#weaving label factory

[elliesong9423]

I specialize in weaving, printing, silicone printing, silk screen printing, heat transfer printing, hang tags, clothing bags and other accessories.

5-24回复

[anastasiareyreed]

“ordinary russians are not guilty of anything and shouldn't be held responsible for the actions of their authorities”

meanwhile:

ordinary russians voluntarily join the russian army to kill Ukrainians and Syrians

ordinary russians organize safari hunting and killing Ukrainian civilians with drones

ordinary russians torture and execute Ukrainian and Syrian civilians and soldiers, filming it on camera

ordinary russians come to the destroyed occupied territories and arrange "fancy and mysterious" photoshoots like it's some kind of disneyland

ordinary russians go abroad to willingly glorify russia at pro-russian rallies

ordinary russians persecute and kill Ukrainians abroad

ordinary russians export stolen Ukrainian clothes, household appliances and cars to russia

ordinary russians buy all these stuff knowing perfectly well and seeing from the labels that these things were stolen from the houses and shops of murdered Ukrainians

ordinary russians donate to support the russian army

ordinary russians make shells and drones at factories in three shifts

ordinary russians sew equipment

ordinary russian activists weave camouflage nets, make trench candles and collect donations for the russian army

ordinary russian truck drivers bring all this to the frontlines

ordinary russians make software for missiles

ordinary russian tourists go on vacation to the russian-occupied Crimea

ordinary russians sell and buy apartments in occupied territories whose residents were killed

ordinary russians write happy comments after shelling Ukrainian homes markets hospitals and schools

ordinary russian doctors go to the frontlines to save russian soldiers

ordinary russians work in prisons and torture prisoners of war with starvation

ordinary russian teachers in the occupied territories reeducate Ukrainian children

ordinary russian social workers kidnap and take Ukrainian children to russia

ordinary russian miners extract coal for steel smelting

ordinary russian metallurgists work three shifts at blast furnaces to melt steel

ordinary russian celebrities shoot pro-russian films, write pro-russian songs and call to join the russian army

ordinary russians organize mass protests in russia against the closing of McDonald's, but not against the war

ordinary russian children draw pictures of russian soldiers brutally killing Ukrainians

ordinary russian artists in russia and abroad create pro-russian art glorifying russia and the russian army

ordinary russians create videogames that promote russian brutality and the army

ordinary russian teachers teach children to hate other nations

ordinary russian trainers prepare children for warfare and murder

ordinary russians ignore russian crimes on the territory of Ukraine and Syria as they ignored crimes on the territory of Georgia. because they believe it has nothing to do with them and it shouldn't affect their comfortable lifestyle.

should i go on?

Putin is not the cause of russian brutality, terrorism and bloodthirstiness. Putin is a consequence.

before Putin, there were other presidents, other tsars and other authorities in russia. only one thing has not changed — russian imperialism and chauvinism.

don't be silent and please continue to support Ukraine! don't let your politicians betray Ukraine, Ukraine needs help to defeat russia!

[omegaremix]

Sacred Bones 15th Anniversary @ The Knockdown Center; May 28, 2022.

Uniform has had an effect on me that’s made all difference. Their live performance as then-unknowns at Output led me to the Sacred Bones label. Lead singer Michael Berdan repped Shame which had me finally visit Rough Trade NYC before their re-location and got me hooked on Totalitar. Not only that, I also sought out each and every band member’s projects (York Factory Complaint, Coca Leaf, Impalers, Liturgy, Anatomy) and discovered other labels in Dais and Wharf Cat. It took me six years before finally seeing the band in full and even bought merch- from Berdan himself. Did I mention they’ve become one of the hardest, most destructive, and pulverizing industrial-metal bands as of recent? All the reasons why they became one of my top ten all-time favorite artists ever.

Meanwhile, New York City label Sacred Bones housed some great artists such as Zola Jesus, Lust For Youth, Blanck Mass, The Holydrug Couple, Spellling, and Marrisa Nadler. They’ve praised the likes of John Carpenter, Mort Garson, and Suicide’s Alan Vega, plus had Boris and Black Marble come aboard. They’re based in the Greenpoint neighborhood of Brooklyn. With what they’ve done and where they’re situated, how would I not support them?

They celebrated their 10th anniversary in 2017 with two separate shows. I bought tickets to both April and May dates, but I had doubts going as I was in the midst of recovering from life-saving shoulder surgery. Re-injuring it would not be a good look for my trust and my surgeon’s reputation so I ended up eating the cost. Another New York City-based label, Hospital Productions, celebrated their 20th anniversary which I attended, but I held out hope that Sacred Bones would return for their 15th. In short notice, they would. Five years later, I have a chance of finally attending my all-time favorite label’s showcase while keeping my New York City / Brooklyn quotient up. You wouldn’t even understand how fast my heart was beating as I got closer to the event. That’s the case with every trip to New York City because it’s always a big deal to me.

Long Island had a succession of greyscale cloudy days and rain. Saturday would be no different, I feared. Coincidentally, the clouds broke up while I rode the Central Islip line to Woodside. By the time I took the 7 line to catch the Q39 bus, it was a baking, bright and hazy 75*F by the time I got to the Knockdown Center. Security and detail dressed in full black asked everyone if they were here for Sacred Bones or Zero (an alternate techno dance event). After weaving through the guard rail labyrinth, showing ID, and having our tickets scanned, we were welcomed in. I took for granted just attending and supporting the label’s showcase because I knew it was an event. By the end of the night, this experience would be nothing I expected.

I entered the Knockdown Center’s huge lobby and through its conduits, observing several people sitting outside and enjoying the now shining skies like it was a university campus. I arrive at the huge main stage area and it was a dazzler. Once a thriving glass and door factory, this centurian structure is now out-of-commission for its original purposes and became a live venue and art space. It’s been internally repurposed and most of its original structures and aesthetic had faithfully remained intact. The bill would have seven artists across two areas and it would all start in the Texas room.

I walk in and the festivities had already started. Thirty people were here before me; some standing against the wall, some even sitting on the four-foot tall upper level. Everyone was totally silent and attentive as Constant Smiles’ sound welcomed everyone in with arms wide open. I look around and I see punks, metalheads, artist-types, longhairs, goth girls, girls in pigtails, an older silver gentleman wearing all-black matching sportscoat and miniskirt, and many more broad-minded walks of life coming in from Queens, Brooklyn, and Manhattan. Ben Jones’ and personnel’s peaceful delivery of gentle long-distance drone, dreampop, and shoegaze painted this picture of total tranquility and serenity. Their sound perfectly juxtaposed with the setting sun’s rays beaming through the windows and into the Texas room. Nobody couldn’t have symbolically started the entire production any better.

All of us migrated to see The Men, the second artist up and the first to take the main stage. If Constant Smiles were the warm-up, then The Men got everything going with a such a slamming free-wheeling set. The line-up of Kevin Faulkner, Mark Perro, Nick Chiericozzi, and Rich Samis delivered a near-endless performance that sounded like it took forever and that’s not a bad thing. I stood about twenty feet away from the main stage and I zoned out letting the music take me to places. At this point, the people were sparse with lots of space to move around on the main floor but they were into it. One song of theirs I instantly recognized from their old line-up was “( )” because I did feature it on Omega WUSB.That was their most powerful one of the night. After their performance, things would take a turn to the unexpected.

Some of us decided to march on to the Ready Room, Knockdown’s former main office-turned bar where they held conferences, panels, and small celebratory events. I had no idea who LD Deutsch was. When I walked in the almost pitch-black space, I seen plenty of people packed in and seated with a projector set-up in front. It looked so surreal. A lecture during a concert night? Where am I? I don’t believe this. This was the stuff my dreams were usually made of: odd situations, things, and re-arrangements that could possibly happen in real-life but never did. Now this was it. Am I now in my own dream? For a good firty-five minutes LD Deutsch presented to us “A Revised Lecture On Time: Reality at the Edge of Itself”. It was a compliment of her latest material “Mythologies Of Time And Timelessness” and her second one published through Sacred Bones’ press. As part of their 15th anniversary, the label chose a great opportunity to showcase their best example of featured authors and filmmakers.

