are about to be our

5:29

guest audience for an upcoming episode of

5:31

Address. So we are reporting the show

5:33

here. This Luxor with you all today.

5:36

Admit so any of the questions you

5:38

perverse or in the queue an egg

5:40

cetera, are actually gonna be part of

5:42

an upcoming episode. So. That

5:44

was the the next episode and are

5:47

over five hundred episodes which we always

5:49

begin the exact same way we always

5:51

say with over eight billion people on

5:54

the world, we all have one thing

5:56

in common. Everyday we all get dressed.

5:59

that the act address really speaks

6:01

to our shared humanity. It's just

6:03

one of the myriad of ways

6:05

we use the podcast to explore

6:07

personal, social, and the cultural significance

6:10

of dress as well as all

6:12

of these threads that connect us all across the

6:14

past, present, and hopefully

6:16

well into the future. And

6:19

something else that we always love to say

6:21

on the show is that fashion history is

6:23

about more than pretty clothes. And

6:25

the clothes we will have always had

6:27

significance beyond mere aesthetic. So we

6:29

have done episodes that span history

6:32

and the globe on everything from

6:34

the male origin of the high

6:36

heel and Persian horseback riding cultures

6:38

to the politics of style during

6:40

and after the French Revolution to

6:42

the beginnings of the Vietnamese American

6:44

nail salon industry during the Vietnamese

6:46

War era. And with each

6:48

of our episodes we really speak to

6:50

the meaning sewn into the clothes we

6:52

wear and we dress and adorn our

6:54

bodies with. Just as they

6:56

provide a window into the past, they also

6:59

have valuable lessons for us in the present.

7:02

Yeah and that fashion has always

7:04

been both an incredibly valued marker

7:06

of status, craftsmanship, personal

7:09

identity, cultural expression, and also incredibly

7:11

valuable lens with which to explore

7:13

people's lives and legacies. You know

7:16

what we have worn throughout history

7:18

matters and it continues to matter

7:20

today even if people

7:22

don't always recognize it and appreciate it

7:24

in the same way that we have

7:26

historically. And of course we're

7:28

speaking very generally when we say that. But

7:31

that disconnect today is largely thanks

7:33

to Fast Fashions campaign to shift

7:35

consumer desire from quality to quantity

7:37

and it is in many ways

7:39

damaged so many of our abilities

7:41

at large to connect with and

7:43

appreciate clothing and the makers of

7:45

that clothing. So with

7:47

this baseline expectation of overproduction

7:49

and over consumption we are

7:52

producing more garments per year than ever in

7:54

history and estimated 100 billion

7:56

garments per year and of course

7:58

we are at a sustainability conference right now.

8:01

Many of you already know this, so we're

8:03

not going to belabor the devastating consequences for

8:06

us all, not only to the planet but

8:08

also the people who populate it and

8:10

will continue to populate it while into the future.

8:13

Yeah. And under us, we truly believe

8:15

that we can use lessons from fashion's

8:17

past to inspire our listeners to be

8:20

more conscious wearers and consumers of clothing

8:22

in the present. And

8:24

then thus hopefully work forward collectively to save

8:26

our future. So today what we're

8:28

going to do is we're going to use

8:30

four of our past dressed episodes as case

8:32

studies to further explore

8:34

that point. And within those

8:37

case studies, we're going to explore two key

8:39

themes at the heart of each and every

8:41

episode that we produce on the podcast and

8:43

that is materials matter and people

8:46

matter. So today

8:48

we live in a world where clothing has

8:50

become disposable, but it was

8:52

not always that way. And textiles were

8:55

once so valuable as to be a

8:57

currency while entire economies have risen and

8:59

fallen on the merit of its textile

9:01

and fashion trades. And this was certainly

9:04

the case with the first subject that we are going

9:06

to discuss today as for one of

9:08

our very first episodes on the podcast entitled

9:10

Cashmere with the K, the controversial

9:12

history of a shawl.

