Placeholder Content Image

Mapping the labour and slavery risks in fashion supply chains

<div class="copy"> <p>How did your clothes get to you, and who was properly paid for them in the process?</p> <p>The garment industry is notorious for worker exploitation and complicated, unclear supply chains.</p> <p>Both within and without the fashion industry, forced labour, and modern slavery, is on the rise. According to the new <a href="https://publications.iom.int/books/global-estimates-modern-slavery-forced-labour-and-forced-marriage" target="_blank" rel="noreferrer noopener">Global Estimates of Modern Slavery</a> report, there were 50 million people around the world living in modern slavery: 28 million in forced labour, and 22 million in forced marriages.</p> <p>This is an increase of 10 million from when the report was done in 2016 – among other things, the number has been exacerbated by the COVID-19 pandemic, climate change and armed conflicts.</p> <p>What does the garment supply chain look like? <em>Cosmos</em> investigates.</p> <h2>The shape of the garment industry: four tiers (sort of)</h2> <p>“In a broad sense, when retailers talk about their supply chains, they tend to talk with tiers zero to four,” explains Dr Alice Payne, an associate professor in fashion at Queensland University of Technology.</p> <p>Tier 0 is the company’s direct operations: retail, offices, and distribution centres, for instance. Each additional tier is a layer removed from them.</p> <p>“Tier 1 is the people and the organizations constructing the garments for them – so assembling and manufacturing,” says Payne.</p> <p>Tier 2 is fabric production, while Tier 3 is the production of the yarn that makes the fabric.</p> <p>“Tier 4 is raw materials,” says Payne.</p> <p>“Natural fibres like cotton and wool, that’s all the way back to the farm, or the forests that the trees come from that are then processed into viscose material. And the petrochemical industry, which is the feedstock for polyester, nylons, acrylics and so on.”</p> <p>In reality, there aren’t clear lines between these tiers – particularly further up the supply chain.</p> <p>Even something as ubiquitous as cotton has a very complicated history.</p> <p>“You’ve got the seed inputs to grow the cotton on the farm, the cotton has to be ginned – the seed and the lint separated – and then from the ginning, it’s shipped to a spinner to make it into a yarn.</p> <p>“Then the yarn producer will ship it often to other countries to be manufactured into a cloth. At any point along the chain, it might be dyed,” says Payne.</p> <p>“They can span the world over in terms of geographic location and can be really complex,” says Abigail Munroe, a modern slavery research and policy analyst at human rights group Walk Free, which compiled the <em>Global Estimates of Modern Slavery </em>report with the United Nation’s International Labour Organization and the International Organisation for Migration.</p> <h2>The labour distribution along the supply chain</h2> <p>Workers aren’t distributed evenly across these tiers. Spindles and looms are both highly mechanised processes, making the middle tiers less labour-intensive. The raw materials in Tier 4 can be equally mechanised, or labour-intensive to make, depending on the fibre.</p> <p>Assembling garments in Tier 1, however, demands a huge workforce.</p> <p>“It’s part of the nature of cloth – it’s fluid and malleable,” says Payne.</p> <p>“In the robotics space, they talk about how it might take months to teach a machine to fold a t -shirt because it’s just such a such a very difficult thing to manoeuvre and manipulate cloth.”</p> <p>Each seam on your clothes needs to be guided manually through a sewing machine – which is something of a boon for poorer countries wanting to bring in more industry.</p> <p>“The textile industry is often the first rung on the ladder for a country that’s industrialising,” says Payne.</p> <p>“What’s an industry to bring into a country when you’ve got a large labour force? Well, often garment assembly, because it’s fairly light machinery.”</p> <p>But this also comes with risks.</p> <h2>Who gets paid</h2> <p>According to the <a href="https://cleanclothes.org/poverty-wages" target="_blank" rel="noreferrer noopener">Clean Clothes Campaign</a>, a T-shirt which sells for €29 (A$43) sends €0.18 (A$0.27) back to the Bangladeshi garment worker who sewed it.