Buy Local vs. Fair Trade: An Ethical Shopper’s Dilemma

Buy Local? Support Fair Trade? What to do?

by Tex Dworkin, Global Exchange Director of Marketing

Another gift giving season is upon us and it’s time to decide on a shopping strategy. In one ear you’re encouraged to shop locally, in the other ear you hear about the benefits of choosing Fair Trade gifts. So which strategy is best, and is one better than the other? To answer a question with a question, who says you have to choose? The ‘Buy Local’ and Fair Trade movements both have their benefits.

One World, Many Cultures Gift Basket

One way to honor the bumper sticker mantra “Think Globally Act Locally” is to support your local businesses. Why buy cheese from Europe when there’s a dairy farm down the road producing double creamy Gouda that will knock your socks off? Buying local refers to choosing locally made products and soliciting locally owned businesses, which have environmental and social benefits. Products made locally have a smaller carbon footprint than products shipped from overseas, and thus are less of a strain on the environment. Shoppers who buy locally travel less distances to shop, which also reduces the carbon footprint. Local businesses produce more income and jobs for local communities than large retail chains do, and are more likely to utilize local services, such as advertising and banking. Supporting local businesses preserves the economic diversity of our communities and the unique character of our neighborhoods.

Rwandan Peace Ornaments

Sounds great, right? But what about choosing Fair Trade, another moral purchasing strategy?

Fair Trade is an economic model that ensures products are made by producers who receive a living wage, work in healthy, safe conditions and in many cases, employ environmentally sustainable processes. Fair Trade also tackles the issue of child slavery by guaranteeing that there is no abuse of child labor.

Knits from Nepal

In a world economy where globalization is king and profits are queen, small-scale producers are left without resources or hope for their future. Children are forced to work instead of receiving an education and local environments suffer from the ‘profits now’ mentality that damage environments for future generations. Fair Trade helps exploited producers escape from this vicious cycle of poverty. The Fair Trade system benefits over 800,000 Farmers organized into cooperatives and unions in 48 countries. Revenue from Fair Trade cooperatives is used on a variety of community projects, including training of producers in organic and sustainable farming techniques, building houses, schools and clinics and guaranteeing health care for the whole community.

So now it’s time to decide…buy local or Fair Trade? It’s important to note that choosing Fair Trade products can actually help your local merchants survive in this sluggish economy. Prices for cheap imports made in sweatshop factories outside of the US are usually so low that local merchants have difficulty competing on price. So during a time when consumers are looking to cut costs wherever possible, cheap knock offs made in sweatshops often outsell locally made products, even though the quality is drastically lower.

Kippot, Jewish Head Coverings

Whichever you decide, the good news is that the ‘Buy Local’ and Fair Trade movements both have tremendous benefits. They support environmentally sustainable solutions, and layers of middlemen are left out of each economic model, helping to ensure that a fair percentage of profits actually reach the producers. Fair Trade and locally made products are often handcrafted with care, resulting in a higher quality product than the mass-produced sweatshop products available in big box stores, and in both cases, the preservation of cultural heritage is a by-product of doing business.

If you’re married to the idea of buying locally, remember that some items are not grown locally, like cocoa. Cocoa trees are only grown in tropical regions of Africa, Asia, South and Central America. So if you’re looking for socially conscious chocolate in the US, consider chocolate made locally with Fair Trade Certified cocoa. That way, you can support your local chocolate maker AND Fair Trade cocoa producers around the world.

Beyond chocolate, there are lots of other instances where products from the Fair Trade and Buy Local movements are harmoniously combined to create special products all their own. One example is from Handmade Expressions, a sourcing partner for socially and environmentally responsible products based in Austin, Texas. They sell their handmade copper alloy bells to local artists who incorporate the ethically produced crafts into their artwork that is then sold locally.