9:14

So in the late 18th and

9:16

early 19th centuries, cashmere shawls were

9:19

coveted symbols of European luxury in

9:21

high fashion before technological advances made

9:23

them available on mass. So

9:26

they enjoyed a popularity for the better part of 80 years and

9:28

they were immortalized in

9:30

the popular imagination thanks to

9:32

their omnipresence in fashion magazines,

9:35

portraits and literature. However, as

9:37

you may or may not be aware,

9:40

the origins of the cashmere shawl are

9:42

not in fact European at all, but

9:44

cashmerey. So

9:46

what you and I may know

9:48

today of cashmere is in fact

9:51

the English size version of cashmere,

9:53

K A S H M I

9:55

R, which is a region that

9:57

borders Pakistan, Afghanistan, Tajikistan,

10:00

China, Tibet, and India. Shaw

10:02

production in Kashmir is thought to have

10:04

begun either in the late 15th or

10:06

early 16th centuries and it really blossomed

10:08

into a lucrative industry thanks in no

10:10

small part to the patronage of

10:12

the 16th century Mughal emperor Akbar

10:14

who took a great interest in

10:17

the finely woven shawls of the

10:19

Kashmiri region. So

10:21

much so that he created an

10:23

over-salt imperial shawl workshops in

10:25

three different cities and he

10:27

made a pair of Kashmiri shawls an indispensable

10:29

part of the important kilat or robe of

10:32

honor ceremony and during this

10:34

ceremony allies of the empire were

10:36

gifted a luxurious set of clothing

10:38

that included not one but two

10:40

Kashmir shawls. And

10:43

while Kashmiri shawls employed various types of

10:45

materials including silk and cotton they were

10:48

really considered at their finest when they

10:50

were made of the softest and most

10:52

refined of wool known as pashim

10:54

or pashmina which is the Persian

10:56

and Kashmiri word for soft hair

10:58

and this wool was sourced from the underbelly

11:01

of a domesticated mountain goat found in the

11:03

mountains of Tibet in Central Asia and

11:05

it was sold to Kashmiri artisans who then

11:07

sorted it and spun it into yarn and

11:09

then wove it into a shawl. And

11:13

this intricate hand weaving technique is

11:15

known as kani really represents

11:17

the height of Kashmiri skill and

11:19

craftsmanship in shawl production and

11:21

for those of you out there who are

11:24

in the audience who are textile and sewing

11:26

aficionados, kani is a twill

11:28

tapestry weave with a double weft

11:30

interlocked and you can see it

11:32

exhibited at the coat in this coat and

11:35

in detail at right. So

11:37

while the sorting and spinning of the

11:40

wool was typically a job done by

11:42

women weavers were exclusively male, two or

11:44

three of whom would weave together on

11:46

a hand operated shuttle type loom. They

11:48

wove designs while looking at a pattern and

11:51

using a series of spools that each contain

11:53

a different colored thread with anywhere

11:55

from 400 to 1500 different spools being

11:57

required. depending

12:00

on the complexity of that particular shawl's

12:03

designs. So as you

12:05

can imagine this was quite a

12:07

laborious and intricate process and

12:09

the most luxurious of these shawls could take

12:11

anywhere from 18 months to three years. So

12:14

needless to say these shawls were quite

12:16

expensive and only enjoyed by the most

12:19

affluent members of society. So

12:21

this is how to say that

12:23

long before Kashmiri shawls were enjoyed

12:26

by fashionable ladies in Europe they

12:28

were luxury items exported from Kashmir

12:30

via a sophisticated trade network

12:32

to some of the most wealthy men and

12:34

women across Asia and the vast Turkish

12:36

Ottoman Empire. It

12:39

wasn't until the 18th century largely

12:41

thanks to the British colonial's presence

12:43

in nearby India that the international

12:46

market extended to Europe where the

12:48

shawls became highly coveted commodities

12:50

before being knocked off by scheming

12:52

manufacturers in England France and Scotland

12:55

and this is when Kashmir with a K

12:57

becomes Kashmir with a C and

12:59

it becomes copied these shawls become copied so

13:01

much as to lose the centrality

13:04

and importance of the Kashmir region

13:06

to the shawls production in favor of a

13:08

narrative that centers European fashion and we see

13:10

this time and time again throughout the history

13:12

of fashion and this is

13:14

no better exemplified than by the fact

13:16

that the Boda or bent teardrop motif

13:18

that originated in the ancient city of

13:20

Babylon which is modern-day Iraq is

13:23

today commonly known in the West

13:25

as Paisley named after the

13:27

Scottish shawl manufacturing center price for

13:30

its Kashmir shawl knockoff. So

13:33

this was just a very brief introduction to

13:36

Kashmir with a K but it speaks to

13:38

a myriad of reasons why fashion history is

13:40

relevant today. Yes it speaks

13:42

to the history of colonialism and

13:44

cultural appropriation but it also serves to

13:46

recenter Kashmir as the originator of one

13:49

of the most coveted luxury goods in

13:51

history not just in Europe but around

13:53

the world. This painstakingly

13:55

handmade fashion accessory also

13:58

speaks to the universal language. of

14:00

cloth and how incredibly valued and

14:03

valuable cloth was in the pre-industrial

14:05

age when it would have been

14:07

unconscionable to wear something once or

14:09

twice and discard it or throw it away. So

14:12

Kashmir shawls really stand as a

14:14

potent reminder that materials matter so much

14:16

so that entire cultures histories and exchanges

14:19

are woven into

14:21

their very existence and this is something that

14:23

remains true to this very day. I

14:26

was so thrilled to learn doing research

14:28

for this episode that this incredible hand

14:30

craftsmanship artistry and skill of the Kashmiri

14:33

Weaver is still alive and well today

14:35

and while not the booming industry it

14:37

once was the hand-woven Connie tradition has

14:40

been carried into the present day

14:42

by artisans who supported by government

14:44

programming and private commissions are determined

14:46

to preserve the art, heart and

14:48

history of this remarkable garment for

14:50

future generations to come. So

14:54

if the exceptional quality of the shawls of

14:56

the Kashmiri region which were sought the world

14:58

over during the 19th century and really drove

15:01

global trade, the story of waxprint

15:04

is maybe even a more complex

15:06

tale of why materials matter and

15:09

how textiles in particular can be repositories

15:11

for history and waxprint or Ankara was

15:13

the subject of a 2021 podcast episode

15:17

called A History of Waxprint in

15:19

which we conducted an interview with

15:21

the documentary filmmaker Iwan Obanbeyan whose

15:23

documentary waxprint is phenomenal, it's out

15:25

you can view it now. So

15:28

not by more than a few

15:30

names including Dutch waxprint, Tallandays, Ankara,

15:32

African Batik there are many others.

