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Primark – On The Rack

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Fashion

Primark – on the rack
A documentary film presented by Tom Heap & produced by Frank Simmonds with Dan McDougall for BBC TV’s Panorama series.
Screenshot slideshow of the contested scene embedded above. Watch on Box of Broadcasts (with institutional login) here.

The BBC produces an exposé of cheap clothing retailer Primark. It finds children making its clothes, and sewing and testing their sequins, in factories, slums and refugee camps in India. Primark is asked to contribute to the film before it’s shown. Instead, they decide to cut ties with the supply chains featured, then launch a website to counter the film’s claims. They research the film’s research to pick apart its claims, and then complain to the BBC that one 45 second scene (the one in the screenshots above) is fake. Their critic-silencing strategy has mixed success. The BBC is forced to admit that it cannot be 100% sure that the scene wasn’t faked, and the Panorama team are forced to hand back an award they were given for the film. But Primark’s persistent public attempts to silence this investigative journalism draws attention – for years – to the company’s reputation as the ‘poster boy of child labour in the UK’. Supporters of the film highlight the other 3,555 minutes of the film that Primark didn’t claim the producers had faked? Then, 5 years after the film was broadcast, the Rana Plaza factory complex in Dhaka, Bangladesh collapses and over a thousand garments workers are crushed to death making high street clothes. Journalists, filmmakers and others keep this tragedy relentlessly in the news. UK newspaper headlines refer to this as the ‘Primark factory’. There’s no way that this footage is fake. Primark has to react differently this time.

Page reference: Kate Adley, Richard Keeble, Pippa Russell, Noora Stenholm, William Strang and Tuuli Valo (2025) Primark – on the rack. followthethings.com/primark-on-the-rack.shtml (last accessed <insert date here>)

Estimated reading time: 124 minutes.

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Beautiful Clothes, Ugly Reality

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Fashion

Beautiful Clothes, Ugly Reality
A parody catwalk show by garment factory workers sponsored by the Workers’ Information Centre & United Sisterhood Alliance, Phnom Penh, Cambodia, filmed & posted online by Heather Stillwell. See the Chenla Media version here.

Six months after police shot into a crowd of protesting garment workers in Phnom Penh, Cambodian garment workers turned to another kind of protest, a fashion show. Wearing the clothes they were paid so little to make and re-creating scenes from the violent crackdown on their street protests on stage, they challenged Western brands to play their part in stopping this violence and exploitation and paying the people who make their clothes a decent wage. Canadian photojournalist Heather Stillwell’s online film of the show went went viral. How did this happen, and what impacts did it have?

Page reference: Caroline Weston Goodman (2018) Beautiful Clothes, Ugly Reality. followthethings.com/beautiful-clothes-ugly-reality.shtml (last accessed <insert date here>)

Page also available in Finnish here (coming soon)

Estimated reading time: 50 minutes.

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Simpson’s couch gag (series 22, episode 3)

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Fashion | Gifts & Seasonal

Simpson’s couch gag (series 22, episode 3)
An animated ‘couch gag’ intro to an episode of The Simpson’s directed by Banksy & produced by Matt Groening for 20th Century Fox.

Every episode of The Simpsons opens with a ‘couch gag’. The one in episode 3 of series 22 is guest-directed by the British graffiti artist Banksy. Starting as usual with a tour of Springfield which ends with the Simpson family sitting on their couch in front of the TV, it then takes viewers into the unbelievably exploitative South Korean sweatshops where the show’s animators work and Simpsons merchandise – including t-shirts, toys and DVDs – is produced. This gag clearly doesn’t show exploitation that’s happening along 20th Century Fox’s real world supply chains. Ranks of animators don’t work in grim and grimy sweatshop conditions with child labourers, rats and toxic chemicals. Unicorns don’t punch the holes in their DVDs. And the tongues of severed dolphin heads don’t lick the tape that seals warehouse boxes. The animators pointed this out afterwards. So what was Banksy trying to say? Lots of people speculated online.

Page reference: Will Davies, Thomas Edwards, Joseph Englert, Chris Henshall, James Osbaldeston, Jack Parkin, Michael Swann & Aidan Waller, (2018) Simpson’s couch gag (series 22, episode 3). followthethings.com/simpsons-couch-gag.shtml (last accessed <insert date here>)

Estimated reading time: 32 minutes.