Eco-Globe String Lights

Some proponents of the buy local movement consider choosing Fair Trade products an ethical challenge because products imported to the US have a bigger carbon footprint than locally produced products. In an op-ed piece for Western M, Steve Brooks, the acting head of Oxfam Cymru points out that “if everyone in the United Kingdom switched one 100W light bulb to a low energy equivalent, CO² emissions would be reduced in one year by 4.7 times the amount saved by boycotting fresh fruit and vegetables from sub-Saharan Africa.” If this is true, then perhaps the carbon footprint issue is not such a big deal after all. If you’re not buying that, and you’re shopping for a coffee lover, consider Grounds for Change, the first coffee roaster in the nation to complete the rigorous third-party certification process necessary to obtain the CarbonFree® Certified Product label. To get a product certified CarbonFree®, a company must submit the item to a third-party process that formally scrutinizes the carbon emissions associated with every step in production from the country of origin to your cup.

Hmong Ornaments

Whether you choose local or Fair Trade products or a combination of the two this holiday, what’s most important is to shift your spending from mass produced products made in sweatshops to ethically produced products. According to the US Census Bureau of the Department of Commerce, US retail e-commerce sales reached $29.3 billion in the fourth quarter of 2006, and e-commerce sales accounted for just 2.8% of total retail sales, so you do the math. That’s a lot of dough! Wal-Mart alone reported $340 billion of sales revenue back in their 2006 financial report. Yet the Fair Trade Federation, the US’s network of Fair Trade businesses, reported $160+ million in total member sales in 2006, a tiny crumb compared to the overall US retail pie. If just 5% of US Wal-Mart customers shift their spending to Fair Trade products this holiday season, imagine the positive impact it could have on our environment and producers’ lives?

In November 2008 a McNeil/Lehrer report estimated US retail spending at 55 billion dollars. How much of that spending is on ethically produced products is up to you, so this holiday, remember that it’s not about buying more, but rather buying differently, and every dollar you spend is a statement about how you want this world to be.

Note: All of the products shown in this post have been made following fair trade guidelines and can be found in the Global Exchange online store.

Resources

Buy Local:

http://www.globalexchange.org/campaigns/buylocal/

http://www.buylocalday.org/index.php

Fair Trade:

www.fairtradefederation.org

www.fairtraderesourcenetwork.org

www.transfairusa.org

www.globalexchange.org/campaigns/fairtrade/cocoa/retailers.html

Buy Local vs. Fair Trade: An Ethical Shopper’s Dilemma

For the Love of Indigo: Miao Tradition in Blue

Contemporary Miao Batik Indigo Cloth, $30

If you had to pick one main background color to show off all the other colors in the rainbow, what would it be? The Miao have picked indigo, and I have to agree with them: the deep blue enhances and compliments all of their rich textile traditions perfectly. Many other cultures have used indigo dyes around the world for centuries. But, while this labor intensive technique slowly dies out in many places, the Miao continue to use it today, still preferring the old ways to commercial alternatives available on the market.

Miao Indigo Cotton Cloths on Etsy
I just listed a few Miao indigo batik and tie-dyed cloths on Etsy. Click on the photos to take you to the listings. If these have been sold, search the store as I try to keep them in stock. (I also often carry embroidered Miao textile remnants. Search the store using the keyword, "Miao") These cloths use traditional techniques, but are contemporary pieces aimed at export for the Western market. Intended as tablecloths, they are perfect center pieces for quilts. The soft cloth and their designs lend themselves to easy quilting.

Miao Indigo Tie-dyed Cloth with Embroidered Accents, $30

The Miao tend to live in remote mountain areas with limited agricultural use, thus making a living through their textile productions has become their main form of sustenance. Their traditional techniques involve batik or tie-dye, a long process, using indigo and other natural dyes, then layers of applique and embroidery. These cloths are a simplified version of what they would make for themselves, allowing us to enjoy their beauty at an affordable price. As the Miao become more savvy about the value of their work, their costumes increasingly command higher prices, allowing many of them to access better health care, education, and other resources.

