Author: Editorial Team

  • Reflecting On Rana Plaza

    Reflecting On Rana Plaza


    Twelve years ago today, an eight-storey building in Bangladesh collapsed. The disaster occurred at 9am on 24 April 2013. About 2,500 people were pulled alive from the rubble. But 1,134 people—mostly young women—died.

    These deaths weren’t caused by natural disaster. No earthquake triggered the collapse. The tragedy resulted from criminal neglect and callous greed. The building was home to five garment factories. Its collapse remains the deadliest disaster of its kind over a decade later.

    Signs of structural failure were evident 24 hours earlier. Shops and banks on the lower floors closed immediately. The garment factories on upper floors stayed open. Some workers faced threats of withheld wages if they didn’t show up. Without proper rights advocacy, they felt they had no choice.

    Appearances vs Reality

    Twelve years later, much appears to have changed in Bangladesh. Major protests erupted after Rana Plaza. The Bangladesh Accord was established in 2013. Later came the International Accord for Health and Safety in the Garment and Textile Industry.

    Look deeper, though. Too much remains the same.

    “The garment industry in Bangladesh faces conditions alarmingly similar to those before Rana Plaza,” Rashedur Chowdhury, Professor of Business at the University of Essex tells Eco Age. “Working conditions remain extremely poor. Workers have very limited avenues for self-representation or collective wage bargaining. Wages continue to be abysmally low despite their immense labour.”

    Chowdhury has spent considerable time in Bangladesh. He notes that worker exploitation extends beyond local issues. “Western brands remain reluctant to take direct responsibility for Bangladeshi workers’ welfare. They rely on local suppliers as intermediaries. This lets them exploit labour while avoiding accountability. If these brands assumed direct responsibility, both working conditions and wages could significantly improve.”

    Survivors Taslima, Anjura and Nilufa at the Rana Plaza memorial in Savar, 2022.

    This remains far from reality. “Western brands—through subcontracting—fail to recognise workers as primary stakeholders,” Chowdhury explains. “This approach helped them avoid legal accountability after Rana Plaza. They evaded paying adequate compensation by claiming indirect involvement.”

    This indicts the fashion industry’s complacency and complicity. The status quo remains despite proving catastrophically unfit at great human cost.

    “Despite benefiting from marginalised workers’ labour, Western brands avoid both direct and legal responsibilities,” Chowdhury adds. “Bangladeshi garment workers’ living and working conditions continue to deteriorate. Local suppliers justify poor wages by pointing to cost-cutting pressures from these brands.”

    This sustains ongoing unrest. “Infrastructural improvements have been minimal. If another catastrophe like Rana Plaza occurred, Western brands would likely sidestep responsibility again.”

    That we remain in a barely-changed system twelve years after such a disaster is unconscionable.

    “The garment industry in Bangladesh is facing conditions alarmingly similar to those that led to the Rana Plaza collapse.” – Professor Rashedur Chowdhury

    Bridging the Gap

    The first step forward requires closing the gap between garment workers and buyers. People who buy clothes need to understand where they come from and how they’re made. Western brands have used cognitive dissonance to obscure their products’ origins. This shields them from scrutiny by the one group they might listen to: paying customers.

    Activist Lavinia Muth holds strong opinions on this subject. She previously worked as a corporate social responsibility auditor before focusing on community-based justice work. Speaking to Eco Age she says: “Rana Plaza wasn’t a ‘wake-up call.’ It was a human disaster echoing the industry’s extractive logic. Black and brown lives remain disposable in fast fashion supply chains. Twelve years later, many families still await full reparations. Meanwhile, brands tout ‘ethical audits’ as alibis.”

    According to the Clean Clothes Campaign, the international Accord “only inspects the final tier of garment production.” This creates dangerous loopholes. “Workers deeper in supply chains risk their lives in textile mills and dyeing facilities without the same safety measures.” Even legally-binding initiatives like this only achieve surface-level change, not systemic reform.

    The CCC acknowledges some progress. The Accord—signed by 200 global brands—has prevented similar disasters since 2013. Improvements include “installing fire-fighting equipment, removing locks from doors, renovating unsafe buildings, providing worker training, and establishing complaint mechanisms.”