</p> <p>Walk Free’s <a href="https://www.walkfree.org/reports/beyond-compliance-in-the-garment-industry/" target="_blank" rel="noreferrer noopener"><em>Beyond Compliance in the Garment Industry</em></a> report has found similar levels of low payment across the supply chain.</p> <p>“In our assessment, workers would need to be earning almost 40% more to have their basic needs met,” says Munroe.</p> <p>Exploitation may be worse in the more distant tiers.</p> <p>“In general, across any kind of industry, workers further down the supply chains tend to face increased modern slavery risks,” says Munroe.</p> <p>“That can be for a number of reasons – some of these being that they’re more likely to work in the informal economy, and they’re more likely to be invisible to policies designed to protect them.”</p> <p><iframe title="Huh? Science Explained" src="https://omny.fm/shows/huh-science-explained/playlists/podcast/embed?selectedClip=c7003c2f-954f-4ebf-b826-af090009d3ac&amp;style=cover&amp;autoplay=0&amp;list=0" width="100%" height="180" frameborder="0"></iframe></p> <h2>Tracing slavery</h2> <p>Governments have taken steps to make companies monitor these supply chains, but there are still gaps in the legislation.</p> <p>In Australia, for instance, the <a href="https://www.legislation.gov.au/Details/C2018A00153" target="_blank" rel="noreferrer noopener">2018 Modern Slavery Act</a> requires companies with an annual revenue over A$100 million to produce annual reports on their supply chains and modern slavery risks within those chains. The UK has <a href="https://www.legislation.gov.uk/ukpga/2015/30/contents/enacted" target="_blank" rel="noreferrer noopener">similar legislation</a>.</p> <p>Walk Free’s annual <em>Beyond Compliance </em>reports, track these disclosures and so far, they’ve looked at the hospitality, finance, and garment industries.</p> <p>While most of the garment companies in this year’s analysis had statements addressing modern slavery (an improvement on the hospitality and finance industries), 33% still didn’t meet minimum requirements set out by the acts. Over a quarter of companies didn’t produce any supply chain disclosure at all, while among those that did disclose, only 35% went beyond Tier 1.</p> <p>“There’s actually no penalties for companies that are within the threshold of the act, but don’t actually produce a statement,” says Munroe.</p> <p>And, even if those requirements are met, there’s little motivation to improve on reports.</p> <p>“We certainly see statements that are clearly being used as a box ticking activity,” says Munroe.</p> <p>“For both of those acts, even the Australian act which has more involved requirements, it’s completely disclosure-based. So simply reporting that the company needs to do more in relation to supply chain mapping or risk assessment – that’s enough.”</p> <p>Stricter legislation, such as the regulations <a href="https://www.csis.org/analysis/european-union-releases-draft-mandatory-human-rights-and-environmental-due-diligence" target="_blank" rel="noreferrer noopener">currently being proposed by the EU</a>, might include financial penalties for failing to comply, alongside obligations to prevent and mitigate human rights abuses right through the supply chain.</p> <p>The Australian government is <a href="https://consultations.ag.gov.au/crime/modern-slavery-act-review/" target="_blank" rel="noreferrer noopener">currently reviewing</a> its modern slavery act, with a consultation period closing in just over a month.</p> <p>Future changes to the act might increase compliance – but for now, most of the places you buy clothes from aren’t making it clear where the garments have come from – or who’s being properly paid to make them.</p> <p><em>Image credits: Getty Images</em></p> <p><em><!-- Start of tracking content syndication. Please do not remove this section as it allows us to keep track of republished articles --> <img id="cosmos-post-tracker" style="opacity: 0; height: 1px!important; width: 1px!important; border: 0!important; position: absolute!important; z-index: -1!important;" src="https://syndication.cosmosmagazine.com/?id=213724&amp;title=Mapping+the+labour+and+slavery+risks+in+fashion+supply+chains" width="1" height="1" /> <!-- End of tracking content syndication --></em></div> <div id="contributors"> <p><em>This article was originally published on <a href="https://cosmosmagazine.com/people/garment-supply-chain-slavery/" target="_blank" rel="noopener">cosmosmagazine.com</a> and was written by Ellen Phiddian. </em></p> </div>