15:34

All of these terms refer to

15:37

the same textile which is made

15:39

using a very specific wax

15:41

resist technique used in dyeing the

15:43

fabric in order to create motifs.

15:47

And as a process wax resist

15:49

is an ancient technique, it's been

15:51

used in many cultural traditions but

15:54

today our story is actually going to begin in

15:56

Indonesia. And that is

15:58

because from the 12th century on... Indonesian

16:00

textile artists really embraced this

16:02

wax resist process and refined

16:04

it into an art form.

16:07

Particularly on the island of Java where

16:09

this very rich, boutique tradition had existed

16:12

for centuries before the Dutch colonization of

16:14

Indonesia began in the 17th century. As

16:18

soon as the Dutch colonizers got

16:20

in there, particularly the merchants, they

16:22

really recognized the value of

16:24

this region's unique textile tradition. They

16:27

sought to profit off of it by

16:29

industrializing that which had been handmade for

16:31

centuries. By

16:34

the 19th century, several

16:36

companies including Lisco, which still

16:39

exists today, were producing mechanized

16:41

copies of Indonesian boutiques and

16:44

importing them from their factories

16:46

in Holland back into Indonesia.

16:50

When the Indonesian markets really

16:52

failed to embrace these cheaper knockoffs,

16:55

new markets had to be targeted. Initially, Sweden

16:57

and Japan were two of them. But

17:00

enter one industrialist merchant

17:03

whose name was Abenezer Brown Fleming. He

17:06

was a son of a pastor and through

17:08

his father's ties to missionaries working in Africa,

17:10

he recognized

17:13

this potential market for newly

17:15

converted Africans who were adapting

17:17

their dress to conform with

17:19

Christianity's dictates of modesty. It

17:22

was not long before these new

17:24

styles of dress that were being

17:26

suggested by Christian missionaries to Africans

17:28

new to Christianity began to

17:31

involve Fleming's mass-produced

17:33

knockoff boutiques featuring

17:35

Indonesian motifs. As

17:39

these textiles were increasingly embraced

17:41

in the African market, the

17:44

missionary middlemen who had served

17:47

as the salespeople initially in

17:49

the trade transitioned to becoming

17:51

African middle women. This

17:55

whole group of women was known as the Nana

17:57

Bens. In many countries, particularly

17:59

in Togo, Entering the wax print

18:01

trade was this really great way for women

18:03

to amass wealth. Not

18:05

only did they become power players

18:07

in the fashion identity of

18:09

their own region, they also

18:11

amassed tremendous political influence. From

18:15

this point forward, this is where the

18:17

story starts to take a little bit

18:19

of a different turn because African consumers

18:21

began to create their own cultural associations

18:23

with these fabrics. And the

18:25

nonabends began to guide manufacturers with a

18:28

design direction as to what their clients

18:30

wanted. So even these

18:32

Indonesian motifs, the traditional Indonesian motifs

18:35

that were still being imported, were

18:38

often being reassigned new meanings

18:40

and symbolism within these different

18:42

African marketplaces. And women

18:44

in particular began to use the

18:46

specific patterns as silent forms of

18:48

communication. So

18:51

in the 1960s, increasingly the

18:53

motifs produced for import into

18:55

Africa shifted away from traditional

18:57

Indonesian motifs and began to

19:00

speak directly to African pop

19:02

culture and even political

19:04

events as many countries

19:06

like Ghana, Nigeria, and Senegal struggled

19:08

for their independence. And so

19:10

the wearing of Ankara or Lupita or

19:12

African batik, all different terms for the

19:15

same thing, began to be

19:17

viewed as a form of political

19:19

resistance and African pride. And today,

19:21

of course, this association continues throughout

19:23

the world within the wider African

19:26

diaspora. But also at

19:28

the same time, so continues the

19:30

cycle of this textiles appropriation and

19:32

production. While Blisco

19:35

and other European mass producers of

19:37

wax prints continue to be major

19:39

players in the African marketplaces, and

19:41

I also should issue a

19:43

side note here, there is a really wonderful local

19:46

and regional production of these textiles by

19:49

African makers of Ankara, and a lot

19:51

of them are doing it by hand.

19:53

So it's fostering a return to the

19:55

textiles roots. But the

19:57

big point that I want to make here is that

19:59

Chinese manufacturers, have entered this market too.

20:02

And they have gotten particularly good at intentional

20:05

knockoffs of Lisco patterns complete

20:07

with fake stickers of authenticity,

20:09

which is highly ironic.