Who are the Miao?

Miao Woman from Peace on Earth

Gina Corrigan has written a couple of books on the Miao living in Guizhou Province, China, home to the largest concentration of Miao.

Books mentioned in this article:

In Miao Textiles from China, she describes how the Miao, the largest ethnic minority in China, are thought to have arrived into Guizhou as migrants from the Yellow River basin around 5,000 years ago. Their history has been fraught with persecution by the Han majority, poverty, discrimination, and migration, including flight into Thailand, Laos and Vietnam. (The Hmong are ethnically Miao, retaining similar textile traditions and oral history.) The Miao are divided into four main dialect groups and many subgroups, dialects so different that they often cannot understand each other. Yet, their textiles are their common language and indigo the color of cultural coherence.

Indigo wreaths and butterflies.

Indigo Central to Miao Cultural Expression
Of indigo, Corrigan has much to say, starting with:
"The most common dye in Guizhou is vegetable indigo, usually made by women, which is used on all base fabrics. ... In September the leaves are collected and soaked in barrels of water for anything from four days to two weeks, depending on the ambient temperature. Once fermented, the leaves are taken out and lime is beaten in to introduce oxygen. After several days, the indigo pigment precipitates to the bottom. The water is then drained off and the dark blue indigo paste scooped out into baskets lined with leaves. If sealed, this can be kept all winter, and some families make indigo paste to sell at market.
Domestic dyeing is also usually done by the women, who reconstitute the indigo paste with ash and water in a wooden dye vat, found in most Miao households. Rice wine is added to encourage fermentation, which gradually reduces oxygen in the vat. The dyer tastes the vat every morning to see if it is right for dyeing. Both hand-woven and bought fabrics are dyed, normally in the warmer months of September and October. They are dipped and aired many times to build up the dark blue colour, sometimes for as long as twenty-four days." (pages 13,14)

David Newbegin has a wonderful collection of photos he took in Guizhou, not necessarily about the Miao. Many are of people in their daily tasks and routines or dance performances while others show the gorgeous landscape of the region. I encourage you to visit his collection, but here are some of his photos with Newbegin's captions specifically related to indigo dyeing:

A Dong lady dyeing cloth, which the Zhaoxing villagers weave themselves, with indigo solution. The cloth is dipped and aired many times to build up the darker colour.

Various shades of indigo dyed cloth being aired along the river frontage in the Dong village of Zhaoxing in Guizhou Province. The cloth is dyed many times to produce a darker blue colour. Also rice straw ash and pigs blood is added to the indigo solution to produce a black or brown colour.

Miao lady in Biasha (Basha) village in Guizhou Province applying the finishing touches to another dress. The women wearing pleated skirts with white insets are married.

My little source book for Chinese crafts, Arts and Crafts of China (pictured in the Amazon slide show above), offers a bit more technical information on the art of dyeing indigo:
"Today, it remains almost exclusively the minority peoples who preserve the traditions of planting and cultivation to assure a steady supply of natural vegetable dyes. The ubiquitous lancao (indigo) in widespread use throughout China is especially popular among China's sourthern minority peoples, such as the Miao and Buoyei. Although synthetic indigo has been used in China since the early twentieth century, natural indigo remains the preferred choice among many minorities.
Mordant dyes are especially popular for the rich, permanent colours produced when bonding occurs between the fibre and dye compounds. This may result from soluble matter being released naturally by the plant during boiling, as is the case with tannic acid released during the boiling of sumac or gall nuts, or from the addition of special mordant substances in the preliminary or post-dyeing baths. The most common chinese mordants are alum and potash, which are obtained by boiling hemp or rice straw. Their use in varying amounts allows a broader range of tonalities to develop amont textiles submerged in the same dye." (page 15)

I found a video on YouTube that shows some of the dyeing process:

Miao ethnic people dyeing cloth with indigo colouring - 2007

When I think about it, I realize that I, too, pretty much live in indigo.... blue jeans, my daily wear, the older the better! Maybe that is why I am so attracted to the Miao language of blue, or maybe it is simply because it is so beautifully rendered.