Beauty & Style

Placeholder Content Image

Barbados announces new museum of slavery

<p><span style="font-weight: 400;">Just days after cutting ties with the British monarchy, Barbados has announced plans to build a major new heritage site dedicated to the history of the transatlantic slave trade.</span></p> <p><span style="font-weight: 400;">The museum is set to house the largest </span><span style="font-weight: 400;">collection of British slave records outside of the United Kingdom, as well as a research cebtrew and a memorial adjacent to a burial ground where the remains of 570 enslaves West African men, woman and children were discovered. </span></p> <p><span style="font-weight: 400;">“Barbados is authentically enshrining our history and preserving the past as we reimagine our world and continue to contribute to global humanity. It is a moral imperative but equally an economic necessity,” Barbados’s Prime Minister Mia Amor Mottley said in a statement.</span></p> <p><span style="font-weight: 400;">Construction of the museum is set to begin on November 30th 2022, on the first anniversary of Barbados becoming a parliamentary republic. </span></p> <p><span style="font-weight: 400;">The site will be located outside of the country’s capital city, next to the Newton Enslaved Burial Ground Memorial, a former sugar plantation and the site of the island’s largest and earliest slave burial ground.</span></p> <p><span style="font-weight: 400;">Upon its completion, the district will be the first of its kind in the Caribbean, as it will combine research and extensive documentation from the existing Barbados Archives. </span></p> <p><span style="font-weight: 400;">The new archive will “enable Barbados to authoritatively map its history in lasting, healing and powerful ways,” Mottley said. “It will unearth the as-yet-untold heritage embedded in centuries-old artifacts, revealing both Barbados’ history and trajectory into the future.”</span></p> <p><span style="font-weight: 400;">According to a statement from David Adjaye, the site’s architect, the design for the district “draws upon the technique and philosophy of traditional African tombs, prayer sites and pyramids.”</span></p> <p><span style="font-weight: 400;">In order to commemorate the victims of the slave trade, the grounds above the grave will feature 570 individual timber beams, capped with brass plates and angled towards the sun. </span></p> <p><em><span style="font-weight: 400;">Image credits: Getty Images</span></em></p>

Art

Placeholder Content Image

London’s National Gallery publishes historical slavery report

<p><span style="font-weight: 400;">In a detailed research project, London’s National gallery has published a report on the role slavery has played in the 197-year history of the institution’s success. </span></p> <p><span style="font-weight: 400;">Focusing on the period between 1824 and 1880, 67 individuals were named with </span><span style="font-weight: 400;">either direct, familial or more tangential connections to slavery.</span></p> <p><span style="font-weight: 400;">According to the </span><a href="https://www.nationalgallery.org.uk/"><span style="font-weight: 400;">National Gallery’s website</span></a><span style="font-weight: 400;">, the project was intended to “find out about what links to slave-ownership can be traced within the museum, and to what extent the profits from plantation slavery impacted our early history.”</span></p> <p><span style="font-weight: 400;">The research project began in 2018 under the title “Legacies of British Slave-Ownership”, when it was discovered that the first artworks to come into the gallery when it was founded in 1824 belonged to financier and philanthropist John Julius Angerstein.</span></p> <p><span style="font-weight: 400;">Researchers concluded that these 38 paintings brought into the gallery by John Julius Angerstein had “an unknown proportion of this was in slave ships and vessels bringing to Britain produce cultivated in the Caribbean by enslaved people. Angerstein acted as a trustee of estates and enslaved people in Grenada and Antigua.”</span></p> <p><span style="font-weight: 400;">The report also recognised the late 18th century portrait painter Thomas Gainsborough, who has several works in the museum’s collection: three portraits of which depicted people with ties to slavery. </span></p> <p><span style="font-weight: 400;">According to the museum, a second report is underway which will cover collectors, trustees and donors from 1880 to 1920.</span></p> <p><span style="font-weight: 400;">A spokesperson from the gallery acknowledged that its collection “has a particular, historically rooted character” but stressed they “have not, and will not remove any picture from display because of its association with slavery”.</span></p> <p><span style="font-weight: 400;">She added, “If anything, we want to engender discussion and understanding about these questions. A great deal of work had been undertaken by the curatorial team in this area, and the picture labels in the gallery mark clearly where paintings are associated with slavery.”</span></p> <p><em><span style="font-weight: 400;">Image credits: Getty Images</span></em></p>