20:12

So from its roots in Indonesia to its

20:15

industrialization in Europe to its import to

20:17

the shores of the Gold Coast, and

20:19

now back to China where these

20:22

wax resist techniques were thought to originate

20:24

in the 8th century, wax

20:26

print or any of the other

20:28

names that it goes by has

20:30

really acquired all of

20:32

these histories of colonialism and trade

20:34

and it really remains

20:36

this incredibly important example of how

20:39

fashion and textiles regularly meet at

20:41

this nexus point of cultural identity,

20:43

politics and technology. And we're going

20:46

to say it once again, materials

20:48

matter. Trust

20:54

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matter and people matter, which is why

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one of dress' core philosophies is to

23:57

celebrate the makers of fashion from more

24:00

celebrated fashion designers and icons to

24:02

fashion history's most hidden and underrated

24:04

figures and that includes American fashion

24:07

industry pioneer Elizabeth Koechly, the subject

24:09

of only our seventh ever episode

24:12

of Dressed in 2018. Elizabeth

24:15

Koechly was born enslaved in Virginia in the United

24:17

States in 1818 and she really honed

24:20

her dressmaking skills from a very young age

24:22

as a matter of necessity. She

24:24

learned how to sew from her mother with whom

24:26

she shared the burden of doing all the sewing

24:28

not just for their enslavers but the

24:30

other enslaved peoples as well. But

24:33

as a young woman, Elizabeth would use her

24:35

mastery of garment construction to buy her and

24:38

her son's freedom. She'd had a son by that point and

24:41

she bought their freedom and she moved

24:43

to the nation's capital of Washington DC

24:45

in 1860 and it was here that

24:47

she became the premier dressmaker head

24:50

of a booming Civil War era business. The

24:54

merit of Elizabeth's skill earned her a

24:56

reputation quickly and it was not long

24:58

before she was making dresses for the

25:00

city's most prominent citizens. Very

25:02

notable for straddling the political divide on what

25:05

was then the eve of the Civil War. So

25:07

for instance, among her first clients were both

25:10

the future first lady of the Confederacy, Verena

25:12

Davis, and the first lady of

25:14

the United States, Mary Todd Lincoln, to

25:16

whom Elizabeth would become incredibly close.

25:19

They really became best friends and

25:21

this was sadly a bond that was

25:23

made stronger by their shared grief for the

25:26

untimely and tragic deaths of both of their

25:28

sons within a year of one another. And

25:31

Elizabeth became close not just with

25:33

Mary but also Abraham Lincoln as

25:35

well. And it's actually thanks to

25:37

Elizabeth that many relics associated with

25:39

Abraham's life survive and that includes

25:41

the bloodstained outfit that Mary was wearing

25:43

when he was tragically assassinated. But

25:46

I digress. In

25:48

my opinion, Mary Todd

25:50

Lincoln is a very

25:53

underappreciated fashion icon and

25:55

she earned this status I believe at

25:57

this time thanks in No Small Part to

25:59

Elizabeth. this incredible skull. A

26:02

well-dressed first lady was parrot and parcel

26:04

to the White House's public image and

26:06

it was a role that Mary took

26:08

very seriously. And as you can see

26:11

in these images, this is the era

26:13

of the Cage Coloneline. So Elizabeth and

26:15

her staff are making these hugely expansive

26:17

dresses with wide bell-shaped skirts and

26:19

fitted bodices. And it's these fitted

26:21

bodices that really speak to Elizabeth's

26:23

particular skill. She had an impeccable

26:26

ability to fit the bodice like

26:28

a second skin. And

26:30

for all of her five to

26:32

frame, Mary is always the height

26:34

of fashion, especially here in these images,

26:36

an address tailored to perfection by Elizabeth to show

26:38

up all of her attributes and none of her

26:41

faults. So I have

26:43

this wonderful quote from an 1862

26:45

publication that really confirms that Elizabeth

26:47

was more than just a

26:49

dressmaker working with her

26:51

clients to create garments. She really

26:53

was a well-respected, and coveted tastemaker

26:56

and designer of women's fashion. And

26:58

the quote reads, it is

27:00

Lizzie, she went by Lizzie for all those who knew her.

27:02

It is Lizzie who

27:04

fashions those splendid costumes for Ms. Lincoln,

27:06

whose artistic elegance has been so highly

27:08

praised during the last winter. Stately

27:11

carriages stand before her door, whose haughty

27:13

owners sit before Lizzie, docile as lamb

27:15

while she tells them what to wear.

27:17

Lizzie is an artist and has such

27:20

a genius for making women look pretty

27:22

that no one thinks of disputing

27:24

her decrees. So

27:26

very similar, very, very similar things have

27:28

been said about this man at left.

27:31

This is Elizabeth's contemporary Charles Frederick Worth.

27:34

And yet only one of these two

27:36

designers, so Worth at left and Elizabeth

27:38

at right, is heralded as a great,

27:40

traditionally I should say, is traditionally heralded

27:42

as a great fashion luminary and

27:44

an anti-modern fashion designer. The other,

27:46

Elizabeth, has been historically dismissed as

27:49

a mere dressmaker. But

27:51

Elizabeth's skills and design talents undeniably

27:53

rivals that of Charles Frederick Worth

27:55

and the other Parisian Oak Turiers

27:58

and that's really exemplified by

28:01

these two comparative images here. So at

28:03

left you have Wirth client Empress Cece

28:06

dressed by Wirth and at right you

28:08

have Mary Todd Lincoln dressed by Elizabeth

28:10

and both of these women wear impeccably

28:13

crafted designs that represent the height of

28:15

fashion of 1865. So incredibly similar and

28:19

the only difference is how history and

28:22

historians will treat and remember the designers

28:24

of their guns. So this

28:26

photograph of Mary was taken one

28:28

month before her husband was assassinated

28:30

and the years following Lincoln's death were

28:32

not kind to Mary or Elizabeth.