Meanwhile, the next act already got going on the main stage. In the past five years, Sacred Bones really ramped up their signings. I’m more accustomed to their first ten years when almost every artist signed on the label played for their 10th. Anika released Change on the label in 2021 and…I didn’t know what to think when I first witnessed them. Here was Annika Henderson up front on vocals, sounding reserved, quite soft spoken, calm and in control. Her touring personnel behind her put together an amalgam of minimal post-punk, art-rock, and krautrock and it felt up there. Once they played “Sand Witches”, I started finding plenty of elements of their sound that had that specific something and that continued with “Change”. Both had that just-about-right hypnotic spell that drew me in and enough to at least give them another chance in the very near future.

Squrl was another unfamiliar unknown to me and recent signing on that night’s line-up. Anika’s set spilled a little over its end time so I ended up being a little late for the Texas room to see them. It was another attentive, quiet trip on the bill that painted a lively adventurous picture through long expansive guitar drones and a relaxing sound that went the distance. After one of their songs, a fan was dared by her friends to scream out “Jim Jarmusch!” and she did. What a surprise - that is him! Ghost Dog. Coffee And Cigarettes. Fifteen feet away was the closest I ever came in presence of a film director. Anyway - everyone knew it was him with the three of them creating another calm, pleasurable experience. P.S.: no one thought you were funny, you donkey.

I wasn’t too familiar with Spellling’s music but I was still auditioning it for a future use. I was also on the fence about her because she’s not my usual fare. I got to know her better as she performed on the main stage and she won it. Spellling had so much fun onstage and felt super gracious performing for Knockdown’s main crowd who saw her as an amazing performer and being. She was alive. Her presence was animated, playful, free-spirited, and boundless for her type of musical work that was imaginative, magical, and full of fantasy - the total opposite of where I was heading to next.

I wanted to return to the Texas room one final time as early as possible because I did not want to miss the next act, and promised myself to be in the thick of it when it happened. Brooklyn’s scream-core icon Jenna Rose (Anatomy) and Sacred Bones king-of-all-trades Ben Greenberg took to their instruments when were done chilling with their friends. Then their touring drummer (who to this day I still don’t know who he is) came aboard and finally lead singer Michael Berdan showed up wearing Salo / 120 Days Of Sodom to win the T-Shirt Of The Year award. Uniform finally got going and we all were ready for them. Berdan gave thanks and hat-tipped Bones label founder Caleb Braaten for signing them before delivering a few laugh-out-loud wisecracks. Like the last time I saw them at Saint Vitus last year, they kicked off the set with “Life In Regression” and brought the out-of-mind insanity and violence. During the second song, I got splashed hard with a cup of beer. Now it’s going down. About seven or eight guys (including myself) wailed and pushed each other like you would with any nihilist affair. People got knocked down and were promptly pulled up to keep going. Someone lost their glasses and frantically searched for them during the thick of the action. He found them all right: near my boots. That summed up my third time seeing Uniform. If not for them, I wouldn’t have been here. Simple as that.

The label listed six artists and one author appearing “plus more to be announced”. At the last minute, they added Black Marble to end the night. I can thank Chris Stewart’s unforgettable sounds for getting me by during an insurmountably difficult and surreal time. I already seen him open up for Cold Cave at Greenpoint’s Warsaw four years ago, so seeing him again was a nice bonus. Stewart returned to his hometown and his no-wave dressed suspects also took the stage. As a 2020 signee (and I was floored when that was announced), they leaned towards their newer stuff with that familiar cute synthpop and special lo-fi tonality. To me, Black Marble isn’t just a great artist but also a mood; a unique feeling I wouldn’t get from any other outfit. The idea that Stewart originated from New York City, the aesthetic of A Different Arrangement,how “A Great Design” resonates with me, and a sound that leads my heart to where it truly should be (Brooklyn, not Long Island) still makes Black Marble one of personal sentiment. Everyone got into them. The petites, too, as they danced and rocked out to “One Eye Open”. I always wondered what type of significant other would be into them as I never met anyone who were. Now I have my answer.

For five hours, I felt like everything lined up: the label, their fans, the setting, location, and how everything played out. The Sacred Bones fans repp-ing Spacemen 3, Sannhet, Health, and Converge who surrounded me were exactly the type I’d be associated with. Only in the city, because Long Island has nothing going for it. As I observed and took in everything, I couldn’t help having that feeling of someone, anyone such as a Brooklyn contact or a city-minded interest I met during the pandemic summer to come join me because it would’ve turned an already 9.5 to a perfect 10. I held it in knowing that having those contacts would’ve certainly made all the difference. Imagine if I were to meet someone new from the event? But that didn’t happen. My anxiety, fright, and uncertainty held me back.

But that didn’t even leave a permanent scratch. No. What did was the subway lines and bis rides on the way to Queens, the semi-sweet smell of old decaying wood, the high-definition visuals of heavy fog and sweet colored lighting, and another improbable-turned-unforgettable night written in the books. Spring couldn’t have ended on such a high note.

Once again, I faced the dilemma of getting to the subway in time, getting home early enough and not come to work sleepy the next day. I exited the Knockout and walked past all the groups of people converging on how great the event was or some other insignificant bullshit. I had an Uber pick me up and take me to the Woodmere stop heading east where I’d transfer at Jamaica and back home to Central Islip. As with all rail rides to and from the city, there’s always a pair of headphones plugged in my ears and the music playing from my iPhone. There’s always a playlist made to forever remember the day by.

[xtruss]

Love For All: Forever Palestine 🇵🇸!

A Symbol of Palestine, Made By Izzat Hirbawi (Mosab Shawer/Al Jazeera)

— By Mosab Shawer | Published: 6 January 2024 | Al-Jazeera English

Forever Palestine, Hebron, Occupied West Bank — Izzat Yasser Hirbawi, a balding 55-year-old man, stands smiling at the entrance to the Hirbawi Factory in Hebron, the only place in Palestine, its website proudly proclaims, that produces Palestinian Keffiyehs.

Three Hirbawi Brothers, Izzat, Abdullah and Jouda, who now own and operate the factory, started working there as children, accompanying their father, Hajj Yasser, who had founded it in 1961.

A Merchant turned Entrepreneur, Hajj Yasser began his career importing Keffiyehs from Syria before deciding to start his own Factory with Two Looms imported from Japan.

Hajj Yasser was deeply passionate about the Keffiyeh, something he transferred to his boys at an early age, instilling a deep respect for its symbolic value among Palestinians everywhere, as well as the importance of it being made in Palestine by Palestinian hands.

“We’re Happy … We Love Our Work, No Matter How Long or Hard We Work,” Hirbawi Tells Al Jazeera.

'Visitors can’t stand this noise, but I’ve gotten used to it, just like I’ve gotten used to every detail of every machine in here,' says Abdulaziz al-Karaki (Mosab Shawer/Al Jazeera)

The Hirbawi boys were not the only kids working the looms; Abdulaziz al-Karaki was there, too, from age 15, accompanying Hajj Yasser.

He is now a regular fixture on the factory floor at 70 years of age. He still gets the looms going every morning and makes sure that everything is prepared for the day.

“The Keffiyeh Isn’t Just Something To Earn Money From. It Preserves Palestinian Heritage.”

As the 20 looms the factory now boasts start up, a huge racket rises in the cavernous space and al-Karaki smiles at the familiar din. Moving away from the rattling machines, he says: “Visitors can’t stand this noise, but I’ve gotten used to it, just like I’ve gotten used to every detail of every machine in here.”

He does not want to retire, ever, he tells Al Jazeera as he leans over a roll of fabric coming off a loom, cutting extra threads off to make sure the pattern comes through cleanly.

“I just want to keep working at this job, I love it so much, making quality Keffiyehs that will mean as much for the people buying them as they do to me,” he says emotionally.

Izzat Hirbawi inspects one of the shuttles used in manufacturing keffiyehs (Mosab Shawer/Al Jazeera)

Worn as a scarf or head covering, the Keffiyeh adorns people from all walks of life, from the young to the old, from people with a more traditional fashion sense to the hip and trendy.