Art

Placeholder Content Image

Rolling Stones forced to retire classic song

<p><span style="font-weight: 400;">British rock band The Rolling Stones have decided to retire one of their most popular songs due to its unsavoury lyrics. </span></p> <p><span style="font-weight: 400;">The 1971 hit </span><em><span style="font-weight: 400;">Brown Sugar</span></em><span style="font-weight: 400;"> had been cut from their current tour’s setlist, which had previously been the second-most-performed song in their catalogue. </span></p> <p><span style="font-weight: 400;">After succumbing to social pressure, the track was pulled from their live shows, as the lyrics allude to the horrors of slavery in the US, which has caused a stir during the current climate of heightened cultural sensitivity.</span></p> <p><span style="font-weight: 400;">Keith Richards, 77, was quizzed by the </span><a href="https://www.latimes.com/entertainment-arts/music/story/2021-10-07/rolling-stones-charlie-watts-no-filter-tour"><span style="font-weight: 400;">LA Times</span></a><span style="font-weight: 400;"> about the changes to the setlist, saying, </span><span style="font-weight: 400;">“You picked up on that, huh?”</span></p> <p><span style="font-weight: 400;">He said, “I don’t know. I’m trying to figure out with the sisters quite where the beef is. Didn’t they understand this was a song about the horrors of slavery? But they’re trying to bury it.”</span></p> <p><span style="font-weight: 400;">The first verse of the hit song depicts slaves being sold and beaten in Louisiana, with references to a “slaver” who whips “women just around midnight.”</span></p> <p><span style="font-weight: 400;">The famous chorus describes a non-consensual sexual encounter between a young female slave and the violent master, while also alluding to the use of heroin. </span></p> <p><span style="font-weight: 400;">In the next verse, the song describes the abuse suffered by slaves on a plantation. Lead singer Mick Jagger ends the tune by singing, “How come you taste so good … just like a black girl should.”</span></p> <p><span style="font-weight: 400;">“We’ve played </span><em><span style="font-weight: 400;">Brown Sugar</span></em><span style="font-weight: 400;"> every night since 1970,” Richards told the newspaper.</span></p> <p><span style="font-weight: 400;">“So sometimes you think, ‘We’ll take that one out for now and see how it goes.’ We might put it back in.”</span></p> <p><span style="font-weight: 400;">According to </span><a href="https://www.setlist.fm/"><span style="font-weight: 400;">setlist.fm</span></a><span style="font-weight: 400;">, the controversial track has been played live 1136 times, second only to </span><span style="font-weight: 400;">Jumpin’ Jack Flash</span><span style="font-weight: 400;">. </span></p> <p><span style="font-weight: 400;">“At the moment I don’t want to get into conflicts with all of this s***,” Richards said of criticism of the song. “But I’m hoping that we’ll be able to resurrect the babe in her glory somewhere along the track.”</span></p> <p><span style="font-weight: 400;">Mick Jagger has also previously shared his own criticisms of the song, as critics have called it “gross, sexist, and stunningly offensive.”</span></p> <p><span style="font-weight: 400;">“I never would write that song now,” Jagger told </span><a href="https://www.rollingstone.com/"><span style="font-weight: 400;">Rolling Stone</span></a><span style="font-weight: 400;"> in 1995. “I would probably censor myself. I’d think, ‘Oh God, I can’t. I’ve got to stop. I can’t just write raw like that.’”</span></p> <p><em><span style="font-weight: 400;">Image credit: Getty Images</span></em></p>

Music

Our Partners