Miao Indigo Butterfly Batik

For the Love of Indigo: Miao Tradition in Blue

Politics in the World of Fiber

I have been reading Obama's books, given to me by my Auntie Nyla. I finished "Dreams from My Father" and am about half way through "The Audacity of Hope". I would have voted for him even before reading the books, but now I feel even better about him. Only six months older than me, much of his experience as an organizer in Chicago coincided with the work I was doing at the same time in social service. While he worked in Black neighborhoods, I was mostly on the North side working with Latinos and mixed populations.

I also identify closely with his search for identity, growing up in such a mixed and multicultural environment. I was raised in Brazil (1962-1980), mostly in Maringa, Parana, a pre-planned city that grew out of new immigrants and settlers. My parents were Lutheran missionaries to a German congregation, my best friend was Japanese, another friend down the street was from Lebanon, my brother's best friend was of Italian descent, and many of our friends descended from African slaves mixed with Dutch colonialists, French, and so on. I was always perceived as an American. Then, when returning to the United States and going straight into a white, Lutheran school, St. Olaf College, where almost everyone looked like me, I experienced a terrific culture shock. My natural disposition connected me like a magnet to the other international or foreign students. Over the years, I continued to feel more comfortable with people who had either spent time overseas or who were from other countries. My father told me as a teenager, "You will be able to live anywhere, but will never be at home anywhere." How visionary of him!

Now, living in the South, it is almost like being in another country, or at least it feels more similar to the Brazil I grew up in. Time moves more slowly, values of friendship and family continue to have priority as compared to the constant rush of the city. Thinking about all of this, has brought back images of art, political debate, culture, and dissent that has had an impact on me in the past. I thought I would reflect a bit on this for today's post.

From Wikipedia:

Politics is the process by which groups of people make decisions. The term is generally applied to behavior within civil governments, but politics has been observed in all human group interactions, including corporate, academic, and religious institutions. Politics consists of "social relations involving authority or power"^[1] and refers to the regulation of a political unit, ^[2] and to the methods and tactics used to formulate and apply policy.^[3]

From Artworld Salon, article on dissent.

So, art relating to politics usually gets our attention when it comes in the form of dissent or protest. Several famous people and political leaders have declared dissent as a core pillar of democracy:

Evelyn Beatrice Hall: I disapprove of what you say, but I will defend to the death your right to say it. (paraphrasing Voltaire)
George Orwell: In a time of universal deceit, telling the truth becomes a revolutionary act.
Harry S Truman: Once a government is committed to the principle of silencing the voice of opposition, it has only one way to go, and that is down the path of increasingly repressive measures, until it becomes a source of terror to all its citizens and creates a country where everyone lives in fear.
John F. Kennedy: Without debate, without criticism, no administration and no country can succeed -- and no republic can survive.
Martin Luther King Jr.: Human salvation lies in the hands of the creatively maladjusted.
Mohandas K. Gandhi: Non-cooperation is a measure of discipline and sacrifice, and it demands respect for the opposite views.

Words have always had a powerful effect on my thinking. I remember very few of them, but retain the impact of what I read, if that makes any sense at all. I do remember some t-shirts and posters that were big twenty years ago:

• We are the strangers our mothers warned us against.
• Join the army. Travel to exotic places, meet interesting people and then kill them.
• Nuke the gay whales for Jesus.

Syracuse Cultural Workers is one of the long-time suppliers of posters, t-shirts, buttons, and popular dissent tools for activists in issues concerning social justice. Here are some of their posters:




Che Guevara was one of our heroes when I was growing up in Brazil. Just the image of his face was enough to convey a whole system of thought. Thus, images have even more potential for moving people out of complacency into action.