But the Keffiyeh is more than a garment. It carries a deep symbolism, so entrenched with Palestinian identity that some people refer to it as an alternate flag.

This Keffiyeh, Hirbawi says, is distinguished by its quality, as the family insists on using high-quality yarns that are dyed well and weaving them together at a higher thread count.

In fact, despite local and international markets being flooded by cheaper keffiyehs made in other places with lower-quality material and a flimsier weave, Hirbawi insists that their quality will prove itself in the end.

“We will compete with importers, our competition is quality. The quality of our Palestinian industry and the power of that label: Made in Palestine."

The patterns of the Keffiyeh speak to the nature of Palestine as much as its history (Mosab Shawer/Al Jazeera)

Many Palestinian men wear their Keffiyehs day in and day out, with most of the older generation unable to imagine being seen out without one on their heads.

Younger men consider it a revolutionary symbol and wear it when confronting Isra-helli Terrorist Fascist Forces, attending demonstrations or simply participating in traditional Palestinian events.

Hirbawi’s traditional Keffiyeh design captures the essence of Palestinian life. Olive leaves represent perseverance, strength and resilience, as well as culture and peace. A fishnet pattern represents fishing and closeness to the sea, the broad lines embody commercial routes, and the thin lines are Palestine’s long history.

A typical Palestinian Keffiyeh comes in white and black, but now many different colourways are available. “We Now Produce More Than 300 Models of Keffiyeh Colours … [to] Suit Young People,” Hirbawi says.

A popular Hirbawi variation is white, red and black - a nod to Jordan, the country that hosts the largest number of Palestinian refugees and that shares, Hirbawi says, a deep “interconnectedness” with Palestine.

After the outbreak of Israel’s current war on Gaza, global demand for Keffiyehs increased dramatically as people marched and demonstrated in solidarity with Palestinians. But the Hirbawis cannot increase exports as Israel has cut off the cities of the occupied West Bank from each other and there are no Palestinian airports or ports.

Two men walk through Hebron's Old City (Mosab Shawer/Al Jazeera)

Fathi al-Jebrini, 87, has worn the Keffiyeh every day since he was young and reckons that he has not been without his keffiyeh for a single day since he turned 50.

The Old City of Hebron shopkeeper leads the way gently down an arcade of shop doors, pausing to open his little stall with an old-fashioned key.

He sells food items from here, nestled among similar holes in the wall whose owners have all formed a community over the years.

Everyone knows him and he greets a dizzying number of people by name and with a smile. Many of the men are, of course, wearing their Keffiyehs.

He tells Al Jazeera that this tradition is inherited through the generations, with men learning how to wear their keffiyehs from their fathers and grandfathers.

“Wearing it has become an important thing for us to express our identity, especially since the Old City is considered a destination for tourists and is also invaded by settlers who think it’s their country” he says.

In addition, he argues, it is a generally attractive addition to any person and any outfit as well as something that helps keep the elderly warm in the winter as they use it to cover their heads.

Al-Tamimi's shop is full of Palestinian Souvenirs and Knick-knacks (Mosab Shawer/Al Jazeera)

A little further on in the Old City’s market arcade, Badr al-Daour al-Tamimi, 58, is hanging displays of Keffiyehs outside his shop and arranging the other Palestinian souvenirs that he sells to tourists and sometimes exports overseas.

Items made with Fragrant Olive Wood share display space with maps of Palestine and items embroidered in the vibrant traditional colours of Palestinian Tatreez.

The shopkeeper agrees that the Keffiyeh has become a global symbol for people who stand with the Palestinians and a source of Palestinian pride in Palestine and around the world.

This is to the point that, he says, Isra-helli Terrorist Fascist Soldiers often cannot bear to see Palestinian youth wearing it. He, himself, has seen Isra-helli Terrorist Fascist Forces attacking young men in the Old City and forcing them to take their Keffiyehs off.

The Keffiyeh will persevere as a symbol though, the four men agree. As will Palestinian culture and pride in their identity.

For Hirbawi, the mission is as personal as it is national. “This is our heritage, we’re trying to pass it on to the next generations of our family. It is very important to continue and for our family to be in this factory.

“The Keffiyeh Isn’t Just Something To Earn Money From. It Preserves Palestinian Heritage.”

Fathi al-Jebrini, 87, opens his shop (Mosab Shawer/Al Jazeera)

[kalgo]

Pure Silk Sarees in Mysore: Discover KALGO’s Enduring Silk Legacy

Looking for pure silk sarees in Mysore that embody tradition and elegance? KALGO - Enduring Silk Legacy is your perfect destination. Based in the heart of Mysore, we bring you authentic Mysore silk sarees, handwoven with care to reflect Karnataka’s rich silk heritage. If you’re shopping for a wedding, festival, or special occasion, our sarees promise to add a touch of royalty to your wardrobe.

Mysore is renowned for its silk, and at KALGO, we honor this legacy by offering the finest pure silk sarees in Mysore. In this blog, we’ll share what makes our sarees special, why Mysore silk is a must-have, and how KALGO can help you find the perfect piece. Let’s explore the magic of Mysore silk!

Why Mysore is the Home of Pure Silk Sarees

Mysore’s silk history dates back to the 18th century when Tipu Sultan introduced sericulture to the region. Later, Maharaja Krishnaraja Wodeyar IV established the first silk factory in 1912, now run by the Karnataka Silk Industries Corporation (KSIC). This legacy has made Mysore silk sarees famous for their smooth texture, natural sheen, and intricate zari work—often crafted with 65% pure silver and 0.65% gold. At KALGO, we continue this tradition, offering sarees that showcase Mysore’s royal heritage.

What Makes KALGO Special for Pure Silk Sarees in Mysore?

KALGO - Enduring Silk Legacy stands out as a trusted name for silk lovers in Mysore. Here’s why:

Authentic Craftsmanship: Our sarees are made from 100% pure mulberry silk, featuring the signature sheen and durability of Mysore silk. Look for the Silk Mark certification to confirm authenticity.

Stunning Designs: From classic crepe silk sarees with a wavy texture to zari-heavy pieces with floral or peacock motifs, our collection suits every taste.

Timeless Appeal: We offer sarees in vibrant shades like rani pink and chilli red, as well as subtle hues like pear green and lavender, perfect for any occasion.

Mysore’s Legacy: Located in Mysore, we work closely with skilled artisans to bring you sarees that reflect the city’s silk-weaving heritage.

Why Choose Pure Silk Sarees from KALGO?

Mysore silk sarees are a wardrobe essential for Indian women:

Elegance: Their soft texture and natural shine make them ideal for weddings and festivals.

Durability: Handwoven with pure silk, they retain their beauty for decades if cared for properly.

Cultural Charm: Motifs like Gopuram and coin patterns celebrate South India’s traditions.

At KALGO, every saree is a masterpiece, blending tradition with modern style to suit today’s fashion lovers.

Tips for Buying Pure Silk Sarees in Mysor

Check for Authenticity: Ensure the saree has a Silk Mark label or test a thread—pure silk smells like burnt hair when burned.

Shop at Trusted Stores: KALGO guarantees genuine silk, unlike some shops that may sell synthetic blends.

Care Tips: Store in a cotton cloth to protect the zari, and wash in soft water to maintain the sheen.

Shop Pure Silk Sarees in Mysore at KALGO

KALGO - Enduring Silk Legacy is your trusted destination for pure silk sarees in Mysore. With our authentic collection and deep connection to Mysore’s silk heritage, we’re here to help you find a saree that makes every moment special. Visit us in Mysore today and experience the timeless beauty of Mysore silk!

Explore our collection at KALGO !!

[cyberbenb]

‘Donbas is fiction’ — Kateryna Zarembo’s book dismantles Russian myths about Ukraine’s east

For some, Ukraine’s Donetsk and Luhansk oblasts evoke images of coal mines, industrial sprawl, and Russian-speaking culture oriented toward Moscow. Yet to accept this as the regions’ defining reality is to ignore a deeper truth: a Ukrainian heritage that Russia has spent centuries attempting to erase.

