Synopsis for Ph.D.

Program
Sustainable Fashion & RMG Manufacturing and its Impacts on
Environmental Pollution, Biodiversity & Climate Change:
Bangladesh Perspectives
Researcher: Md Zafar Alam Bhuiyan
Roll No:
Registration:
Year:2019-2020
Assistant Professor
Department of Fashion Design & Technology
Shanto-Mariam University of Creative Technology
Dhaka
Department of Design & Technology
The University of Southern Denmark
Denmark
Date: 25.04.2022

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 Table of Content

Serial Content Page

No. Number
1.0. Introduction 3

2.0 Description 3

2.1. Fashion After the Independence of Bangladesh 4

2.1.1. The 1970s – The Bell-bottom and Bangla Cinema iconic fashion 4

2.2.2. The 1980s – Freedom of choice, experimentation, and approach 5

2.3.3. The 1990s – Mughal influence and boutique shops 6

2.4.4. The 2000s – Millennials and chemical experiments 6

3.0. Contemporary Fashion of Bangladesh: 7

4.0. Sustainability and Environmental issues of Bangladeshi Fashion 7

5.0. Objectives of the Research 7

6.0. Methods of the Research 8

7.0. Conclusion 8

8.0. Proposed Chapter of the Thesis 8

9.0 Bibliography 9

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1.0.Introduction:

Fashion can be defined as a popular style, especially in clothing, footwear, lifestyle,

accessories, makeup, hairstyle, and body, whereas a style is a particular form or design of
something adopted by a person or a group of people. Style becomes fashion when it turns
out to be popular to the wide population or in a country at a particular time (Kozlowski,
2012). Fashion moves in a cyclic order and it is the culture that keeps the effects sometimes
for a long time (for example 60s European Fashion has a mingled effect on the present
formal costumes of Europe). Fashion has its value in each culture and vice-versa (Calderin,
2014). Types of costumes, forms of pattern, and embellishments symbolize the culture and
ethnicity, and ways of the lifestyle of the people of a country (DLA, October 05th to 08th
2014). Like culture, fashion has had its language of diversity throughout the world from its
inception. Moreover, fashion has its way of choice based on the standard of culture and
values of society.

The contemporary fashion of Bangladesh is based on a mingled society of the country for
the effect of globalization, through its traditional fashion is still working as the driving force
in the rural areas of the country (Bhuiyan, 2012, p. 5). In the urban areas of the country
fashion mainly focused on the well-off people although, on the common people, the
country’s RMG sector has a significant impact mainly on the staple garments.

2.0. Description:

The fashion history of Bangladesh is not rich as parallel as the prominent fashion of Europe
though, the world is most favorite and maybe the oldest dress sari is the dress of this region
(Bhuiyan, 2012, p. 8). Individual fashion history of the country somewhat mingled with the
history of the subcontinent as there were not many differences before the time of the
British era instead of Bangla had a unique socio-cultural dimension from thousand years
back (Bhuiyan, 2012). Religion backed the method of expression of the people of this
country with its usual social systems. With the inception of a new religion, Islam after the
12th Century, there was a massive change for the same gradually instead of a mixed form
dressing, were allowed inside the part of the society with cultural liberty therein. Our
motives, tools, and techniques started to be rich with the search for invention considering
its milestone for a new journey. The partition of British India in 1947 gave way to the modern

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states of India and Pakistan – an era of turmoil whereby fashion was considered, ostentatious. 
Hence, slightly deterred but not detached, styling, took to its trail. Then came 1947 and Bengal was
divided into two – East Bengal (later changed to East Pakistan) and West Bengal.   Even though the
separation, nothing could stop ‘the craze that is a fashion, as it seeped through, into every
household within the region. The 1970s saw the rise of Bangladesh, a country new in its form, but
quite rich in culture and heritage; the rest of the story unfolds as we continue.

