NEW YORK — He may be known as a Nobel Peace Prize winner and for championing microcredit, but Muhammad Yunus was fulfilling his Glasgow Caledonian University Chancellor duties Thursday when he talked up the school’s satellite New York office at the Stephen Weiss Studio here. GCU’s 64 Wooster Street space will bow in January.
In his remarks, Yunus also urged attendees to help protect and provide for underpaid and mistreated apparel-factory workers. His words were well placed considering the crowd included U.K. Foreign and Commonwealth Office Minister Alistair Burt and Marks & Spencer’s Patrick Bousquet-Chavanne, among others. With plans to host town hall meetings, TED-type lectures, executive education and “made-to-measure” programs with companies interested in improving labor standards or supply-chain issues, GCU expects 1,000 students and executives to pass through its SoHo doors next year.
After his remarks, Yunus spoke to WWD about how the Rana Plaza factory collapse in Dhaka, Bangladesh, has made people realize, “What is happening? Why are people dying? I don’t want to wear shirts stained with the blood of the people who died there. Why isn’t anyone making sure those buildings are safe?
“This is the time to capture the moment to resolve these issues,” he added. “Today, Bangladesh produces $20 billion in apparel, and that figure is expected to increase to $35 billion by 2016.”
Female factory workers “have transformed Bangladesh by leaving their homes, coming to the city, having new lives for themselves as opposed to being stuck inside their homes. These women are brave and what do we give them? Eleven cents [for an hourly wage],” Yunus said.
Creating a “Happy Workers” tag for garments would require spending $1 more for a $10 shirt to ensure that the factory workers are treated fairly. The extra dollar would go into a common fund for workers’ health services, insurance, education for children and retirement benefits. “Because if you take 10 percent from each of the [$20 billion in] garments [made in Bangladesh] that would amount to $2 billion for all kinds of services,” Yunus said. “So consumers can take the responsibility. You don’t have to convince every company to do it. If one company does it and consumers respond very well, every company will be attracted to do it.”
As for whether housing, child care and education should be provided to workers, Yunus said, “Everything is wrong. Nobody cares. That should absolutely be included. If we pay attention, this problem can be solved just like that [snapping his fingers] except nobody pays attention. Everybody is busy making money. I have said, ‘I’m not stopping you from making money.’ But pay attention to this.”
“Azzedine has been one of the biggest influences in my life. He has always been such a strong, loving, fatherly figure to me. I call him Papa. His designs are indescribably unique, they are pieces of art. He knew how to make the female form look its loveliest. I have so many memories of him; my favorite might be during my first show with him in Paris. He liked me and he wanted to help me get more work. He called all his friends at Kenzo and Comme des Garcons, and asked them to book me. They said, ‘But she can’t walk!’ And he said, ‘but she has such a great ass!' His friendship and support has been the great privilege of my career. I can't imagine life without him. Repose en paix mon Papa.” - @stephanieseymour tells @wwd. #wwdfashion (📷: @steveeichner) #alaia #azzedinealaia
Azzedine Alaïa, flanked by two of his closest friends, models Stephanie Seymour and Naomi Campbell.
He designed Seymour’s dress for her 1995 wedding to Peter Brant, and treated Campbell (who famously called him Papa), like a daughter. For more on the legendary designer, tap the link in bio. #wwdfashion #alaia #azzedinealaia
Azzedine Alaïa's “I-did-it-my-way” ethos stood out starkly at a time when brands are experimenting with consumer-facing fashion shows, coed formats and trans-seasonal collections – anything to perk up lackluster sales of ready-to-wear in an age of Insta-everything. “It’s not creation anymore. This becomes a purely industrial approach,” the late designer told WWD in an interview last year. “But anyway, the rhythm of collections is so stupid. It’s unsustainable. There are too many collections.” Read more about the iconic designer’s life and work on wwd.com, link in bio. #wwdfashion #azzedinealaia (📷: @WWD Archive, 1986) #alaia
Sneaker reselling app @goat’s latest exhibit, "The Greatest: New York," tells the story of New York's sneaker culture. To celebrate the exhibit, an intimate crowd gathered on Thursday night at the pop-up gallery space, located at Platform in Culver City, to hear guest speaker and illustrator @esymai talk about her own rise in streetwear and women in the business. "For me I'm just someone who is creative. I like to create things," said Chang. #wwdfashion
Azzedine Alaïa, one of the most iconic couturiers of the modern era whose body-con designs defined Eighties fashion, has died in Paris. The diminutive Tunisian-born designer, known for his structured knitted dresses with fitted waists and impeccably cut, figure-hugging second skin silhouettes was deeply admired by his peers, and counted supermodel Naomi Campbell - his adoptive daughter - among his inner circle, one of a gang of glamazons including Farida Khelfa, Carla Bruni and Stephanie Seymour who became ambassadors of his style. (📷: Alexandre Guirkinger) #wwdblast