In the wake of independence, locals — navigating the complexities of a democratic transition after decades of authoritarian rule — sought to reclaim this identity, fostering a cultural revival that would gradually weave these regions more firmly into the national fabric. But in 2014, war brought that resurgence to a brutal halt.

As Russia’s war of aggression continues to devastate cities in both regions and force the remaining locals into occupation under the pretext of “protecting” the local Russian-speaking population from the Ukrainian government, understanding the true story of Donetsk and Luhansk oblasts has never been more important.

Kateryna Zarembo’s “Ukrainian Sunrise: Stories of the Donetsk and Luhansk Regions from the Early 2000s,” now available in English translation, challenges the long-standing Soviet-era myths about Ukraine’s east. Drawing from field research conducted leading up to the full-scale invasion, Zarembo illuminates how locals were in the process of reclaiming their regions’ Ukrainian identity.

While Zarembo currently dedicates part of her time to volunteering as a combat medic with the Hospitallers battalion, she is, first and foremost, an academic. “Ukrainian Sunrise” reads like a scholarly work, yet the way it is written remains accessible to a broad audience. Her commitment to fieldwork and firsthand interviews makes the book a far more reliable resource on the people of the region than the perspectives of think tanks with opaque funding sources or journalists who parrot Russian talking points.

Zarembo’s approach ensures that the voices of those in Donetsk and Luhansk oblasts are heard directly — she serves not as an interpreter, but as a conduit for their stories.

She opens “Ukrainian Sunrise” with a compelling takedown of the term “Donbas,” a label frequently applied to both regions as part of a larger whole. She contends that this historical term not only oversimplifies but also misrepresents the distinct identities of Donetsk and Luhansk oblasts, obscuring the diverse experiences of the people who called them home.

A portmanteau of “Donets Basin,” the term “Donbas” has been in use since the 19th century and has referred not only to Donetsk and Luhansk oblasts but also parts of Dnipropetrovsk Oblast and even regions of southern Russia. While the term conjures images of sprawling industrial cities for most people, Zarembo references the words of a Luhansk scholar who noted that several districts in his region north of the Siverskyi Donets River were known not for mining, but for their agricultural landscapes.

Photo of Yuzovka (Donetsk, Ukraine) in the early 1900s. (HUM Images/Universal Images Group via Getty Images)

Men in a factory in Yuzovka (Donetsk, Ukraine), before 1917. (HUM Images/Universal Images Group via Getty Images)

“The myth of Donbas deliberately erases the peculiarities of the region at the micro level and portrays it as a homogenous whole,” Zarembo writes. “In fact, residents of the region would be the first to say that ‘Donbas’ and ‘the Donetsk and Luhansk regions’ are not synonymous.”

The prevalence of the Ukrainian language in Donetsk and Luhansk oblasts — more than 60% according to a census conducted in the Russian Empire in the late 19th century — persisted until the Holodomor man-made famine and Stalinist purges of the 1930s, which marked what Zarembo characterizes as an “all-out” assault on Ukrainian culture. During this period, Ukrainian teachers were branded as “class traitors,” and miners faced arrest for reading so-called “nationalist literature."

“The region was too important for the Soviet Union to tolerate its Ukrainian identity. And not only Ukrainian identity: the Soviet myth of Donbas as an ‘All-Union furnace’ not only rejected other identities, it also denied their very existence, except for heavy industry workers,” according to Zarembo.

“The region was too important for the Soviet Union to tolerate its Ukrainian identity.”

To this day, the most enduring stereotype surrounding both regions is its singular identity as Ukraine’s coal-mining heartland. While mine workers enjoyed relatively high salaries until the 1960s, the industry’s profitability began to decline in subsequent decades. Lower wages, substandard coal quality compared to international benchmarks, and perilous working conditions shaped by inadequate regulations — such was the stark reality of coal mining in Donetsk and Luhansk oblasts, far removed from its mythologized image. For many young people, mining became a profession of last resort, pursued only when other opportunities failed to materialize.

Politicians attempted to perpetuate the “miner’s myth,” into the years of Ukraine’s independence, but as Zarembo writes, “the coal mined in Donbas was so much higher than the price at which it was sold that the region received regular subsidies from the state budget, which peaked during the presidency of Viktor Yanukovych.”

Coal miners in Ukraine Soviet Republic, 1940s. (Mark Redkin/FotoSoyuz/Getty Images)

Under Soviet rule, the pervasiveness of the Russian language in Donetsk and Luhansk oblasts was meticulously cultivated through policies that marginalized and stigmatized the Ukrainian language. Yet, as Zarembo astutely observes, linguistic preference in the early 2000s did not serve as a definitive marker of political allegiance. Russian speakers could be patriotic Ukrainians who feel no deep affinity toward Russia, while Ukrainian speakers could be Euro skeptics. These complexities, Zarembo emphasizes, were not unique to Donetsk and Luhansk — they were emblematic of broader dynamics throughout Ukraine at that time.

The politics of historical memory was a mechanism through which these complexities often had to be navigated. In 2008, a proposal emerged to rename Donetsk National University in honor of Vasyl Stus, the 20th-century poet who grew up in Donetsk and died in a Russian penal colony in 1985. This initiative was championed by the student organization Poshtovkh (“Impetus” in Ukrainian), which had been founded just two years earlier in 2006, amid a national movement to reembrace Ukraine’s historical memory, fostered by then-President Viktor Yushchenko.

As one of its members reflects in the book, the group's mission was clear: “We thought if we educated people about the history of the region and explained that Ukrainian culture was not inferior to Russian culture, then we would be contributing to the integration of this region into the general cultural landscape of Ukraine.”

Stus’ legacy in Donetsk was one of competing narratives, shaped by whether one’s view was oriented toward the past or present. To those still tethered to the Soviet mindset, he was an enemy. But for those who envisioned a free and independent Ukraine, he stood not only as a talented poet but as a hero and martyr for Ukraine’s struggle.

Poshtovkh members, driven by a desire to honor Stus, collected nearly 1,500 signatures from students and faculty at Donetsk National University, and also earned support at the national level from key figures like Yushchenko. However, their campaign quickly became a flashpoint for regional political tensions.

A lawmaker from the pro-Russian Party of Regions proposed instead that the university be named after a former first secretary of the regional Communist Party. Other members of the pro-Russian camp launched a series of heated roundtable discussions against the renaming of the university, all while distributing blue and yellow ribbons — Ukraine’s national colors — as a defensive gesture against charges of anti-patriotism.

A communal worker replaces a Viktor Yanukovych pre-election placard in Donetsk, Ukraine, on Nov. 25, 2004. (Viktoria Synistra/AFP via Getty Images)

The university administration, convinced that the students were "agents" of the Orange Revolution, which had bolstered Yushchenko’s political rise, turned the campaign into an ideological battleground. In the end, the administration voted against the renaming, and efforts were made to discredit Poshtovkh in the eyes of the public.

The resistance to cultural initiatives in Donetsk might seem baffling at first glance. Poshtovkh, for instance, faced staunch opposition not only when advocating for the renaming of the university but also when attempting to organize a Vertep festival — a centuries-old Ukrainian Christmas tradition — in the city’s central square.

As Zarembo points out, this hostility is rooted in the enduring legacy of Soviet myths about Donetsk and Luhansk oblasts, myths that relegated culture to an "unnecessary" status for its vision of the industrial Donbas. These narratives, designed to erase local identity, left little room for expressions of Ukrainian heritage, reinforcing a landscape where cultural initiatives were viewed with suspicion.

As such, the music, literature, and theater that emerged in Donetsk and Luhansk oblasts can only be described as being part of what Zarembo calls an “artistic underground” or a “cultural insurgency.” These movements defied entrenched ideologies, striving to rejuvenate their cities and challenge the inertia of post-Soviet stagnation.

One of the most prominent examples of cultural reinvention in Donetsk is the Izolyatsia cultural center, founded in 2010 on the site of a former mineral wool factory. The center’s creation aimed to transform the factory from an industrial relic into a vibrant hub of social and cultural life. Through its innovative programming, Izolyatsia sought to shift the narrative of the region, using art as a lens for reimagining its identity.

