Feb 12
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Russian immigrant Yetta Henner (center), a member of the International Ladies Garment Workers Union, eating dinner with members of her extended Orthodox Jewish family, August 1938.
Photo: Hansel Mieth for Life magazine via Google Arts & Culture
This garment workers union tee may have been my favorite detail in the film. 🪡
Pray for the broke Millennial We won't be able to afford a house We know that somewhere the money's flowing But it's all going to Mickey Mouse and Elon Musk We work hard, but no one's noticed They make us take out the scenes that are gay So always pray for the broke Millennial Because we know nothing ever happens when you pray
I purchased this dress 2 years ago and what I didn't expect is to find this exact same dress (in another colour) in a 1975's JC Penney Christmas magazine!!
The craziest part is that a couple months after buying it I literally found it AGAIN in another city, but this one was in a worst condition, so I'm glad mine is in perfect state😼
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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gifted from Karmen SewAVL, 2024 Asheville, North Carolina
You kind of have to be a feminist to fight fast fashion. At the end of the day the reason it exists is because we devalue “women’s work”. I think it’s very easy to overlook the gendered nature of the labor structure because of the specific class and ethnic divide that often separates the western world from the very modern process of industrialization Even thought it echoes many of the historical events that color history books. But while there is a certain degree of empathy afforded to men and those that work in male dominated labor settings (factories, mines, etc) because of the nature of cruelty involved in running such a business poorly, the fact that “women’s work” is poorly understood and the horrors of mills remain poorly documented, those that work with thread remain a easy target for large corporations to subjugate via media campaigns.
The most egregious example of this disparity, the triangle shirtwaist fire of 1911, remains the single largest industrial accident in New York City and is one of the largest industrial accidents to date in the us resulting in the deaths of 146 people 123 of whom were women and girls. This industrial accident is the reason it’s illegal to lock exits and yet despite the fact that these facilities remain eerily similar to the modern reinvention, remain at the forefront of the western worlds intent to ignore such cruelty and violence in the face of access to luxury. To end fast fashion - as in the fight against all “industrial malice” - you must care about the workers more than you care about the access to luxury they provide. Specifically you must care about and see women as more than the labor they represent.
Souvenir program from the 1937 revue “Pins and Needles” with words and music by Harold Rome. The production was put on as part of the recreational program of the left-leaning International Ladies’ Garment Workers Union in order to enrich the newfound free time of its members thanks to the recently won 35-hour workweek. Produced in the old Princess Theatre on 39th Street which was purchased and converted into the Labor Stage earlier in the decade, the cast was made up of entirely average union workers. The show dealt with current political and labor issues through a union lens with a comedic slant. Some of the issues include the rapid approach to war in Europe and Asia, the reactionary slide of the upper class in the nation, and the use of patriotism as a way to suppress new ideas. The show was an accidental hit, going on for 3 more years with numerous updates to keep it current.