What I am showing here is pretty tame compared to what is out there. Sometimes, a message can backfire when it is so in-your-face that the viewer becomes turned off and shuts down whatever feeling of empathy might have been had. I think this can happen with images of extreme hunger or war. Humor often works really well for me. Monty Python's "In Search of the Holy Grail" is loaded with wonderful jabs at society. This little piece finds King Arthur in an argument with a peasant. It's even subtitled!



My favorite political satire site, Jib Jab, can be pretty raunchy sometimes, but I think they nail the big issues of the day on the head. Here's one from their site:


It's interesting to look at some of their older ones and realize how quickly much of what is debated in the public arena becomes obsolete so quickly. This is certainly a challenge when an artist decides to address political ideas through his or her work. In examining and recording the decision-making process between those who have power and those who don't, artists interpret history and society from their own unique perspective. Fiber mediums, especially, demand both an enormous time commitment and a viewing platform that are more accessible to other art forms. Historically, the elite have had access to the materials and the time to either execute or commission tapestries, weavings, embroidery, or other fiber work that recorded political events, thus also controlling the message of the piece. This video of the Bayeux Tapestry has been animated and edited to show some action, but look at the size of this thing! 230 feet long! The poor king loses his head in the end...

The Bayeux Tapestry (French: Tapisserie de Bayeux) is a 50 cm by 70 m (20 in by 230 ft) long embroidered cloth which explains the events leading up to the 1066 Norman invasion of England as well as the events of the invasion itself. The Tapestry is annotated in Latin. It is presently exhibited in a special museum in Bayeux, Normandy, France. (Wikipedia)

There is also the ephemeral quality of fiber art. Perhaps there were more reactive pieces that have not survived the passages of time. In more recent history, we have documentation of fiber artists who have told their own stories from their perspective, given coded messages, or profited from political movements. Quilts played an important role during slavery, giving hidden messages to runaways about whether a house was safe on the underground railroad or how to proceed from there.
After the Vietnam War, the Hmong recorded their escape through embroidered Story Cloths. The soldiers, in this case, are good guys, helping them out of harm's way.

Baluchi rug makers began making war rugs to celebrate the defeat of the Russian invasion in the 1970's. These became so popular and collectible, that they now make 9/11 rugs and war rugs with a US theme, some pro, some against, and some just for the sure sale to soldiers and tourists.

Political symbolism comes and goes. The images and text that endure are ones that hit upon universal truths. Obama speaks in his books about the complexity of issues and the difficulty of problem resolution facing our times. His challenge to us all is to build on common ground. It will be interesting to see, if he wins, whether he can take the rhetoric and move it toward workable policies.

Meanwhile, I am especially inspired by artists who address our political problems by offering visions of hope. Hollis Chatelain is one such quilter. I have seen several of her pieces here at the Quilt Museum, and was especially enamored by her huge Tuareg portraits. She uses thread as her color palette, filling up space with machine quilting which can only truly be appreciated when viewing in real life. Many of her quilts are social commentaries, inspiring us towards unity and conservation of resources.

"In February 2002, I dreamed “Hope For our World”. The dream was in purple and Archbishop Tutu was standing in a field. Children from all over the world were approaching him like he was a Pied Piper. The dream seemed to be speaking about World Peace and the Future of our Children. Desmond Tutu represented Hope." Hollis Chatelain

I would love to hear back from the rest of you on what you think the role of art is concerning politics. One article I read about textiles and politics awhile back stated that the general preference is to create "nice" work- flowers, color, pretty scenery, things that don't rock the boat. I like beauty as well as the next person, but I know that when I walk through the Quilt show, the stoppers for me are images that speak about something in a new way. So, is there a place for you in the world of political fiber?

Politics in the World of Fiber

A World of Appliqué

Appliqué is a technique shared by many needle workers around the world. A challenging skill to learn, many stay away from it, or at least from the hand-worked version. There are plenty of short cuts out there to help give a similar effect through use of adhesives and the sewing machine. I happen to enjoy the process of feeling the fabric take shape under my needle.