Opening of the Meeting Place exhibition in Donetsk, Ukraine, in 2013. (Dima Sergeev/Izolyatsia Must Speak)

Gender in IZOLYATSIA exhibition in Donetsk, Ukraine, in 2012. (Dima Sergeev/Izolyatsia Must Speak)

Cai Guo-Qiang's performance at the Prima building in Donetsk, Ukraine, in 2011. (Dima Sergeev/Izolyatsia Must Speak)

IZOLAB, the first fab lab in Ukraine, was opened inside Medpunkt in Donetsk, Ukraine, in 2013. (Dima Sergeev/Izolyatsia Must Speak)

Some of Izolyatsia’s artistic initiatives included inviting Chinese American artist Cai Guo-Qiang to create portraits of miners using gunpowder, or the art installation “Lipstick” by Cameroonian-Belgian artist Pascale Marthine Tayou, who dedicated it to the women of the region. A giant metallic red lipstick was installed on the top of the factory chimney, which Russian occupying forces would later blow up when they seized the premises.

The Izolyatsia art center’s singular, defining event was a Ukrainian literature festival held in late April 2014, despite the outbreak of the Russian invasion earlier that month. In a powerful act of cultural defiance against Russian aggression, some of Ukraine's most prominent literary figures, including Irena Karpa, Lyubko Deresh, and Kateryna Babkina committed to participating, embodying the resilience of Ukraine's intellectual and artistic spirit in the face of war.

Just months later, the Izolyatsia team, which relocated to Kyiv, received the grim news that the center had been seized by occupying forces, and its invaluable collection of artworks had been destroyed. The site has then been transformed into a notorious prison, infamous for the unspeakable acts of torture committed within its walls. Donetsk-born journalist Stanislav Aseyev’s memoir, “The Torture Camp on Paradise Street,” offers a chilling first-hand account of the brutality he endured during his own imprisonment at Izolyatsia.

Much of Donetsk and Luhansk oblasts has fallen under Russian occupation or been completely ravaged by over a decade of war. It remains unclear when peace will return to both regions as Russia advances along the front line and continues its assault. Yet, as Zarembo observes, these landscapes continue to find ways to evolve in the collective consciousness of Ukrainians, acquiring new meanings even amid all the destruction.

A notable example is the Azovstal steel plant in Russian-occupied Mariupol, a site once criticized for its environmental impact. With the onset of Russia's full-scale invasion, it was transformed into a powerful symbol of Ukrainian resilience, as outnumbered and outgunned soldiers entrenched themselves there during the Siege of Mariupol.

Mariupol locals sing the national anthem during a rally in Mariupol, Ukraine, on April 23, 2014. (Anatolii Stepanov/AFP via Getty Images)

A slag heap at the Azovstal Steel and Iron Works facility in Mariupol, Ukraine, on Jan. 15, 2022. (Christopher Occhicone/Bloomberg via Getty Images)

While many of those who sought to innovate Donetsk and Luhansk oblasts have been driven into exile due to Russia’s occupation, they continue to serve their country — either by contributing to cultural initiatives from elsewhere in Ukraine or by fighting for the country’s future on the front lines. This current period of the war, marked by the targeted devastation of Ukraine's east, represents yet another chapter in a long history of hardship for Ukraine’s Donetsk and Luhansk oblasts. Yet, as Zarembo suggests, there is always still room for hope.

“The history of the Ukrainian east demonstrates what this region has suffered from Russia every time it has tried to forge an alternative trajectory of development,” Zarembo writes.

“And the stories in this book confirm what it could have been if not for Russian interference; it had had the ten years the people featured in this book talk about. These stories illustrate what the Ukrainian east can still become.”

Kateryna Zarembo’s “Ukrainian Sunrise Stories of the Donetsk and Luhansk Regions from the Early 2000s is now available in Tetiana Savchynska’s English translation from Academic Studies Press.

Note from the author:

Hi, this is Kate Tsurkan, thanks for reading this article. There is an ever-increasing amount of books about or related to Ukraine available to English-language readers, and I hope my recommendations prove useful when it comes to your next trip to the bookstore. Ukrainian culture has taken on an even more important meaning during wartime, so if you like reading about this sort of thing, please consider supporting The Kyiv Independent.

[baciamihairextensions01]

Private Label Hair Weave: Building Your Own Brand

The beauty and haircare industry has seen tremendous growth in recent years, and one of the most popular products driving this expansion is hair weave extensions. Offering private label hair weave allows entrepreneurs, stylists, and salon owners to launch their own unique line of hair products without the complex process of manufacturing. Here’s an overview of private label hair weaves and how they can help build a successful hair business.

What is Private Label Hair Weave?

Private label hair weave products are extensions that are produced by a third-party manufacturer but sold under a retailer's brand name. Private labeling lets you create a unique product line, from high-quality human hair extensions to synthetic options, with custom branding, packaging, and product selection. This business model offers a streamlined path to market, giving you the flexibility to design a product that suits your brand’s style and customer preferences.

Benefits of Selling Private Label Hair Weaves

Brand Ownership Private labeling gives you complete control over branding. From choosing the logo and packaging to selecting hair textures and lengths, private label hair allows you to offer unique products that set your brand apart in a competitive market. This helps build brand recognition and customer loyalty, as customers associate your brand with the quality and style they desire.

Reduced Production and Startup Costs Developing a new hair product line from scratch can be costly and time-consuming. Private label solutions, however, reduce these barriers by allowing you to partner with an established manufacturer who manages production. This lets you focus on sales, marketing, and building your customer base without having to invest in factories, equipment, or raw materials.

Customization Options Private label hair providers often offer a range of customization options, including different textures, colors, and styles to align with your brand’s image. Whether your clientele prefers straight, wavy, or curly textures or specific colors and lengths, you can design a line that meets their needs. Customization helps create a personalized experience for customers, making them more likely to become repeat buyers.

Increased Profit Margins With private labeling, you have the opportunity to set your own prices, allowing for potentially higher profit margins. Since you’re building your own brand, you can position it as a premium line and price it accordingly. By building a loyal customer base, you can charge higher prices than generic hair products typically command.

Steps to Start a Private Label Hair Weave Business

Research and Select a Manufacturer Partnering with a reputable hair manufacturer is crucial. Research potential suppliers, ask for samples, and review their quality standards, delivery times, and customization options. Look for manufacturers with a history of producing quality hair that can support your brand’s reputation.

Design Your Brand Decide on a brand name, logo, packaging, and overall aesthetic that represents your target market. You’ll also want to create a brand story and vision that resonates with customers.

Create a Product Line Work with your manufacturer to determine your product lineup. This includes choosing hair types (e.g., human or synthetic), textures, lengths, and colors. Having a diverse line that caters to different preferences can help you attract a broader customer base.

Market and Launch Use social media platforms, online marketplaces, and a branded website to introduce your products to potential customers. Highlight the quality and unique aspects of your line through social media campaigns, influencers, and testimonials.

Conclusion

Private label hair weave products provide an accessible path to launching a profitable beauty brand without manufacturing challenges. By choosing high-quality products, customizing your brand, and strategically marketing your line, you can create a successful hair business that resonates with customers and builds a strong presence in the competitive beauty industry.

For more info visit here:- best weft hair extensions australia

[nakshtechnology]

SINAMICS S120: The Modular Drive System that Adapts to Your Industrial Needs 

Introduction 

The SINAMICS S120 is a drive system that can be used in multiple applications and has high performance to satisfy many industrial uses. In factories, packaging or other areas where accurate motor control is vital for success, SINAMICS S120 becomes necessary because it provides enormous power solutions which ensure success, correctness and dependability. 

Why Choose SINAMICS S120? 

The modularity and scalability of SINAMICS S120 drive system are well-known; it is adjustable as per the requirements. This drive system supports various types of motors and has technology that boosts performance and cuts down expenses. 

Key Features of SINAMICS S120 

Modular Design: Different applications can be easily configured for seamless integration into existing systems. 