28:34

Mary's reputation was destroyed

28:37

after failing to pay she had a

28:39

quarter million in debt and creditors came

28:41

calling and drove after Lincoln's death she

28:43

could not pay it and

28:45

it was not just her reputation that was in shatters

28:48

but that of her right hand and best

28:50

friend Elizabeth whose business by

28:52

association would never recover and

28:54

whose contributions to fashion history would be

28:57

subsequently lost or dismissed for well over

28:59

a century. It

29:01

is only very recently that fashion scholars have

29:03

worked to revive and restore Elizabeth to her

29:05

rightful place among fashion history's great

29:07

designers. She played an incredibly

29:10

significant role in creating a well

29:12

documented American fashion worn by the

29:14

fashion leaders and an enormously pivotal

29:16

period in American history. She

29:18

helped to change the face and shape of

29:20

fashion against enormous odds and

29:22

by doing so laid the foundation for

29:24

a generation of black fashion designers to

29:27

follow in that path and Diana just

29:29

was mentioning Anne Lowe and Seldov and

29:31

Del Bell does and of course this

29:33

continues into the present day and well into

29:35

the future and Elizabeth is also

29:37

a potent reminder to us all that we

29:39

should care about who makes our clothing a

29:42

message as important throughout history as

29:44

it is in today's fast fashion

29:46

world that is rife with human

29:48

rights abuses but if April is

29:50

going to remind us next this is

29:52

nothing new. Sadly it is

29:54

not. One of the main

29:56

concerns at the root of I'm sure why many of us

29:58

are here today those of us who

30:00

practice, engage with, or want to learn more

30:03

about ethical fashion, are our concerns

30:05

over the conditions in which many

30:07

of our fellow humans endure, particularly

30:09

those of us that are the

30:11

most vulnerable as part of capitalism's

30:13

quest to sell us more clothes.

30:16

So if people matter and people make

30:18

our clothes, their labor matters. And I'd

30:20

really like to speak about a significant

30:22

event in American history, a

30:24

rather tragic event, but one that

30:26

did become the rallying cry for workers' rights

30:29

and also the subsequent creation of

30:31

worker protection legislation all around the

30:33

United States. And I am,

30:35

of course, speaking about the Triangle Factory

30:37

Fire of 1911, which was the subject

30:39

of a recent cast episode on its

30:41

anniversary a few weeks ago in late

30:44

March. So just to set the scene

30:46

between the years 1824 and 1924, an estimated 34 million immigrants

30:48

arrived to the United States.

30:54

And many of these immigrants arrived

30:56

with dressmaking or tailoring skills. But

30:59

even for those who did not, the garment

31:01

trades were an easy entry point for employment

31:03

because the garment manufacturing was

31:06

actually the fastest growing segment of industry

31:08

in New York City during the 19th

31:10

century or mid 19th

31:12

century. So there was this massive influx

31:14

and then available labor into New York

31:17

during the 19th century. And this really drove wages down

31:20

as all of these new arrivals

31:22

were competing to enter the workforce.

31:25

And of course, employers were quick

31:27

to exploit these immigrants' kind of

31:30

situations, right? They needed to provide

31:32

from themselves and their families. And

31:35

oftentimes, very sadly, these offers they

31:37

received were poverty level wages and

31:39

kind of across the board on unhygienic,

31:42

wildly unsafe working conditions. And

31:44

these conditions, of course, increased

31:47

the employers' profit margins. But

31:50

the immigrants themselves had little leverage

31:52

or recourse to push back. And

31:54

what ended up happening is that this

31:57

sweatshop system flourished. I do

31:59

want to sit here very briefly that in the years

32:01

leading up to the fire, there were

32:03

actually dedicated labor reform

32:05

activists working to change this

32:07

system for the benefit of

32:09

the health, safety, and rates of

32:12

pay for American fashion's workforce.

32:14

The International Ladies' Garment Workers Union was

32:17

founded in 1900 and the Women's Trade

32:20

League Union in 1903. And

32:23

together they organized significant strikes in 1907,

32:25

1908, and 1909. It

32:30

would be the fire that broke out at the

32:32

Triangle Shirtwaist Factory on March 25, 1911 that

32:36

really raised public awareness and

32:38

raised governmental support to make

32:41

sweeping changes to labor legislation. What

32:45

happened the day of the fire was horrific. We're not

32:47

going to get into those great details. They are out

32:49

there on the Internet if you would like to look

32:51

into it yourself. But the Triangle

32:54

Shirtwaist Factory, which manufactured women's blouses,

32:56

occupied the eighth, ninth, and tenth

32:58

floors of the Ash Building, which

33:00

is in the Greenwich Village neighborhood

33:02

of Lower Manhattan. And

33:04

the fire is thought to believe after a

33:07

match or a cigarette butt that was not

33:09

quite out yet, was tossed into a very

33:11

large bin of scrap fabric. This bin probably

33:13

also contained oily rags, which were

33:15

used to lubricate the machine. And

33:18

what happened is the spark lit a small

33:21

fire in the bin. That grew very quickly.

