Britain’s ‘Dark Factories’: Specters of Racial Capitalism Today

IF 0.7 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY
Anthony Sullivan
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引用次数: 0

Abstract

Abstract Recent revelations about illegally low wages and abject working conditions in Leicester’s “dark” garment factories—endured by its vulnerable mainly global majority and migrant workforce—have once again highlighted British fashion’s benighted “other” and its reliance on cheapened and “expendable” “racialized” sweated labor. Forced to work on through the Covid pandemic to produce fast fashion for e-commerce brands, “British” fashion manufacture now reflects the wider plight of the global CMT (Cut, Make and Trim) army, who at considerable personal risk and cost, manufacture most of our fashion. Drawing on a set of theoretical innovations in Marxist and post-Marxist theory, notably Smith and Suwandi theory of labor “super-exploitation,” De Genova’s work on the disciplining of migrants through “border regimes and spectacles” and Gargi Bhattacharyya’s critical reading of Cedric Robinson’s thesis of “Racial Capitalism” (1983), this article explains how and why its specter still castes such a deep and troubling shadow over the production of fashion.
英国的“黑暗工厂”:当今种族资本主义的幽灵
最近爆出的关于莱斯特“黑暗”服装厂非法低工资和恶劣工作条件的丑闻,再一次凸显了英国时尚界愚昧的“他者”,以及它对廉价和“可牺牲”的“种族化”血汗劳动力的依赖。在新冠疫情期间被迫为电商品牌生产快时尚,“英国”时装制造商现在反映了全球CMT(切割、制造和修剪)大军的更广泛困境,他们冒着相当大的个人风险和成本,为我们制造了大部分时装。本文借鉴了马克思主义和后马克思主义理论中的一系列理论创新,特别是史密斯和苏万迪关于劳动“超级剥削”的理论,德热那亚关于通过“边境制度和眼镜”约束移民的著作,以及加吉·巴塔查里亚对塞德里克·罗宾逊的论文“种族资本主义”(1983)的批判性阅读,解释了它的阴影如何以及为什么仍然在时尚生产上笼罩着如此深刻和令人不安的阴影。
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来源期刊
CiteScore
2.10
自引率
10.00%
发文量
41
期刊介绍: The importance of studying the body as a site for the deployment of discourses is well-established in a number of disciplines. By contrast, the study of fashion has, until recently, suffered from a lack of critical analysis. Increasingly, however, scholars have recognized the cultural significance of self-fashioning, including not only clothing but also such body alterations as tattooing and piercing. Fashion Theory takes as its starting point a definition of “fashion” as the cultural construction of the embodied identity. It provides an interdisciplinary forum for the rigorous analysis of cultural phenomena ranging from footbinding to fashion advertising.
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