High Precision Control: Advanced vector control technology provides the distinct advantage of operating with great precision and consistency. 

Energy Efficiency: Make energy use better with regenerative braking and intelligent energy-saving functions. 

Scalability: The SINAMICS S120 can range from uncomplicated applications that require the use of just one axis to sophisticated systems which operate on several axes and will satisfy your needs. 

Comprehensive Communication: Communication protocols such as PROFIBUS, PROFINET and EtherCAT are widely supported making it easier for your automation environment to be integrated with them. 

Applications of SINAMICS S120 

The S120 from SINAMICS is perfect for several industries including: 

Automotive: For robotic systems, assembly lines, and testing equipment. 

Textiles: During the processes of weaving, knitting and dyeing. 

Packaging: Delivery of exact management for devices used in filling, sealing and labeling. 

Material Handling: Boosting the efficiency of conveyor systems, cranes, and hoists. 

Benefits of Implementing SINAMICS S120 in Your Operations 

By integrating SINAMICS S120 with your operations, you gain a lot of advantages like: 

Increased Productivity: By using the SINAMICS S120, you will be able to have smooth operations and processes because control is done at high speed and there is a very quick response time. 

Reduced Downtime: To maintain a low level of maintenance requirements, avoid unforeseen collapses; hence, the action has superior designs and high-tech diagnostic elements. 

Cost Savings: Lower energy bills and a decrease in the overall ownership cost are implications of SINAMICS S120’s energy efficient functioning. 

Flexibility: Because your requirements change over time, the system can be easily adapted to meet them through simple improvements or additional components. 

Conclusion 

This SINAMICS S120 is not just a drive system; it's an all-encompassing solution created to improve your automation processes, raise productivity levels, and decrease operational expenses. By selecting the SINAMICS S120, you are putting money into a dependable, scalable and high-performance system that will expand alongside your organization. 

Call To Action 

Ready to take your automation to the next level? Contact Naksh Technology to learn more about how the SINAMICS S120 can be integrated into your operations and start reaping the benefits of this powerful drive system. 

[worldseoservicesvandana]

Jute Bag Manufacturer and Exporter in India: Brand Name is World Art Design

Jute, often referred to as the “Golden Fiber,” has been an integral part of India’s agricultural and industrial landscape for centuries. Known for its versatility, biodegradability, and sustainability, jute has gained prominence as an eco-friendly alternative to synthetic materials. India, with its rich tradition in jute cultivation and processing, stands out as a leading player in the global jute market. Among the many players in this industry, one name that has carved a niche for itself is World Art Design. This article delves into the journey, operations, and impact of World Art Design, a premier jute bag manufacturer and exporter in India.

The Rise of Jute: A Sustainable Revolution

The global shift towards sustainable and environmentally friendly products has significantly boosted the demand for jute. Unlike plastic, which takes hundreds of years to decompose, jute is completely biodegradable and compostable. It grows abundantly in tropical regions, particularly in the Indian subcontinent, without requiring extensive use of pesticides or fertilizers. This makes it a highly sustainable crop, promoting environmental conservation and sustainable agriculture.

India: The Heart of Jute Production

India is one of the largest producers of jute, second only to Bangladesh. The jute industry in India is concentrated mainly in the states of West Bengal, Assam, and Odisha. West Bengal, in particular, is known as the epicenter of jute production, housing numerous jute mills and factories. The Indian government has also been proactive in supporting the jute industry through various initiatives and policies aimed at promoting jute products both domestically and internationally.

World Art Design: Crafting Excellence in Jute

Among the myriad of jute manufacturers in India, World Art Design stands out as a beacon of quality and innovation. Founded with a vision to combine traditional craftsmanship with modern aesthetics, World Art Design has become a leading name in the jute bag manufacturing and export sector. The brand has earned a reputation for producing high-quality jute bags that are not only functional but also stylish and trendy.

Commitment to Quality

World Art Design places a strong emphasis on quality. From sourcing the finest raw jute fibers to employing skilled artisans, the company ensures that every bag that bears the World Art Design label is of the highest standard. The manufacturing process involves rigorous quality checks at every stage, from weaving and dyeing to stitching and finishing. This meticulous attention to detail ensures that each product is durable, aesthetically pleasing, and environmentally friendly.

Innovative Designs

One of the hallmarks of World Art Design is its innovative approach to design. The company recognizes that modern consumers are looking for products that are both functional and fashionable. As a result, World Art Design offers a wide range of jute bags in various styles, sizes, and colors. Whether it’s a simple grocery bag, a chic tote, or a sophisticated handbag, World Art Design has something to cater to every taste and occasion. The company frequently collaborates with designers and artists to create unique and eye-catching designs that set its products apart in the market.

The Export Prowess of World Art Design

World Art Design has successfully positioned itself as a leading exporter of jute bags from India. The company’s export strategy is built on a foundation of quality, reliability, and customer satisfaction. With a robust supply chain and efficient logistics management, World Art Design ensures timely delivery of products to clients across the globe.

Global Reach

The brand has a strong presence in international markets, with a significant customer base in Europe, North America, Asia, and the Middle East. World Art Design’s jute bags are particularly popular in countries that are keen on promoting sustainable and eco-friendly products. The company participates in international trade fairs and exhibitions to showcase its products and build lasting relationships with global buyers.

Customization and Private Labeling

Understanding the diverse needs of its international clientele, World Art Design offers customization and private labeling services. Clients can choose from a variety of designs, sizes, and colors, and have their logos or branding incorporated into the products. This flexibility has made World Art Design a preferred partner for many global brands looking to add eco-friendly jute bags to their product lines.

Socio-Economic Impact

The operations of World Art Design extend beyond business success; they have a significant socio-economic impact on local communities. By providing employment opportunities to artisans and workers in rural areas, the company contributes to the economic upliftment of these regions. The jute industry, with its labor-intensive nature, plays a crucial role in providing livelihoods to millions of people in India.

Empowering Women

World Art Design is particularly committed to empowering women in the workforce. A substantial portion of the company’s workforce comprises women, many of whom come from marginalized communities. By providing them with training and employment, World Art Design not only helps improve their economic status but also promotes gender equality and women’s empowerment.

Environmental Stewardship

As a manufacturer of eco-friendly products, World Art Design is deeply committed to environmental sustainability. The company adheres to environmentally responsible practices at every stage of its operations. From using natural dyes and eco-friendly packaging to implementing waste reduction and recycling measures, World Art Design strives to minimize its environmental footprint.

Challenges and Future Prospects

Despite its success, World Art Design, like many other companies in the jute industry, faces several challenges. The fluctuating prices of raw jute, competition from synthetic alternatives, and logistical hurdles are some of the issues that need to be addressed. However, the growing global awareness about the environmental impact of plastic and the increasing demand for sustainable products present significant growth opportunities for the company.

Innovation and Diversification

To stay ahead in the competitive market, World Art Design is continuously exploring new avenues for innovation and diversification. The company is investing in research and development to create new jute-based products and improve existing ones. Additionally, it is exploring new markets and expanding its product range to include other eco-friendly materials and products.

Conclusion

World Art Design exemplifies the spirit of innovation, quality, and sustainability in the jute industry. As a leading jute bag manufacturer and exporter in India, the company has made significant strides in promoting eco-friendly products on the global stage. With its commitment to quality, innovative designs, and socio-economic impact, World Art Design is not just a business but a force for positive change. As the world continues to move towards sustainability, brands like World Art Design will play a crucial role in shaping a greener and more sustainable future.

[sweaterproducer]

woolen sweater companies,cardigan private label

sweater maker https://sweaterchina.net

Email: kintsweatermaker@gmail.com

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[mayakern]

i have some VERY COOL NEWS, y’all!! which is that we found out we can make these shirts at this price point out of GOTS certified cotton.

what is GOTS?

GOTS stands for Global Organic Textile Standard, you can find every detail here:

the basic breakdown:

the whole supply chain is certified, all parts of it must be certified for any of it to be valid including the processing, manufacturing, packaging, labelling, trading and distribution.

to carry GOTS certification the fabric must contain a minimum of 70% certified organic fibers, and the product that is labeled organic must contain a minimum of 95% of certified organic fibers.

organic fibers must not have been grown with the use of synthetic pesticides, herbicides or GMOS.

factories and processing places must adhere to standards of environmental management, this includes what accessories and dyes are used.