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Dream Crazy

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Fashion | Sport & Fitness

Dream Crazy
An advertising campaign for Nike by the Wieden+Kennedy agency.
Video ad embedded ABOVE. Full campaign materials here.

It’s the 30th anniversary of Nike’s ‘Just Do it’ campaign. So the advertising agency hired by the brand most associated with sweatshops hires an African American football player called Colin Kaepernick to front it. He’s the quarterback who became famous in 2016 for taking the knee during the national anthem before games because, he said, ‘I am not going to stand up to show pride in a flag for a country that oppresses Black people and people of color’. After George Floyd was murdered by a police officer in 2020, taking the knee became associated with support for the Black Lives Matter movement. Condemned as unpatriotic by many, including President Trump, Nike was courting controversy by making Kaepernick the figurehead of its campaign. But he could show that by ‘dreaming crazy’, marginalised people like himself could excel. And Nike could be part of this. But strange things happened. People who did’t like Kaepernick and the Black Lives Matter movement started burning their Nike gear, criticising its production overseas by sweatshop workers and boycotting the brand. Others normally critical of Nike said they’d buy more from them because of their support for BLM. Others asked why the lives of Nike’s Black consumers and consumers of color mattered more than the lives of their Black producers and producers of color. What did Kaepernick know and think about these marginalised people and their dreams before he took Nike’s money? This kind of advertising – where, for example, civil rights are used to mask labour rights – is called woke-washing. Nike seems to be running this campaign to stir controversy, by launching it on Labor Day bang into the US’s toxic ‘culture war’ around BLM. This campaign itself isn’t trade justice activism. But the responses to it are. The debates that it can take you into are around ‘systemic racism’ and ‘racial capitalism’. Why is it that the workers trade justice activists are concerned about tend to live in the Global South and be people of colour while the consumers they address tend to live on the Global North and seem by default to be white? How did that happen? Can trade justice / follow the thing activism be decolonised? Who would do this work? What commodities would they trace from where to where? What would they make for what kinds of audiences to act upon? And you might be wondering if this controversial campaign does Nike any harm. No. Its impact was much more about the uncomfortable, progressive, ‘mind-f$@k’ conversations that it sparked. Thank you Colin…

Page reference: Louise Mason, Maddy Shackley, Izzie Jeffrey, Megan Holden, Sophia Stainer, Emily Taylor, Andrew Gamble & Monty Leaman (2018) Dream Crazy. followthethings.com/dream-crazy.shtml (last accessed <add date here>)

Estimated reading time: 101 minutes.

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Employee Visualisation Appendage

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Fashion

Employee Visualisation Appendage
A conference talk prank by The Yes Men at a ‘Textiles of The Future’ conference in Tampere, Finland – filmed & featured in ‘The Yes Men’ movie.

Cultural activists and ‘identity correctors’ The Yes Men set up a fake World Trade Organisation (WTO) website and offer a man called Hank Hardy Unruh to speak at conferences on its behalf. The organisers of a ‘Textiles of the Future’ conference in Finland believe the website is genuine and invite him to give a talk. In the conference hall, the audience watch his assistant ripping off his business suit to reveal a gold lamé telematic suit underneath from which he inflates a huge phallus. This ’employee visualisation appendage’, they say, will allow future managers to give electric shocks to sweatshop workers when their productivity levels dip. To the Yes Men, this gold lamé performance exaggerates to ridiculous proportions the inhumanity of the WTO’s neo-liberal ideology and its dehumanisation of supply chain workers. It’s outrageous and kind of obscene (both the ideology and their performance). Movie audiences find it hilarious. But why is there such a muted reaction in the hall? And what impacts (if any) might these reactions have on the lives of workers in textile supply chains? This compilation page is arranged a little differently than others on our website because this prank had two audiences: the conference delegates and the movie audiences. We find this example fascinating. It’s fair to say that it’s memorable. But where – and upon whom – did it make an impact?

Page reference: Tom Best, Tom Gibson, Beth Massey, Chloe Rees, Kate Ross & Jemma Sherman (2019) Employee Visualisation Appendage. followthethings.com/employee-visualisation-appendage.shtml (last accessed <insert date here>)

Estimated reading time: 47 minutes.

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