Fashion Revolution week finished yesterday. It’s call to arms is the question ‘Who made my clothes?’ Here’s how you get involved, do this yourself.
On June 26th, there will be another way to find out ‘Who made my clothes?’: that’s when a free 3 week online course led by our CEO Ian begins. Here’s the trailer. You can sign up here.
It’s Fashion Revolution Week this week. To mark this, we’re showcasing our favourite examples of cultural activism which have supported its #whomademyclothes call to action. On Monday, we showcased the Guerrilla Projections of documentary photographer Ismael Ferdous. On Tuesday, we showcased the gentle Shop-dropping activism of the Craftivist Collective. And yesterday we showcased the power of Disobedient Objects like Fashion Revolution Germany & BDDO’s €2 T-shirt vending machine.
Today’s post focuses on a strategic impact documentary called the True Cost. This aims to unravel fast fashion’s grim and gritty supply chains in the wake of the Rana Plaza collapse. It juxtaposes scenes of fashion models strutting catwalks, YouTube shopping hauls, footage of Black Friday shopping chaos, TV news footage of garment workers sewing clothes in cramped factory spaces, talking head interviews with factory workers and owners, farmers, former corporate executives, academic experts, famous activists and ethical fashion royalty, brands working ethically, key people from NGOs like War on Want, and champions of free market economics.
What’s distinctive about the True Cost and the impacts that it has had is that it was crowd-funded, released via iTunes and Netflix, and tries to channel its audiences’ concerns to ‘do something’ through public screenings with panel discussions, its website and associated social media. This film enrolled its audiences from its crowd-funding forwards. It was a conversation, a collaborative ‘do something’, from the beginning. Despite its lack of mainstream funding or cinema listing, the making, reception and impacts of this film in relation to the Fashion Revolution have been nothing short of stunning. We’re posting this today because CEO Ian is on a True Cost panel in Portsmouth tonight. It’s a textbook example of the emerging genre of strategic impact documentary.
Judith Hefland & Anna Lee (2012) Put movies in the hands of movements. in Andrew Boyd (comp.) Beautiful trouble: a toolbox for revolution. New York: O/R, 164-5
Kate Nash & John Corner (2016) Strategic impact documentary: contexts or production and social intervention. European Journal of Communication 31(3) 227-242
It’s Fashion RevolutionWeek this week. To mark this, we’re showcasing our favourite examples of cultural activism which have supported its #whomademyclothes call to action. On Monday, we showcased the Guerrilla Projections of documentary photographer Ismael Ferdous. Yesterday we showcased the gentle Shop-dropping activism of the Craftivist Collective.
Today’s post shows how disobedient objects can contribute to the Fashion Revolution. In this case, Fashion Revolution Germany and BDDO took a shopping experience with which people are familiar- inserting money to buy something from a vending machine – and introduced information about who made these things at the point of sale.
What happens when people are asked to think about this then? That was the experiment. Buy, boycott, donate? What would you do? How is your choice structured? The debate was lively. This video was the viral hit of Fashion Revolution 2015.
Olivia Boertje, Jo Ryley, Alec James, Tori Carter, Becky Watts and Rachel Osborne (2016) The 2 Euro T-Shirt – A Social Experiment. followthethings.com
Catherine Flood & Gavin Grindon (2014) Disobedient objects. London: V&A Publishing
In January 2007, the container ship MSC Napoli was run aground in rough seas off the Jurassic Coast World Heritage Site in South West England. The unfolding drama of oil spillage, containers washing up on shore and their contents being salvaged near the village of Branscombe was international news. The wreck and its aftermaths was also researched in incredible detail by a well established local history group called the Branscombe Project whose members produced and exhibited original art work in response to it. Much has been written by journalists and academics about the Napoli, and artists (notably Melanie Jackson) have drawn it into their work. But it’s the inside story that emerges from this local research is perhaps the most interesting. At the end of her often-given talk, Barbara Farquharson – formerly an academic archaeologist and anthropologist and member of the Branscombe Project – has said that:
“When you think about it, the creation of World Heritage Sites are part of a global phenomenon involving the creation of iconic places that are both physical and cultural. So in a curious way the beaching of the Napoli hits the cross-wire between global cultural and environmental and economic and political issues” (Farquharson 2009, np).
The Napoli wreck is a brilliant insight into the geographies of material culture, the out of sight geographies of trade, and ways in which art and social science can make sense of its complexities. So the Napoli at Branscombe is worth revisiting for anyone who’s fascinated by these issues. We end with a reading list:
This year we have been working with Dr Carolin Schurr in Switzerland. Her new ‘Follow the Thing: Studying Transcultural Markets’ course at the University of St Gallen ran in parallel to our ‘Geographies of Material Culture’ course at the University of Exeter. To showcase the awesomely critical, creative scholar-activist work that our students produce, this year we’ve published student guest blogs about gun sights, iPhones and paint. This post contains two pieces of work on palm oil by Carolin’s students Gianmarco Zorloni, Harpreet Perhar, Julian Krauth, Leonardo Ehnimb and Milan Kuzmanovic. We start with a short animated information film (expertly put together using Videoscribe software), followed by a script showing how ‘the thing with palm oil’ can enter conversation and affect behaviour, and finishing with the research report upon which this work is based. How can you respond to ‘follow the thing’ research that finds that thing in, more or less, everything?!
The information film
‘Would people still love a bargain if we bought these issues closer to home?’
‘Money is the journey we send it on.’
It’s fairtrade fortnight, the time of year when companies and NGOs make the relations and responsibilities between the producers and consumers of everyday things mainstream news. In this post we highlight two contrasting videos in which these relations are a) brought close to home through the delivery of food and b) stretched out through investing money (perhaps the most fascinating commodity) in an ethical ISA. Watch and discuss…
Follow the produce: the home delivery service they weren’t expecting
Follow the money: the most rewarding cash ISA in the world
Here’s another excellent example of journal writing from the Exeter Geography module behind our website. At the start of the module, we ask the students to add to their phone homescreens this photo of an Apple factory worker which, it seems, was accidentally left on an iPhone bought in 2009. The person who found this and four other photos posted them online and the quest to find out who she was, why photos of her were on that phone, and what would happen to her after they went pubic went viral (as documented on our followthethings.com page). We ask our students to keep her photo on their homescreens until the end of the module, for almost 4 months. What can happen to you when she looks at you every time you look at your phone, wherever you go? Sophie Woolf explains… to the person who became known as ‘iPhone Girl’.