GOTS also has control over the labor force -no slave labor -unions must be allowed -no child labor -no discrimination -occupational health and safety -no harassment -fair wages, they must provide a report that they are paying fair living wages to the area the workers come from -fair hours and overtime pay, no forced overtime

this means that all factories involved, even those producing the fabric must adhere to these standards not just the factory sewing the garments. the stages of GOTS certification are as follows -first processing stages (such as ginning or retting the original fibers after harvest) -spinning -weaving and knitting -wet processing (sizing, desizing, pre-treatment, dyeing, printing, finishing, laundry) -manufacturing -trading

every single one of these pieces of the supply chain must be GOTS certified and inspected regularly for the final garment to bear the GOTS label.

TLDR it’s a really great and comprehensive certification for ethical labor practices and responsible, high quality materials, and eco friendly manufacturing

button shirt update/interest check

hey y’all, we’ve been hard at work redeveloping our button shirts from the ground up so i’d like to run a quick interest check. please be sure to read the below info carefully:

the good news

we found a wonderful, high quality, printable stretch cotton we LOVE for this. it’s got good structure without being overly stiff/starchy and it doesn’t aggravate any of my textural sensitivities

hooks and eyes have been added to be between every set of buttons, not just the top 3

gussets have been added to the side seams at the bottom of the shirt to make the hip area expandable in cases where the stretch is not enough

shirts now have long sleeves that will be compliant with most company dress codes

the shirts will have the same certifications for ethical labour and responsible textile production that our skirts have

they would be well made, well constructed, with high quality material made to last

the bad news

we would have to charge somewhere around $85-95 USD for these shirts.

they are extremely high quality and that + the certifications means they are also very expensive to make

[newmanclu0]

The Allure of Bali: A Hub for Swimwear Manufacturing

Nestled among Indonesia's thousands of islands, Bali stands out not only as a premier tourist destination but also as a burgeoning center for the global swimwear industry. The island's unique blend of rich cultural heritage, skilled craftsmanship, and modern manufacturing capabilities has positioned it as an attractive location for brands and designers seeking to produce high-quality swimwear. This article dives into the thriving swimwear factory scene in Bali, exploring the reasons behind its rise, the benefits it offers, and the challenges it faces, along with the broader implications for the fashion industry.

The Rise of Bali as a Swimwear Manufacturing Hub

Bali's journey to becoming a key player in the swimwear manufacturing sector is rooted in its long-standing tradition of textile production and garment manufacturing. The island's artisans are renowned for their expertise in fabric dyeing, weaving, and printing techniques, which have been passed down through generations. In recent decades, this traditional knowledge has merged with modern manufacturing practices, attracting international swimwear brands seeking a blend of craftsmanship and innovation.

Several factors contribute to Bali's attractiveness as a swimwear manufacturing destination. Its strategic location in Southeast Asia provides easy access to high-quality materials from nearby textile producers. Additionally, Bali's reputation as a tropical paradise draws designers and brand owners, who find inspiration in its vibrant landscapes and cultural richness. This synergy between location, resources, and creativity has fueled the growth of a dynamic swimwear manufacturing industry on the island.

The Advantages of Bali Swimwear Factories

High-Quality Craftsmanship

Swimwear factories in Bali are distinguished by their commitment to quality and attention to detail. Local artisans possess a deep understanding of textile properties and garment construction, ensuring that each piece meets high standards of durability, fit, and finish. This emphasis on craftsmanship makes Bali an appealing choice for brands that prioritize quality in their swimwear lines.

Ethical Manufacturing Practices

Increasingly, consumers and brands are focusing on sustainability and ethical production practices. Bali's swimwear factories are responding to this demand by adopting environmentally friendly manufacturing techniques and ensuring fair labor practices. Many facilities use sustainable materials, such as recycled fabrics, and implement waste-reduction measures in their production processes. Moreover, the close-knit nature of Balinese communities fosters a work environment that respects workers' rights and promotes social welfare.

Customization and Flexibility

Another key advantage of Bali's swimwear factories is their ability to offer customized production services. Whether it's a small boutique brand requiring limited runs or a larger label seeking extensive customization options, factories in Bali are equipped to handle diverse needs. This flexibility allows brands to experiment with designs, materials, and production techniques, fostering innovation in the swimwear industry.

Navigating Challenges

Despite its many advantages, the swimwear manufacturing industry in Bali faces several challenges. Logistics can be complex, with the need to import certain materials and navigate the intricacies of international shipping. Additionally, the global nature of the fashion industry means that Bali's factories must constantly adapt to changing trends and consumer expectations, requiring ongoing investment in technology and skills development.

Another challenge is maintaining the balance between growth and sustainability. As the industry expands, preserving Bali's natural environment and cultural heritage becomes increasingly important. Swimwear factories are therefore seeking ways to scale their operations responsibly, ensuring that economic development does not come at the expense of the island's ecological and social fabric.

The Future of Swimwear Manufacturing in Bali

Looking ahead, Bali's swimwear manufacturing industry appears poised for continued growth. The increasing global focus on sustainability and ethical production aligns with Bali's strengths, offering opportunities for factories on the island to lead the way in responsible swimwear manufacturing. Additionally, the rise of digital platforms and e-commerce allows Bali-based factories to connect with a wider range of clients, from emerging designers to established brands looking to diversify their production bases.

To capitalize on these opportunities, stakeholders in Bali's swimwear industry are investing in technological advancements, workforce training, and environmental initiatives. By doing so, they aim to enhance their competitive edge while contributing to the island's sustainable development.

Conclusion The swimwear factory scene in Bali represents a confluence of tradition and modernity, where age-old craftsmanship meets contemporary fashion. The island's commitment to quality, sustainability, and flexibility makes it an attractive destination for swimwear production, offering unique advantages to brands and designers worldwide. As Bali's swimwear factories navigate the challenges and opportunities ahead, they continue to shape the global swimwear landscape, driven by a vision of ethical, innovative, and high-quality manufacturing. In this way, Bali is not just a paradise for tourists but a beacon for the future of the swimwear industry.

[amazonmarketingconsultants]

Sell on Amazon with zero hesitation when you have eStore Factory at your service

The Amazon Brand registry is a powerful tool that allows sellers and vendors to protect their trademarks and intellectual property from hijackers and other unauthorised sellers and vendors. Empower your brand by enrolling it in a simple registry program. You can avail of additional tools like Vines, Live, and other premium tools that give you the edge over other labels.

Let us tell you how you can register your account in a few simple ways –

You will need an active trademark for all the countries you want your products to be placed in.

Use text and image-based information within.

Make sure your brand name does not overlap with any other.

Choose the preferred category and sub-category that best describes your product.

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Textile entrepreneur Julie Lietaer: 'As a statement I always wear the same dress when I speech'

Since she took over from her father in the family textile company, she has been fully committed to sustainability. That is a challenge now that the industry is being hit hard. Breakfast with De Tijd.

“My daughter has prepared everything there in that corner,” says Julie Lietaer (40) jokingly[1], pointing to her daughter's toy kitchen in the corner. But on the beautifully laid table in her house in Kortrijk[2] there is no plastic fruit or bread from that kitchen, but there are fresh rolls, all kinds of toppings, squeezed orange juice, yogurt and berries. “Going to get it especially for you, because it's usually a bit more austere here.”

Lietaer follows the rules of The 5 AM Club,[3] whereby you exercise for half an hour early in the morning and read or meditate for half an hour. "It also gives me some me-time before the children wake up." She has recently used the peace and quiet to keep many balls in the air at the same time: managing the yarn producer European Spinning Group, chairing the sustainability platform Ariadne Innovation[4] and her many lectures and efforts to put the textile sector and industry on the green path. She is also on the jury of Changemakers, the sustainability awards that the Belgian newspapers De Tijd and L'Echo are presenting for the first time this year.