33:23

And then as the flames came up from

33:25

the bin, it lit the paper patterns, which

33:27

were hung from the ceiling above the cutters,

33:30

tables on fire. So basically

33:32

the room became quickly engulfed in flames, not

33:34

only from below as it spread to other

33:36

bins, but also from the ceiling as well.

33:39

A lot of the initial attempts to put it

33:41

out failed, particularly when the fire hose, which was

33:43

kept in the stairwell, did not have water pressure.

33:46

And You can see in this diagram

33:49

on the left, see how these work

33:51

tables. those are long, uninterrupted work tables.

33:53

There's no space in between them. So

33:55

It really prevented workers from escaping as

33:58

quickly as they possibly could. Did.

34:00

You point out the exit points. Yeah okay

34:02

so here in the back or on the

34:05

France and over here on the side lots

34:07

of the to exit points. the one task

34:09

of first pointed out near the number one

34:11

that had always been kept locked by the

34:13

owners in direct violation of fire codes. And.

34:16

The reason they wanted to keep that

34:18

back? As long as they wanted to

34:20

funnel everybody unto the other exit because

34:22

there was an inspection point there were

34:24

they inspected everyone's bags to make sure

34:26

that they weren't stealing garments or fabrics.

34:29

So. While the employees of the factory

34:31

had on the eighth floor had a little

34:33

bit of notice because they saw the fires

34:35

start and they saw grow. The.

34:38

Of Please On the ninth floor fared

34:40

far less because they had zero warning

34:42

that the fare was coming. So.

34:45

And. The course of thirty minutes of hundred

34:48

and forty six workers lost their lives. This

34:50

is about a quarter of the number of

34:52

employees of the Triangle Shirtwaist Factory. They were,

34:54

of course, taken by the fire itself or

34:56

smoke, or many of them actually made the

34:59

fatal decision to jump out of the factory

35:01

windows rather than berm. And out of this

35:03

one hundred and forty six who perished. That

35:05

they all that twenty one of them were

35:08

women. And the vast majority of

35:10

these women were in their teens and

35:12

twenties. The youngest of them on there

35:14

were several were only fourteen years old.

35:17

So as the news is hit the papers

35:19

the next day, New York City really went

35:22

into mourning for this event. And

35:24

assume that Greece turned into a

35:26

rage when as a result of

35:28

the investigation it became apparent that

35:30

nearly all of the employees could

35:32

have escaped had those that one

35:34

exit not been kept locked. I

35:36

sat for a owner. So.

35:39

This event drew not only the

35:42

attention of the public, but also

35:44

sections of the York State governments

35:46

to the plight that hundreds of

35:48

thousands of their constituents living in

35:50

their districts are garment workers. And

35:52

in the fall of Nine Eleven,

35:55

the New York legislature formed a

35:57

factory Investigation committee. Which. was quote

36:00

with investigating factory, sanitary and

36:04

other related issues such as living

36:06

conditions of its workers. The

36:09

Commission appointed directors for each investigation and

36:11

field agents were hired to carry out

36:13

on-site inspections of factories and other work

36:15

sites. Additionally, from its

36:17

study of the deficiencies in labor

36:19

law, the Commission concluded the entire

36:22

law needed reworking and that the

36:24

entire Department of Labor should be

36:26

reorganized, which is a big deal,

36:28

right? And really from this point forward,

36:31

hundreds of labor laws were changed in

36:33

New York State for not just the

36:35

fashion industries but all industries and

36:38

labor unions for the next few years

36:40

are widespread growth not just in New

36:42

York State but across the United States.

36:44

45 years later nationwide by 1956, more

36:46

than 35% of US workers carried a

36:51

union card and today that

36:53

number is around 8%. So

36:57

part of that decline in union membership

37:00

has to do with a lot of

37:02

different things mainly vast offshoring of American

37:04

manufacturing that kind of tiny

37:06

little bit began in the 1960s, it really ramped

37:08

up in the 1980s and

37:11

then when NAFTA was passed or the North

37:13

American Free Trade Agreement, NAFTA, was passed in

37:15

1992, this was kind of a virtual

37:19

death knell as the tariffs that

37:21

were imposed for import-export reasons you

37:23

know those are really meant to

37:25

keep America know-how in America. When

37:29

those tariffs were eliminated, this whole system

37:31

dissolved and that's because with the draw

37:33

of cheaper labor forces abroad and

37:36

vastly different labor laws abroad, if

37:38

any at all, manufacturing

37:40

just bailed out of the US

37:43

and this devastated entire towns where the

37:45

majority of the economy was really dependent

37:47

or had been really dependent on

37:50

these large-scale manufacturing operations that

37:52

took place locally. So

37:54

a lot of these big companies they simply

37:57

vanished and leaving behind their entire workforce.

38:00

And these people just had to figure it

38:02

out for themselves. Greed doesn't believe that

38:04

people matter, but history tells us that people

38:06

do. And if you'd like to learn a

38:08

little bit more about how this whole scenario

38:10

went down, highly recommend this book which came

38:13

out just a few weeks ago. It's actually

38:15

called Making It in America. But

38:17

the main point that I want to

38:19

make here is that what is happening

38:22

right now in the global fashion system

38:24

is actually an aberration within history. And

38:27

that is because for thousands of years,

38:29

the vast majority of clothing and materials

38:31

that went into them were

38:33

made locally or regionally by

38:36

people that the wearer probably knew.