    But as an option rather than a requirement, it doesn’t go far enough. This isn’t surprising. Corporations will only sign agreements like the Accord if their bottom line faces minimal disruption. Even with this watered-down approach, major players like Levi’s and VF Corporation refuse to participate. They self-monitor using their own metrics rather than accepting rigorous industry-wide standards.

    The former site of the Rana Plaza building in Savar, Bangladesh.

    Opportunity for Change

    Despite this, significant change remains possible. Muth believes 2025 offers a potential turning point—a chance to reshape the industry. She outlines three key changes Bangladesh’s interim government must make:

    1. “Abolish poverty wages: Garment workers are experts, not ‘cheap labor.’ Their unions demand $350/month; brands must pay the true cost.”

    2. “Divest from fossil fabrics: Polyester fuels climate chaos.

    3. “Redirect subsidies to natural fibres and worker-owned cooperatives from Dhaka to Chittagong.”

    From here, Muth suggests, “Bangladesh could lead a just transition—decarbonising mills, retrofitting factories with solar energy. But this requires Global North creditors to cancel its crushing debts. The same banks financing fast fashion’s pollution profit twice: from exploitation, then from climate loans.”

    Industry Perspective

    Abdullah Hil Rakib offers a different viewpoint to Eco Age. As Managing Director of Team Group and former Senior Vice President of Bangladesh Garment Manufacturers and Export Association, he sees positive changes since Rana Plaza.

    “One silver lining of the tragedy is that it transformed Bangladesh’s apparel industry into one of the world’s safest. All factories underwent inspection by national and international experts. With necessary remediation, we ensured structural, fire and electrical safety everywhere.”

    “Rana Plaza was not a “wake-up call.” It was a human disaster, one that echoed the industry’s extractive logic, where Black and brown lives remain disposable to fast fashion’s supply chains.” – Lavinia Muth

    Whether reality matches this optimistic assessment remains questionable. But some progress has clearly occurred over the past decade.

    “Workers’ minimum wages have increased more than six times since 2010. As the industry grows, so do their wages. There’s been a 5% annual increment,” Rakib notes. “Bangladesh’s government has amended its Labour Act three times—in 2013, 2018 and 2023—to align with international standards. The requirement for worker participation in union registration dropped from 30% to 20% in 2018. Now it’s further reduced to 15% for factories employing over 3,000 workers.”

    Lavinia Muth meets survivors of the Rana Plaza disaster.

    These bureaucratic changes might seem minor compared to the emotional impact of Rana Plaza. But they matter. With stronger collective bargaining rights, workers might not have been forced into the building on that fateful day in 2013.

    Chowdhury remains skeptical about these reforms: “While these mechanisms may have improved structures to a limited extent, they largely ignored workers’ everyday suffering. They overlooked smaller accidents, invisible cost-cutting, dehumanising practices, and infrastructural deficiencies. This includes corruption during audits, inadequate enforcement of labour standards, and lack of genuine unionisation opportunities. Essentially, the Accord and Alliance allowed Western brands to deflect direct responsibility—an outcome that remains deeply problematic.”

    Dual Tragedies

    Twelve years later, Rana Plaza represents two tragedies. The first: entirely preventable loss of human life on an enormous scale. The second, perhaps equally shameful: how little has been done to ensure it never happens again.

    (Photography provided courtesy of Lavinia Muth.)

  • Wear the Earth.

    Wear the Earth.

    The one style that never goes out of season? Nature.


    Fashion is having a biophilic breakthrough. Brands like Stella McCartney, Iris van Herpen, and Solitude Studios are proving that clothing can be a love letter to our planet. From seaweed bags dyed with bog water to dresses crafted from ocean bi-products, these designers are reimagining fashion as an ecosystem, not just an industry.

    When fashion learns to mimic nature’s brilliance—its regenerative power, its zero-waste philosophy—we’re not just making clothes. We’re making change.

    The future of fashion grows, adapts, and heals. Just like nature.

    Solitude Studios

    Copenhagen’s Solitude Studios create unique wardrobes inspired by nature, blending earthy textures with retro-futuristic styles. They craft garments locally using innovative or upcycled textiles dyed with natural materials like coffee and tea. Their designs, such as the signature seaweed bag and bleached floral-print blouse, explore the human-nature relationship while offering sustainable fashion that both blends in and stands out.