Weaving has always been at the very heart of Bangladesh, and textile is an inherent part of
our cultural heritage. For centuries, our weaves have piqued the interest of couturiers from
across the globe. Despite our deep, rich history of craftsmanship though, our local yarns and
fashion houses seem to be taking a beating, because of imports from the subcontinent. The
moment anyone walks into a market to purchase your Eid outfit, the abundance of Indian
and Pakistani attire is apparent. To say they are merely available is an understatement
because, in reality, our markets are flooded with these imports.

The handloom industry in Tangail is one of the oldest cottage industries in Bangladesh and
has a glorious history. Each hand weaving sari has a story of its own and they carry all sorts
of emotions- sorrow, pain, and love. In festivals like Pahela Baishakh, their demand
becomes unparalleled. This traditional sari is produced in the Tangail district and is named
after the place. It was previously known as ‘Begum Bahar’. The exquisiteness and luster of
the refined silk or cotton handloom saris from Tangail are not just famous in Bangladesh but
also abroad. The edges of Tangail Sari are made with special care with silky and shiny
threads. It takes around 5 to 7 days to weave a Tangail sari.

2.1. Fashion After Independence of Bangladesh:

2.1.1. The 1970s – The Bell-bottom and Bangla Cinema iconic fashion:

World fashion was a little bit flamboyant despite the war of Independence and the creation
of a sovereign state like Bangladesh; the 70s were the most colorful decade for fashion in
the freshly liberated country. The blissful moment was known no bound to become
independent losing near and dears in the independent war. Polyester was the material of
choice and bright colors were everywhere. Men and women liked very tight fittings pants
and platform shoes for the fashion look (Phipps, 2016). The bell-bottom outfits spread
whole over the country with the swipe of the world fashion. Black and grey colors

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dominated in the accessories with bigger in size, especially the bracelets and goggles.
Singers and actresses like Runa Laila and Kobori, Bobita were major iconic figures in fashion.
Their dresses and up-to-date lives were followed by their fans as they had the pivotal power
of fashion at that time for their popularity. The leading and modernized styles and looks of
Suchitra Sen, Kobori Bobita, and Rula Liala, were well accepted not only in the country but
also in South Asia. They were the dream girls of young men and they followed Uttam Kumar
and Razzak, the iconic actors in Bangla Cinema for their fashion. Young ladies from the
entire South Asian zone were enthralled by Runa Lialas's pleasant singing and her style
sense, meticulously following her look.

Runa Laila's thin eyebrows and Bobita's up-do have become a cult fashion, ever since.
Global fashion inclination in the 70s was towards psychedelic prints, vibrant colors, nets,
and shiny materials with bold designs, and Bangladesh was not left uninfluenced. Long
unkempt hair, thin eyebrows, bell-bottom pants, and loop earrings were a fad and the
Bangladeshi ladies were donning the trending style (Chowdhury M. M., 2017).

2.2.2. The 1980s – Freedom of choice, experimentation, and approach:

The 80s world fashion was somewhat subdued in color with lots of browns, tans, and orange
shades. Blocky shapes were overused and dressing like tennis players became fewer and
velvet and velour were the hottest position.

Bangladeshi women found liberty in embracing the new ideas in fashion in the truest sense;
they began to experiment with their looks during this era. At that time Hollywood and
Bollywood, both were there, outstandingly, to show people what to wear, ladies did some
research on their arena by the penchant for polka dots in different colors, sizes and shapes
reigned supreme. On the other hand, bright-colored accessories, bangles, and hoops were in
practice in the world of fashion. By the mid of 80s era pop music stars like Cyndi Lauper
were ushering in a new style where (Phipps, 2016), Bangladeshi boys, mainly the younger
crowd, followed pop singer Azam Khan for his style.

Ladies' blouses with Halter necks became popular and puffed-up wavy hair with frontal
bangs became a 'new thing' in hairstyling. Some women even wore kameez with velvet
jackets and loose shalwars – more like them, than popular Hindi Cinema heroines
(Chowdhury, 2017).

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Big looped earrings were in vogue, only this time they were put on in more vibrant colors,
rather than the traditional silver and gold. , the 80s is probably the decade best attributed
to the rise of fashion in the country, which until then, had more serious issues to address. It
was an exceptionally flexible time when a woman could wear skin-tight cotton stirrup pants
with leggings with a giant turtle-necked sweater in the upper part of the body or parachute
pants with a small V-necked top and a high-waist belt in the next (Phipps, 2016).