Convincing entrepreneurs to change course has become more difficult recently, Lietaer admits. The industry is not having an easy time. 'Many factors are pushing the manufacturing industry to its limits: labour costs, energy prices, finding suitable staff. All basic foundations are very difficult at the moment. That is no different for us. And we are already coming out of a difficult period. When I took over from my father two years ago, I immediately had the corona and energy crisis on my plate.'

European Spinning Group[5] sells yarns used for weaving and knitting carpets, clothing, decorative and outdoor fabrics and technical textiles. This can be polyester, acrylic, cotton or viscose. The company has a turnover of 32 million euros and employs ninety people. 'As a raw material producer, we are often at the front of the chain. There have been some slight improvements, but the foundations are completely wrong.'

There is still fire in her eyes when she talks about the importance of sustainability in the textile sector, although she admits that it is becoming increasingly difficult. 'When I go to speak, I feel that people for whom sustainability is not really in their DNA are now pushing those beautiful principles aside.'

In her own company, Lietaer labels 30 percent of production as sustainable, but she points out that there is an urgent need for clearly defined criteria, such as in organic agriculture, to prevent greenwashing. 'Initially we aim for recycled or circular products. But it could just as easily be about a more sustainable type of cotton, flax, hemp and recycled materials. Or about raw materials that we no longer have to colour, so we need less water or chemical processing during the production process.'

Julie Lietaer

When Lietaer arrives at the company in Spiere-Helkijn after her morning rituals and time with the family, she likes to first walk through the factory, touch the yarns and chat with the workers. 'The people on the floor also read and hear that companies are restructuring and going bankrupt, and they are becoming insecure. As a manager and entrepreneur you have the difficult task of providing stability in this area. Of course, you shouldn't make silly choices at that moment that suddenly make your business model 200 percent more expensive.'

She believes it is no reason to give up on sustainability. 'What you should not do is to put your long-term vision on hold because things are difficult now. That is a balance that you must continuously strive for as an entrepreneur. Sustainability should be inherent in business operations, because it prepares you for the future and creates your own market segment where people are willing to pay a little more.'

Is that the case when it comes to clothing and textiles? Young people are willing to fly less and eat vegetarian, but do they look at the label of trendy clothing to see if it is made from recycled fabrics?

And not everyone can afford the flax tablecloth with custom napkins on which this breakfast is served. Lietaer says she is not so pessimistic after all. 'Many young consumers buy second-hand clothing. Online via sites such as Vinted[6], but the growth of thrift stores is also enormous.[7] And there really is a market of consumers who are willing to spend a little more, knowing that their products will also last longer.'

She does admit that things are going slower than hoped. 'When I go to speak somewhere, I often wear the same green dress. I received comments about this on my Instagram account: "Is she wearing the same thing again?" Fast media leads to the creation of fast fashion.[8] Because people expect that if you post something every day, it will be with a different outfit every time. That's why I now stubbornly always wear that same dress!'

With her start-up Ariadne Innovation, Lietaer wants to inspire and inform other companies about sustainability. 'I call it the Tinder for textiles. We have developed a software platform to connect companies, because the entire ecosystem of the circular economy is new for textile companies. The start-up is quite slow but steady. We now have 650 users. This includes both textile companies and social economy companies. We have educational institutions, machine manufacturers, software builders, fashion brands and retailers in the network.'

Remarkable: as an entrepreneur, Lietaer is not averse to additional government regulations. “As long as it doesn't interfere with everything,” she says. “I don't want her to come check me out for everything I do on my production floor. But I believe in initiatives such as the product passport, which requires manufacturers to provide more information about sustainability and origin in addition to the composition of the clothing. Europe's Green Deal is also a good thing.'

Many business leaders say Europe is shooting itself in the foot by trying to move too fast. If you impose too many rules on a factory here, for example on emissions, then that factory will simply move outside Europe, where it is much more polluting, is an often-heard argument. 'If we don't get the fundamental industrial competitiveness right, we can't actually start making things more sustainable. That's right. But I do believe that we are moving towards a level playing field, where polluting products will be taxed at our borders.'

The company logo contains a dove. It is a reference to Lietaer's grandfather, who was often in Asia as a pigeon breeder and came in contact with a manufacturer of yarn in Taiwan, which he started importing. His granddaughter also knows Asia well. 'We always speak of Europe as a pioneer in sustainability, but I think many would be shocked if they went to India or China. It is amazing what developments are already underway there in the circular economy and recycling. If Europe doesn't move up a gear, they will simply overtake us, just as you see happening now in the world of electric cars.'

She has few good words to say about domestic political policy. 'As a young entrepreneur in the industry, you find support from your employees and from family, friends and other entrepreneurs. But the politicians just seem to ignore us. You only get some attention if you are in biotech or something like that.'

'I conclude that the traditional industries, that have created many jobs in our country for a hundred or two hundred years and that are in the process of reinventing themselves, are not important. I really don't know what our political strategy currently stands for, and I therefore find it extremely difficult to decide who I will vote for. And I assume that many entrepreneurs share that opinion. I just don't know anymore.'

Despite this disappointment and the difficult economic conditions, she refuses to become defeatist. 'That is typical for an entrepreneur: you see solutions everywhere. As a new generation in a family business, you are a kind of steward for the next generation. You don't necessarily own the company, you transfer it. Ideally, you should see it that way for society as well. Of course, you can also stay in bed all day, watch Netflix and think that the world around you doesn't exist, but that's not in my DNA. There is simply no other choice.”

Source

Henk Dheedene, Textielonderneemster Julie Lietaer: ‘Als statement draag ik altijd dezelfde jurk bij een toespraak’, in: De Tijd, 03-11-2023 https://www.tijd.be/dossier/ontbijt/textielonderneemster-julie-lietaer-als-statement-draag-ik-altijd-dezelfde-jurk-bij-een-toespraak/10503837.html

[1] Read also: https://www.tumblr.com/earaercircular/653321265697947648/textile-entrepreneur-julie-lietaer-we-wont-make?source=share&ref=_tumblr

[2] Kortrijk (French: Courtrai), is a Belgian city and municipality in the Flemish province of West Flanders. With its 79,000 inhabitants (2023) Kortrijk is the capital and largest city of the judicial and administrative arrondissement of Kortrijk. The city is on the river Leie, 42 km southwest of Ghent and 25 km  northeast of Lille. Mouscron in Wallonia is just south of Courtrai.

[3] Legendary leadership and elite performance expert Robin Sharma introduced the 5am Club concept over twenty years ago, based on a revolutionary morning routine that has helped his clients maximize their productivity, activate their best health and bulletproof their serenity in this age of overwhelming complexity.

[4]  Ariadne believes that the future of the textile & fashion industry focuses on 3 pillars: Sustainability, Collaboration, Digitalisation. Each pillar is associated with social and individual challenges. By means of a close and open cooperation and by offering the right digital technologies Ariadne wants to support you to make this shift possible. https://www.ariadne-innovation.com/about-us

[5] European Spinning Group is a Group of textile companies in Spiere-Helkijn, West Flanders. It was founded in 1972 from the import company Symaco by André Lietaer, the grandfather of Julie Lietaer. Her father added the yarn manufacturers AVS and Sigma Spinning. It produces and distributes yarns for the production of interior fabrics, clothing and technical textiles and has a turnover of 25 million euros. It employs 95 people.

[6] Read also https://www.tumblr.com/earaercircular/651419252492009472/capital-injection-vinted-250-million-euros-for?source=share&ref=_tumblr

[7] Read also: https://www.tumblr.com/earaercircular/716134244688232448/the-danish-red-cross-made-100-million-from-its?source=share&ref=_tumblr & https://www.tumblr.com/earaercircular/651509379878813696/second-hand-economy-much-bigger-than-expected?source=share&ref=_tumblr

[8] Read also: https://www.tumblr.com/earaercircular/650458804870414336/second-hand-good-for-climate-and-employment?source=share&ref=_tumblr & https://www.tumblr.com/earaercircular/730359554901180416/patagonia-circular-fashion-and-commitment-to-the?source=share&ref=_tumblr

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