The Latest at Goethe

After the collapse of a factory north of Dhaka, the world has a critical eye on Bangladesh’s textile industry. Fashion designer Michael Sontag was just there himself teaching a workshop for young colleagues. In the interview he spoke to us about the risks and opportunities of a sector for an entire country.

In April, over 1,000 people were killed and 2,500 were injured in the collapse of a textile factory north of Dhaka. The disaster again called attention to the poor working conditions in the south Asian country. In Germany, criticism is growing for cheap clothing. But can you still understand why people here buy fashion for bargain prices at discount shops?

Sontag: Of course. Low-income families with children simply cannot spend as much money on clothing. They hardly have any alternatives. But, it is also deplorable that those who suffer most are the poor operatives in Bangladesh.

Does the fashion industry have a responsibility here?

Naturally, there’s no question about it. It’s simply depraved when international fashion chains pay only a few cents for a t-shirt from Bangladesh. Something really must change; everyone in their right mind knows that. The women – and they are mostly women – must be paid fairly for their hard work. Ultimately, the final prices would only increase marginally; that has got to be possible.

Did you visit any textile factories in Bangladesh?

No, sadly I wasn’t able to visit any of these factories. But, the topic comes up in lots of conversations, of course.

What did the people you spoke with about it have to say?

In spite of this horrific accident, they want the textile industry to stay in their country. No wonder: a very high percentage of workers are employed in this sector of industry. If the jobs were lost it would be fatal. After all, the clothing industry is a huge opportunity for the country. However, the circumstances and working conditions must be correct. Urgent work needs to be done here and it is certainly doable.

You were just in Bangladesh for the first time teaching a fashion workshop for the Goethe-Institut. What about this unusual teaching assignment appealed to you?

Bangladesh is known worldwide for its textile industry, but not for fashion design. I wanted to find out more about that aspect. Who here is involved in design, what kind of training opportunities are there and what stimuli can I, as a European fashion designer, offer?

Who took part in the workshop?

Ten designers with varying professional backgrounds. Some of them study at art academies, some already work for the textile industry – they all have potential. They were enthusiastic, curious and very motivated from the beginning. They learn quickly and have their own ideas. I was genuinely impressed.

What did you do in the course?

There were three teachers and we worked as a team, but each of us had their own focus. Sakina M’Sa had prepared a dress that the participants used as a basic cut for designing their own dresses. Bibi Russel had them draw traditional fashion illustrations, which they then transformed into designs in practice. And I did draping with them. That’s my trademark: I design apparel directly on the dress form without first drawing it. I demonstrated my technique to the course participants, and then each of them was given fabric and a dress form to drape their own creations. Basically, it was not new to them since this technique is part of the culture of clothing in Bangladesh. Just my specific way of attempting to capture the moment was new to them.


So, besides design tips, it was also about technique and materials?

Yes, both. I discussed the designs with the participants and gave them food for thought about what are good or less good ideas. But then I also showed them first-hand how to transfer their cuts first to paper and then to the original fabric. We only worked with natural materials from Bangladesh. Bibi Russel in particular used lots of fabrics and accessories that traditional rural artisans produce. I myself became aware again of how important the focus on such special artisanship is for our work as designers.

Is fashion even a topic in Bangladesh, one of the poorest countries in the world?

Absolutely. Fashion is important; it is an expression of culture and a means of communication. Here at home, it’s cool to run around in torn jeans, washed-out t-shirts and designer stubble. Here, that is what the very poor look like. Anyone who can afford a little bit shows it with their clean, neat cloths. Fashion has high status in Bangladesh.

Does fashion design in Bangladesh differ from what you are familiar with in Europe?

There are, of course, aesthetic differences. What struck me most in Dhaka is the coexistence of traditional and western apparel. Many women wear a sari or salwar kamiz, a three-piece item with a top, trousers and shawl. Then the next day the same woman shows up in jeans and a t-shirt. This diversity is also seen in the designs from our workshop. For me, that sometimes looks very costumed, but then again very modern. This experience is great because it makes me examine my own seeing habits more closely.

Did the visit in Dhaka inspire you?

Naturally, always and everywhere. They interpret what clothing is here relatively freely. For example, many men wear skirts made of one piece of cloth. And basically the women’s saris are also only long lengths of cloth. The fact that such a simple textile can be clothing, both for women and for men, absolutely corresponds to my understanding of fashion. In my work, I attempt to suspend the classical art of tailoring – for example for tops: two sleeves and darts.

Could you imagine textiles “Made in Bangladesh” being used even for exclusive labels?

Certainly. It is already being done. Generally, Bangladesh possesses the technical skills to implement everything that is needed for it. Whether the collections by designers from Bangladesh would be popular in Europe aesthetically is another question. But it has nothing to do with the quality.

Where will the young designers now make use of the ideas they got from the workshop?

They produced about 30 articles of clothing. I really like the results. We will now together choose which we want to show at the fashion shows. The national press, which generally demonstrated great interest, will report about it. The participants can benefit from this attention once we leave. Also, two of them came to Berlin for the Fashion Week on the invitation of the German embassy where they will also take a look at my show. Maybe I can come back to Dhaka someday. I certainly would like to and have plenty more ideas.

David Weyand held the interview.