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AI concept art inspired by The 2020 Los Angeles Apparel COVID-19 Shutdown: 300 Infections and Four Factory DeathsAI concept artwork · not archival photography

Daily selection · Sep 1 UTC

Sweatshops & Labor Exploitation5/5 wildness

The 2020 Los Angeles Apparel COVID-19 Shutdown: 300 Infections and Four Factory Deaths

Los Angeles Apparel / 2020s

During the first year of the COVID-19 pandemic, Los Angeles Apparel became the center of a deadly workplace-health controversy. According to the source, Dov Charney was able to avoid the initial lockdown restrictions by reopening the South-Central Los Angeles factory as an essential business producing and selling masks. That decision allowed production to continue but, the account states, also kept employees from accessing unemployment benefits. Public health officials later ordered the factory closed for what they described as “flagrant violations of mandatory public health infection control orders.” Before the shutdown, approximately 300 workers had contracted COVID-19 and four workers had died. The crisis sharply undercut the company’s public “sweatshop free” identity and exposed the tension between vertically integrated, locally produced fashion and the real power imbalance between an owner seeking to keep a factory operating and workers facing an infectious disease outbreak. The shutdown became part of the broader pandemic-era debate over whether garment factories could claim ethical production while failing to protect employees from lethal workplace conditions.

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03 / The fashion archive

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1506 stories

1506 stories in this selection.

01

Designer Scandals & Falls from Grace2020s

Ahlers AG and Pierre Cardin

In 2024, the European Commission imposed a combined fine of €5.7 million on Ahlers and Pierre Cardin over anticompetitive agreements dating from 2008 to 2011. According to the Commission’s findings, the arrangements were designed to protect Ahlers from competition in European countries where it held a Pierre Cardin license. Rather than allowing licensed Pierre Cardin clothing to circulate freely throughout the European market, the agreements allegedly restricted cross-border sales and helped preserve Ahlers’ privileged position in selected territories. The penalty arrived as Ahlers was already in severe financial decline: the company filed for insolvency in April 2023, and the Röther Group subsequently acquired the Pierre Cardin, Baldessarini, Pioneer Jeans, and Pionier workwear brands while closing Ahlers’ stores and online shops and eliminating around 300 jobs. The fine therefore became part of a broader collapse narrative in which a once-listed German menswear group faced both regulatory condemnation over market shielding and the dismantling of its traditional retail empire.

Archive: verified
02

Designer Scandals & Falls from Grace2020s

Esprit Holdings

Esprit, the lifestyle label founded in 1968 by Susie and Doug Tompkins and once valued at more than US$20 billion, suffered a dramatic reversal after years of declining market share and losses following the 2008 financial crisis. The COVID-19 pandemic accelerated the retreat: stores were gradually closed across China, Taiwan, Singapore, Hong Kong, Malaysia, and Macau, while the company attempted a cautious revival under CEO William Pak. Although Esprit reported a $48.5 million profit on $1 billion in revenue in 2022 and pursued a renewed New York presence in 2023, the recovery did not stabilize its European operations. The Swiss franchise filed for bankruptcy in March 2024, the Belgian franchise followed in April with the expected closure of 15 company-operated stores and the loss of 148 jobs, and Esprit's European operations entered administration for the second time in four years in May, affecting approximately 1,500 employees. Danish operations filed for bankruptcy in June, the Dutch unit collapsed in July, and the U.S. business filed for Chapter 7 bankruptcy in October 2024. The sequence exposed the vulnerability of a once-globally prominent fashion label whose expansion, retail overhead, and fractured regional structure could not withstand prolonged changes in consumer behavior and the post-pandemic retail environment.

Archive: verified
03

Plagiarism & Stolen Heritage1960s

Yves Saint Laurent, Michèle Rosier, John Kloss, and mass-market dress manufacturers

Yves Saint Laurent's celebrated 1965 Mondrian Collection was presented as a sophisticated fusion of haute couture and modernist painting. Its six wool-jersey and silk A-line dresses used separately cut pieces of white and primary-colored fabric, joined by precise black seam lines that echoed Piet Mondrian's De Stijl compositions. The apparent simplicity concealed labor-intensive couture construction, developed with assistance from Azzedine Alaïa, and the dresses became emblematic of the moment when high fashion began treating the garment as a graphic canvas rather than a heavily ornamented total look. Their appearance on fashion-magazine pages, including a 1965 Vogue cover, transformed the collection into an instant commercial phenomenon. The success also exposed how vulnerable couture ideas were to imitation. A New York reporter noted that Saint Laurent's designs closely resembled two-color jersey dresses already created and widely sold by French designer Michèle Rosier, while The New York Times argued that American designer John Kloss had achieved a comparable effect as early as 1963. After the collection became famous, mass manufacturers produced cheaper Mondrian-style copies that circulated widely, stripping away the exclusivity and painstaking construction of the originals. The episode was not recorded as a definitive courtroom plagiarism ruling, but it became an important example of fashion's porous boundary between artistic homage, prior design precedent, and commercial copying. Saint Laurent reportedly grew so disenchanted by the flood of imitations that he eventually said, 'I hate Mondrian now.'