2.3.3. The 1990s – Mughal influence and boutique shops:

In the early days of Fashion in the 1990s era were loose fittings and colorful garments. The
T-shirts were big and the shorts were extra-long. Tapered pants were in use extensively
among the young generations. Boys and girls widely used baseball caps in many different
ways. Mullet was stylish for a couple of years and even every sweater had a turtle neck.
Importantly, at the start of the nineties, fashions by hip-hop artists became mainstream. But
in Bangladesh, interestingly not much happened in the fashion scenery during this era. The
ladies became leaped back to the Mughal era and Anarkalis and long kameez became
widespread on the streets. The ladies from Bangladesh began tying their hair in a tight-up-
do and dressed it up further with extensions. Many boutique shops around the country
rose in the era and made their way into the local market.

2.4.4. The 2000s – Millennials and chemical experiments:

This decade is famous for fusion worldwide (Wikipedia, 2017). However, it was a music-
based subculture to the youngsters. Hip hop fashion was popular with both sexes and
globalization also influenced fashion as a whole as it was the beginning of a new millennium
and the world was converging to become one global unit thanks to the Internet and the rise
of social media. The 2000s saw a major rise in consumerism and the Bangladeshis were
adopting more of a western look. The decade started with grunge fashion but the other side
of the fashion was baggy and colorful long shirts and baggy tapered pants were common.

Interestingly, the early ’90s was a time of real color; however, it was clothing that people
thought they would wear in the long run. Lace, satin, parkas, trench coats, and little black
dresses with heels and stockings were a big hit of the time with their simplistic style
(Shanahan, 2015). On the other side, denim, pants, tops, and shirts were the major fashion
items for the everyday woman, while saris became celebratory attires for the women of

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Bangladesh. Taking no definitive form hairstyling became free-flowing. However, hair
coloring, permanent straightening or curling, and highlights became rampant from the
lower to the higher society.

3.0.Contemporary Fashion of Bangladesh:

World fashion has seen the revival of fashion of the 1950s,1970s, and 1980s (Bhuiyan,
2012). Gucci, Chanel, and Versace were the major fashion brands. Bangladeshi fashion, on
the other hand, had lost most of its charm and became more interested in infusions, a
perfect blend of both the East and West. Casual kurtas, pants, dhotis, etc. were the basic
dress-up materials amongst all strata of the society. Saris were trending again but it became
the pretty formal attire for the outing and social gatherings. Remarkably, only this time the
women’s blouses were altered in various ways to give a stunning fusion look. Different types
of blouses like jacket blouses, net blouses, halter necks, and many other designs became the
highlighting co-garment of a sari. Hairstyles’ have a little change with the straightening-
curling procedures becoming temporary and wellness-oriented. big dial wrist-watches,
diamonds, and small purses started trending.

Now, Bangladesh is a country for its rich culture and customs values whole over the world.
Many years have been passed after two liberations of the country first from India (in 1947)
and Pakistan in 1971.

The subcontinent was freed from the colonist regime almost 70 years ago. It revived, only to
find itself broken into many pieces, and eventually, Bangladesh was born in 1971 after a
blood bathing fight with Pakistan. Within this period, many styles have come and gone but
one thing has remained constant throughout; it all was the fascination of the people of
Bengal, to appear their best through eves and tides.

4.0. Sustainability and Environmental issues of Bangladeshi Fashion:

Bangladesh is the second-largest country for knit production preceding China. Surprisingly,
the readymade garment sector of the country is famous for its green production as the
sector was accorded two times for its environmentally friendly production

5.0. Objectives of the Research:

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1. Eco-friendly and environmental production of the fashion and readymade garment sector
is of the utmost need today. Based on the case study and observation method the loopholes
of contemporary fashion and its productions will find out to eradicate the malpractices and
systems, an obstacle to the sustainable production system.

2. To find out the best practice of eco-friendly production by the questionnaire survey and
interviewing the experts in the same arena.