38:38

So whether that was a family member

38:41

or a professional who they went to

38:43

for their made-to-measure garments which of course

38:45

was the norm at the time for

38:47

centuries. And today, those

38:49

types of relationships have been lost at

38:51

sea. And I say lost

38:53

at sea quite literally because it's estimated

38:55

that only 3% of the clothing that

38:58

Americans wear today is actually made in the US.

39:02

So re-establishing these connections to

39:04

who and how and where our

39:06

clothing is made and in what

39:09

conditions the workers make said clothing

39:11

is a huge pillar of

39:13

how we can affect change. The

39:16

first two examples that we spoke about

39:18

today in terms of material matters or

39:20

the materials matter are also stories of

39:22

not only cashmere and wax print themselves,

39:24

they're of course also stories of colonization

39:27

and trade. And I wonder if

39:30

Americans are now reliant on imports for 97%

39:32

of our clothing and as the

39:36

FDA has very publicly also stated 85% of our

39:38

food. Food

39:41

and clothing being two of the things that

39:43

fulfill our most basic needs. Well

39:45

my question is this, who exactly

39:47

is it that has had

39:49

their resources extracted all of

39:51

colonialism? It's us at

39:53

this point. So

39:56

not all, but all is not

39:58

lost, right? There are so many

40:00

people doing the work to carry

40:02

on the good lessons of the

40:05

history of fashion and learning from

40:07

those problematic lessons to enact change.

40:09

And this is of course exemplified by the work

40:12

being done by numerous artisans and

40:14

organizations around the world including Alabama

40:16

Chanin and so many other presenters at

40:18

this conference. And also people

40:20

like the Fashion Revolution Project who made

40:22

my clothes which was on the previous

40:24

slide that reminds you to ask who

40:27

made your clothing. And

40:29

it also includes artists like Kirsty McLoy's 14

40:32

year living practice and it's called

40:34

the Red Dress Embroidery Project which

40:37

represents millions of stitches, the work

40:39

of 380 embroiderers from

40:42

51 countries. And this is

40:44

really a project that reminds

40:46

us that the language of clothes can

40:48

actually bring us together. So

40:52

valuing the who, what, when of

40:54

why we were there is but

40:56

one step that we can all

40:58

take and beginning to repair this

41:00

aberrational moment in fashion history. And

41:03

we would like to invite all of you

41:05

to join us every day with this mantra,

41:08

materials matter, people matter

41:10

each time you get dressed. And

41:15

that concludes our presentation. Thank you

41:17

all so much. And

41:20

I think we have time for questions. Thank

41:22

you so much for this reminder and this

41:24

addition to the conversation that

41:26

indeed materials and people

41:28

do matter. And it struck me as

41:31

you all were presenting that the

41:33

project that you're involved in sort

41:36

of a public history for

41:39

a younger generation to talk about

41:41

kind of these stories that are

41:43

not well known and to bring

41:45

it into contemporary issues bridging that

41:48

popular and scholarly divide. That's

41:50

a lot of what the symposium itself is attempting

41:52

to do this weekend. And

41:55

so we just really appreciate that. Can

41:57

you tell us what you found with the

42:00

audience, what issues are resonating

42:02

with people, who your audience

42:04

is, the kind of questions

42:06

and themes that they're interested

42:08

in. Well I think one of the

42:11

kind of undercurrents of the show, we definitely

42:13

haven't asked for this event, obviously as you

42:15

can all tell. And I

42:17

think one of the things, especially when we started

42:19

doing episodes on sustainability and

42:21

ethics and fashion, one of the things

42:23

that we were really surprised at is

42:26

how people simply didn't know. And

42:28

how many listener emails we would get, and

42:30

some of them literally cast and I have

42:33

cried out because they're so touching about how

42:35

just listening to the podcast has completely

42:37

changed their buying habits and not only

42:39

for themselves but their entire families. So

42:41

that was one thing that we were

42:44

surprised and delighted at and

42:47

we keep working towards constantly.

42:49

That's never gonna go away.

42:51

Yeah absolutely, that's exactly what I was gonna

42:53

say. I think we hear from people all the time

42:56

about how they had never really thought of

42:58

it before but now that they have, they've just

43:00

restructured their relationship with

43:02

their clothing and gotten back in

43:04

touch with the meaning

43:07

that is embedded in our clothing. Because that's

43:09

just something we're constantly asking people

43:11

to just consider is the meaning in

43:13

your clothes and that valuable connection that

43:15

we've also lost when you just go

43:17

and buy a fall-bell or t-shirt because

43:19

it was cheap. You don't have the meaning that

43:22

you would with a garment that you

43:24

yourself sourced or somebody made for you or

43:26

you inherited from one of your family members.

43:28

So we just really encourage people to be

43:30

more conscious about that and we have gotten

43:33

an incredible response. Yeah it seems like,

43:36

and I imagine most of your audience

43:38

is younger. Do you know the demographics

43:40

of who your listeners are? We actually

43:42

have quite the range, age range of

43:44

listeners. We do fashion history tours

43:46

in Paris and we get a small case study

43:49

of our listeners and it's people from

43:51

all over the world and of all ages too.