The basic technique involves securing a top layer of fabric on to a bottom one using tiny stitches. This little video on YouTube deomonstrates it quite well:


I actually stitch in the opposite direction from what is shown in this video. I take the needle down through the top layer and come up through the bottom. We each have to find what works best for us, but I feel like I have more control this way.

Hawaiian quilts are a much loved expression of this technique. They normally involve two huge pieces of whole cloth that are attached together, with the top one being the appliquéd design. They are challenging because of their immense size. The design is cut much like a snowflake pattern would be out of paper. Fabric is folded into four or more folds, with the shape drawn out so that it is consistent throughout the piece. One way to control the piece is to cut and secure down as you go. Australian blogger, Anna Spiro, documented some Hawaiian quilts she saw in a trip she took in 2007. Her blog, Absolutely Beautiful Things, is absolutely beautiful and a must visit! She is an interior designer with an eye for the truly lovely in life. Here are a couple of her Hawaiian quilt photos:


The Hmong of Laos and Vietnam have long used appliqué in their garments and textiles. Thousands came to the United States as refugees after the Vietnam war and their needle work soon became visible at festivals, church bazaars and quilt shows. The pandau is a gorgeous example of appliqué at its best:

Nebraska Folk Life

When the Hmong first began selling their needlework here in the West, many found their colors garish and loud. The above example is the result of their understanding of the American preference for a softer palette. I have a vintage baby carrier that has faded with age, but which shows the intensity of work in their traditional pieces:

Available for sale on Etsy, $58

I saw a booth similar to this one by Hmong Needlework at the quilt show.

I desperately wanted to buy from them as their work was top quality with great colors. The American taste for bland colors is changing. The pieces I saw were vibrant and absolutely gorgeous. They were made locally by Hmong living in Michigan. Unfortunately, buying from local artists for re-sale is not feasible as the market would not bear the prices. Those of us who carry these textiles for sale need to make our profit margin, so we still depend on sources overseas for our supply. Most local vendors don't have the computer skills to get their wares to larger audiences and show fees have increased yearly, making it harder for them, too. A Catch-22.

Another Australian blogger, Melanie Gray Augustin, lives in Japan and documents her life there with her excellent blog, Kimono Reincarnate. Those Australians sure are a creative bunch! Melanie visited North Vietnam in 2007. She has a nice piece on indigo work done by the Hmong there:

The indigo fabric is hand spun, dyed and decorated with appliqué. Visit her blog for more photos and the description of her trip.

The Learning Support Services of the University of Wisconsin/Madison has a nice section on Hmong Textile Arts. This illustration shows some of the symbolism in their needlework:

Many other needle workers around the world use their skills to make products that cater to the Western market. I buy these pillows from a friend who imports from India:

Available in my eBay store for $15

These pillows are made by cutting into the top layer of fabric and stitching it down. This is often referred to as cutwork appliqué. Buying from these artisans helps them continue to maintain their traditional village life, working at home or in groups with other women.

When thinking of appliqué, we refer to the design being added on as fabric on fabric. Another appliqué technique involves revealing the fabric underneath as the design. This is called reverse appliqué. Molas from the Kuna People of the San Blas Islands off the coast of Panama are the best example of this technique.

In this example, the top layer of fabric is the orange:

The green is the bottom fabric. The other colors are appliqued on top as accents. Molas are wild in color and theme. I love them and have a bunch listed in my Etsy store and will have many more there soon.


They are often humorous:

Appliqué is definitely time consuming and labor intensive. But, if the stitches are done well (close together and tightly), the textile becomes durable, able to wear and wash well. I have seen poorly stitched pieces from Pakistan that fall apart if washed. I learned that many of the ones I saw were made by elderly widows with poor eye sight.

Just be informed of what you purchase and what you will use it for. And, if you sew, do not be intimidated by appliqué! It goes quickly once you get the rhythm.

A World of Appliqué