3. To make conscious of the related people regarding the bad impact of environmental
dilapidation through unhealthy fashion practice and production.

6.0. Methods of the Research: Bangladesh has nearly about 3700 readymade garments and
many fashion houses where the environmental issues are not dealt with seriously notwithstanding
achieving accords some of the factories for their green productions and compliance issues. On a
random sampling basis, the study will be conducted. Here both qualitative and quantitative
methods will be applied. Mainly and Case study and observation method will be followed for this
research in the qualitative part whereas a questionnaire survey will be adopted for the quantitative
part.

KIIs

Triangulation

Case Studies Lierature

KII: 5 Educators, 5 Expert in Environment and Climate Change,5 people related to RMG production
and Export,

Case Studies :3 Case studies

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Literature Support:

1. Reference from the global design & production

2. Reference from Asia

3. Reference from Bangladesh

7.0. Conclusion: Contemporary fashion has the utmost responsibility to work in the
favour of the conservation of the environment as it’s the major concern of today's world.
Climate change is another issue to be dealt with in each sector of education if we want the
sustainability of our future. I hope that I will be able the find out the pathway for
sustainable fashion through this research.

8.0. Proposed Chapters of the Thesis:

(Subjected to be changed after the feedback of my supervisor)

1. Introduction
2. Research Question
3. Statement of the Problem
4. Objectives of the study
5. Limitations of the study
6. Methods & Methodology
7. Research Design
8. Research Descriptions & Field Survey
9. Data Collection & Analysis
10. Findings
11. Recommendations
12. Conclusion
13. References
14. Annexe
15. And more will be instructed by my supervisor

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 Bibliography (Proposed)
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HKSARG.

II. Ahmed, F. (2014). “Analysis of RMG Industry, Bangladesh”. Dhaka: Independent University,
Bangladesh.

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MADE GARMENTS INDUSTRY. Research Journal of Economics, Business & ICT.

IV. Bhuiyan, M. Z. (2012, Sept-Oct). The present situation of the Readymade garment Workers
of Bangladesh: An analysis. IOSR, 3(5), 38-44.

V. Bhuyan, M. R. (2011). Major environmental issues in Bangladesh with reference to Agenda

21. Singapore: National University of Singapore.

VI. Calderin, J. (2014). Fashion Design Essentials. Beverly, M each usetts: Rockport.

VII. Chowdhury, M. (2014). BANGLADESH denim industry: POISED TO BECOME NO.1 EXPORTER
IN THE WORLD. Dhaka: Apparel View of Bangladesh.

VIII. Chowdhury, M. M. (2017). Fashion through the years: Bangladesh. Dhaka: The Daily Star.

IX. Christensen, J. (2014). Learn to Design Your Own Clothes. Professional Patternmaker,

X. Debapriya Bhattacharya, M. R. (2002). The contribution of the RMG Sector to the Bangladesh
Economy. Dhaka: Centre for Policy Dialogue.

XI. DLA, E. C. (October 05th to 08th 2014). ECO-FRIENDLY CONCEPTS AND ETHICAL
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DESIGN CONFERENCE – Magic World of Textiles. DUBROVNIK, CROATIA.

XII. Dr M. Habibur Rahman, S. A. (2015, Sept). Female RMG worker: Economic Contribution in
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SECTOR OF BANGLADESH. International Journal of Advanced Research, IJAR, 747-761.

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 XIX. Kozlowski, A. (2012). Environmental Impacts in the Fashion Industry. Toronto:
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Nojihigashi, Kusatsu, Shiga , Japan: Ritsumeikan University.

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IOSR, 34-41.

XXII. Moazzem, D. K. (2017). CPD-ILO Dialogue on Catalyzing Social Dialogue in the RMG Sector of
Bangladesh. Dhaka: Centre for Policy Dialogue (CPD).

XXIII. Mostak Ahmed, S. Y. (2014). Research on Chinese invest in Bangladesh Garment Sector in
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Dhaka: Environment, Climate Change and Disaster Statistics (ECDS) Cell.

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Borås, Sweden.

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