Archive: verified
04

Plagiarism & Stolen Heritage1840s

John Sobieski Stuart and Charles Edward Stuart

The brothers’ most consequential deception was not merely genealogical but sartorial. In 1842 they published Vestiarium Scoticum, an expensive, lavishly illustrated volume that purported to reproduce an ancient manuscript of Scottish clan tartans supposedly dating to 1571 and transmitted through Prince Charles Edward Stuart. They followed it with The Costume of the Clans in 1845. The books presented a romantic, highly systematized vision of tartan identity at precisely the moment when Victorian Scotland was turning Highland dress into a powerful commercial and cultural industry. Sir Walter Scott had already warned that the brothers were men of “warm imaginations” with “little probity” in antiquarian matters, and, after examining a transcript of their manuscript, reportedly declared from its language that the document itself was fabricated. Later historian Hugh Trevor-Roper described the publications as being “shot through with pure fantasy and bare faced forgery.” Despite those warnings, the works became widely used sources for the tartan trade, allowing alleged inventions to harden into accepted clan tradition and leaving a lasting imprint on Scottish costume, heritage marketing, and popular ideas of Highland identity.

Myth / folklore
05

Sweatshops & Labor Exploitation1940s

Obere Nähstube (Upper Tailoring Studio), Auschwitz; Hedwig Höss

Inside Auschwitz, clothing production became part of the camp's brutal hierarchy. Hedwig Höss, wife of the Nazi commandant, used female prisoners as workers in a fashion salon known as the Obere Nähstube, or Upper Tailoring Studio. Marta Fuchs, Berta Berkovich Kohut, and other young women were forced to design and tailor high-fashion garments for elite Nazi women. Their sewing skills offered a narrowly defined chance of survival within the concentration-camp system, but the work remained coerced labor conducted under conditions of imprisonment, terror, and mass persecution. The contrast was grotesque: garments associated with privilege and social display were produced by women whose own freedom, safety, and families had been destroyed by the regime that benefited from their labor. The story exposes how Nazi power extended even into the intimate world of women's dress, converting prisoners' craftsmanship into a luxury service for the ruling elite. Adlington's research grew from her earlier fictional account, The Red Ribbon (2017), after descendants of some of the dressmakers contacted her with additional information. Her subsequent factual book, The Dressmakers of Auschwitz (2021), brought the women's experiences to a wide international audience, helping preserve their names and documenting a largely overlooked intersection of fashion, forced labor, and Holocaust history.

Archive: verified
06

Designer Scandals & Falls from Grace1560s

Bastian Pagez, Mary, Queen of Scots, and the Scottish Court

Bastian Pagez's courtly prestige became entangled with one of the darkest episodes in Tudor-Stuart political history. On 9 February 1567, Mary, Queen of Scots attended a banquet and wedding masque for Bastian and Christily Hogg. She had given Christily black satin for her marriage gown the previous day, and contemporary accounts described the queen joining the dance and participating in the custom of putting the bride to bed. According to later reports, Mary may have worn male clothing during such masked entertainments, reinforcing the enduring image of a torchlit, disguise-filled court moving through Edinburgh on the eve of Henry Stewart, Lord Darnley's murder at Kirk o' Field.

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Showing 1–6 of 1506

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From the Fashion archive

Prada Marfa / Elmgreen & Dragset / Prada / 2000s

The Desert Prada Store That Was Robbed on Opening Night and Nearly Became an Illegal Billboard

On October 1, 2005, artists Elmgreen & Dragset unveiled Prada Marfa, a permanent Prada-like storefront stranded beside U.S. Route 90 near Valentine, Texas. Conceived as a $120,000 piece of site-specific land art, the adobe-and-plaster structure had a nonfunctional door and two windows filled with genuine Prada shoes and handbags from Miuccia Prada's fall/winter 2005 collection. The artists intended the building to decay slowly into the desert, turning a luxury boutique into a meditation on consumerism, branding, gentrification, and the absurdity of placing high fashion in an almost empty landscape. Prada authorized the use of its trademark and supplied the merchandise, creating an unusually ambiguous object: an artwork criticizing luxury capitalism while simultaneously functioning as an unmistakable advertisement for it. That contradiction became central to the installation's cultural afterlife, especially as visitors began leaving business cards and tokens along its base like offerings at a roadside shrine.

The sculpture's opening night immediately shattered its planned innocence. Vandals broke in, stole six handbags and fourteen right-footed shoes, and spray-painted the words "Dumb" and "Dum Dum" on the exterior. The site was repaired, but replacement merchandise was fitted with a concealed security system that would alert authorities if it was moved. In March 2014, another vandal transformed the storefront by painting it light blue, attaching fake TOMS Shoes logos to the awnings, and posting a political manifesto on the door. Texas artist Joe Magnano, who used the pseudonym 9271977, was arrested and pleaded guilty to two misdemeanor criminal-mischief charges; he was ordered to pay Ballroom Marfa $10,700 in restitution and a $1,000 fine. The installation also entered a bizarre legal battle with the Texas Department of Transportation after officials noticed its Prada sign in 2013 while investigating a nearby 40-foot Playboy neon bunny. TxDOT treated both structures as highway advertising subject to the 1965 Highway Beautification Act. In September 2014, Prada Marfa was reclassified as a museum with itself as the sole exhibit, allowing it to remain while the Playboy sign was forced to leave. What began as an anti-commercial sculpture thus became a functioning luxury display, a repeated target for theft and political vandalism, and an unlikely test case in the boundary between art, advertising, and roadside regulation.

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