    Stella McCartney

    Stella McCartney is dedicated to sustainable fashion, utilising materials such as recycled cashmere, organic cotton, and innovative alternatives like grape and mushroom-based leather. The Spring 2025 collection teatures 85% conscious materials, including forest-friendly viscose and plant-based denim, along with hand-drawn prints of British wildlife, celebrating a connection with nature.

    Iris van Herpen

    Iris van Herpen’s work is an amalgamation of nature and technology, blending biomimicry with innovation through, plant-based silk, and 3D-printed algae to create ethereal, biophilic couture.

    Salvatore Ferragamo

    Salvatore Ferragamo channels the essence of nature, crafting elegant collections that fuse organic textures with contemporary Italian sophistication For Spring/Summer 2017, Salvatore Ferragamo unveiled a Mediterranean-inspired capsule collection crafted from orange ‘silk,’ an eco-friendly fabric made from juicing industry waste.

    Yuima Nakazato

    Japanese designer Yuima Nakazato draws inspiration from nature for his couture collections, using innovative bio-materials and sustainable practices. In collaboration with Spiber, he developed garments from Brewed Protein™ fibers produced through microbial fermentation.

    Are you ready to wear the revolution? 💚

    Let us know your thoughts on our instagram page.

    White instagram icon

  • Threads of Resilience.

    Threads of Resilience.

    Reimagining waste in fashion.


    Today is the UN’s International Day of Zero Waste, and this year, we’re talking fashion.


    Every year, 92 million tonnes of textile waste — roughly the equivalent of 649 billion t-shirts — ends up in landfills or incinerators. Meanwhile, the fashion industry churns out 100 million tonnes of new garments, fuelling a culture of consumption.

Not only is this fast-fashion model toxic and unsustainable, it also erases the unique stories that our clothing is meant to inherit.



    But what if a snagged sleeve, ill-fitting jean, or last-season jacket didn’t mean the end of the story, rather, the beginning of a new chapter?



    Whether you grab a needle and thread or visit a local tailor, repairing your clothes is one of the most radical acts of sustainability, and refusal of fashion’s throwaway cycle.

And the industry is paying attention. From Patagonia and Nudie Jeans to Ganni and Veja, brands are offering free repair services, proving that fashion’s future can be regenerative.

    We take a look at some of the brands keeping clothes in circulation.

    Patagonia’s “Worn Wear” program offers free repairs, resale and upcycling.

    Customers can also request spare parts for DIY fixes.

    GANNI offers free tailoring and repairs through its SOJO partnership.

    The service includes alterations and fixes, with door-to-door collection in London and a nationwide postal option in the UK.

    Berghaus offers free repairs for life.

    If an item is beyond repair, customers can opt for upcycling and get 30% off a new purchase.

    VEJA offers a “Clean, Repair and Collect” project.

    They offer free repairs for sneakers of any brand as part of their “Repair Friday” initiative.

    Nudie Jeans offers free lifetime repairs on all denim.

    Worn jeans can be sent in for mend or traded for 20% off a new pair, with repaired denim resold through its Re-use program.

    Citizen Wolf offers free lifetime repairs on all its garments.

    They also use AI tailoring to offer high-quality, custom-fit t-shirts with low impact fabrics that ensure longevity.

    How do you give your clothes a second life?

    Share your zero-waste fashion hacks on our instagram page.

    White instagram icon
  • Women transforming fashion.

    Women transforming fashion.

    Meet the women reimagining fashion for a better tomorrow!

    This International Women’s Day, we’re honouring the remarkable pioneers who are leading the charge towards a more sustainable and ethical industry.

    From innovative eco-solutions to championing fair practices, these change-makers are proving that style and sustainability can go hand in hand.

    Let’s celebrate their impact today and every day! 🌿🌍

    Sally Fox – The Textile Revolutionary

    Sally has revolutionised cotton farming with naturally coloured, pesticide-free cotton, showing that fashion can be beautiful and responsible while protecting the planet.