43:53

I don't think it's ever too late to connect

43:55

with the things that we talk about on

43:57

dress. I think that's one of the things that

44:00

really resonates with people about our podcast is

44:02

that we do have this

44:04

shared innate human connection to

44:06

the clothing we wear. And

44:09

I think that speaks to people in a myriad

44:11

of ways. It seems as

44:13

though also you're able to use fashion

44:15

as a lens for people to talk

44:17

about these bigger issues of

44:19

cultural appropriation and activism and capitalism and

44:21

the environment and race, gender in ways

44:24

that people don't just tune out. They

44:26

have a connection to their clothing that

44:28

you've made explicit and daily and so

44:30

it's a way for people to examine

44:32

these things. Do you guys

44:34

have a favorite episode or an episode

44:36

that surprised you in its popularity task?

44:39

I can answer the popular one. You want to

44:42

name a favorite episode? That is so hard.

44:44

One of my all-time favorite episodes was an

44:46

interview that I did with a World

44:48

War II combat veteran Tony Vaccaro. It

44:51

was so unexpected in that he

44:53

was a combat soldier

44:55

during World War II and after

44:58

the war he became a fashion

45:00

photographer because he was looking for

45:02

beauty and he found it in fashion. And

45:04

it always makes me want to cry. He just barely

45:06

passed away at I think a 99 or 100 years

45:08

old. And

45:11

so it was just such a beautiful

45:13

reminder about the beauty that is found

45:15

in the clothing we wear and the

45:17

dressed body and that it can be

45:19

a saving grace for people in so

45:21

many ways too. So that's definitely one

45:23

of my all-time favorite episodes. Our most

45:26

popular episode to date remains

45:28

one that when I wrote

45:30

it, it was just like a

45:33

tiny little mini-sewed, right? But it's

45:35

the history of glitter and I

45:37

think that so many of us have it in our

45:39

lives on a daily basis. We're in our face. I'm

45:41

wearing it right now in my makeup. But

45:43

the history of glitter episode was the one

45:45

that just took off and really surprised us

45:48

all. Also too, we've done a couple different

45:50

episodes on the history of pockets. Both

45:53

of those a lot of reception as well.

45:55

Both tie on pockets from like the 18th

45:57

and 19th century and then also tone in.

46:00

tailored pockets as well. We've done different episodes because

46:02

they're kind of like different animals. That's

46:04

so fun. Now I have to go back and

46:07

and sign those episodes and listen along. I

46:09

know we will all be mining

46:11

the podcast archives to listen to

46:14

our favorite episodes. Thank you for

46:16

giving us a wonderful presentation and

46:18

an overview of a lot of

46:20

issues. We really appreciate y'all and

46:22

appreciate the work that you're

46:24

doing. Thank you all for joining us

46:26

for this live recording of Dred. May you

46:28

consider why fashion history matters next time you

46:30

get dressed. Dress History

46:33

matters. There is one spot left on our

46:35

fashion history tour of Paris. So

46:37

this trips along very quickly and

46:39

we are actually considering adding a second week if

46:41

we have enough interest. So we don't really want

46:43

to add it and get people coped up if

46:46

we if we don't fill it up. So the

46:48

dates for the second week would be October 12th

46:50

through the 19th and if

46:52

that sounds of interest to you please reach out

46:54

to us at hello at dresshistory.com to reserve

46:56

your thoughts. And dresshistory.com

46:58

is our website as you know where

47:01

you'll find information on our upcoming fashion

47:03

history tours classes anything else we have

47:05

up our sleeves including part two of

47:07

my what women wore the revolution class

47:10

which I am going to be posting any day

47:12

now and I am so excited to announce that

47:14

I'm actually adding a book club element to part

47:16

two of this class. So once a month after

47:18

the class we're going to be meeting

47:20

to discuss a book and that may or may

47:22

not include some special guests including authors

47:25

as who and what we are going

47:27

to meet. So join us! Also

47:31

if you would like to join me you can do so

47:34

in New York City via one of my fashion

47:36

history Fridays at the Met. So

47:39

many of you have booked this week's

47:41

tour on Friday looking quite robust and

47:43

also a lot of you have approached me about

47:46

doing private tours for you at times that

47:48

I don't necessarily have on my schedule on

47:50

Fridays so I am more than happy to

47:52

do that for you guys and you can

47:54

reach out to me and email me at

47:56

hello at dresshistory.com and we can start a

47:59

conversation about that. You

48:01

can also DM us on Instagram if you'd

48:03

like to reach out at dress underscore podcast

48:05

which is of course where you will find

48:07

images and reels of the company

48:09

each week's episode. If you'd like

48:12

to find the Instagram content specifically

48:14

connected to this episode check out

48:16

the hashtag dress363. That's hashtag

48:18

dress363. And

48:21

remember you can find an array of our

48:23

favorite and podcast featured fashion history titles on

48:25

the dress bookshelf through bookshop.org. We'll also find

48:27

a link to our book shelf and our

48:29

show notes as well as a link to sign up for

48:31

the ad-free version of the show which is just three

48:33

dollars a month and supports two of

48:36

your favorite podcasters. As

48:38

always thank you so much for your continued support

48:40

more dress coming your way next week. Dress

48:45

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