    Dr Carmen Hijosa – The Mind Behind Piñatex®

    Dr Carmen Hijosa pioneered Piñatex®, a natural leather alternative made from pineapple leaves, proving that innovation can be both socially and environmentally responsible.

    Natsai Audrey Chieza – The Biodesign Trailblazer

    Natsai Audrey Chieza is transforming fashion with biodesign, using bacteria to create vibrant, chemical-free dyes while saving water. Her work is revolutionising fashion, one microbe at a time!

    Ayesha Barenblat – The Fair Fashion Advocate

    Ayesha is a social entrepreneur with a passion for building sustainable supply chains. She has spent the last decade working with brands, governments to improve the lives of makers in global supply chains.

    Find out more and let us know your thoughts on our instagram page

    White instagram icon

  • The art of Haute-Washing.

    The art of Haute-Washing.

    Pretty Little Thing‘s relaunch event was the latest example of “haute-washing” — using A-list celebrities to disguise the reality of fast fashion.

    This week PLT unveiled its ‘most ambitious’ rebrand since launching in 2012 but critics were quick to point out that the clothing is still largely plastic.

    One dress being sold for £70 is made up of 73% Polyester, 22% Rayon, 5% Elastane – all types of plastic.

    PLT has long been under fire over its fast fashion practices, and has consistently scored poorly for the Environment, Animals, and People categories of the Good Shopping Guide’s ethical rating report – and scores as one of the least-environmentally friendly brands in the UK.

    High-profile names can’t disguise the reality of fast fashion. Rebranding should focus on real values, sustainability, and consumer feedback—otherwise, it’s just haute-washing.

    When will fashion focus more on longevity, craftsmanship, and sustainability rather than using celebrity glamour to sell more unsustainable pieces?

    No amount of supermodel star power can change the fact that fast fashion remains unsustainable. The industry continues to rely on celebrity endorsements to distract from the bigger environmental impact. The rebrand should focus on real change, not just star-studded illusions.

    The future of fashion should be about values, not just hype.

    What do you think?

    Share your thoughts on our instagram post.

    White instagram icon
  • Conscious looks from the Oscars.

    Conscious looks from the Oscars.

    Archival Fashion’s Oscar moment.


    While true vintage pieces were fewer on the Oscars red carpet this year, archival fashion had a major moment at the after parties.

It’s always exciting to see iconic designs make a comeback, proving that true style is timeless and never fades!

    We take a look at the best-dressed picks.

    Scarlett Johansson

    Wearing a velvet Thierry Mugler gown from the brand’s ‘Les Méduses’ autumn/winter 1999 collection.

    Rachel Zegler

    Wearing a dress from Sarah Burton’s 2011 collection for Alexander McQueen, sourced via Shrimpton Couture.

    Laverne Cox

    Wearing an archival dress and earrings from Thierry Mugler’s spring/summer 1997 ‘Les Insectes’ collection.

    Kaia Gerber

    Wearing an off-white slip dress and matching cape from Valentino spring/summer 1997 collection.

    Hailey Bieber

    Wearing a black dress from Yves Saint Laurent’s 1987 couture collection.

    Keke Palmer

    Wearing an embellished gown from Atelier Versace’s spring/summer 2004 collection, sourced via Opulent Addict.

    Kendall Jenner

    Wearing a black high-neck lace gown from Thierry Mugler’s spring/summer 1992 collection.

    Who were your best-dressed picks?

    Drop them in the comments on our instagram page.

    White instagram icon
  • Vintage-Inspired vs. True Vintage.

    Vintage-Inspired vs. True Vintage.

    The 2025 Oscars were filled with classic revivals, yet true vintage looks were surprisingly scarce.


    The fashion world is already overflowing with clothing, yet new pieces are being made to look vintage instead of rewearing the originals. With so many stunning pieces already in existence, why recreate what we could simply reuse?

    Red carpet gowns often get just one moment in the spotlight before being stored away. These masterpieces deserve to be reworn and remembered, not forgotten.

    With vintage fashion becoming more mainstream, isn’t it time we fully embraced what’s already out there instead of producing even more?

    Should we be seeing more authentic vintage on the red carpet?

    Let us know your thoughts on our instagram page, and who do you think wore it best?

    White instagram icon