©Courtesy of Max
Saving the planet begins from our wardrobes. This is mission of the Fashion Revolution, a movement born in 2013 following the collapse of a clothing factory in Bangladesh, which awakened spirits globally. This initiative of activism encourages consumers to ask themselves: “Who Made My Clothes?” The same question and social themes are addressed in a documentary directed by Award-winning Eva Orner, that questions the dark side of the fast fashion company Brandy Melville.
The HBO documentary Brandy Hellville: The Cult of Fast Fashion, leads us on a journey to hell by exposing the toxic culture that is intrinsic to this lifestyle label. The brand established itself during the 2010s in an unconventional manner: it did not need advertising or marketing. Social media became the key to its success, with teenagers posting photos wearing Brandy Melville. In fact, the fashion company’s Instagram page reached 3.2 million followers in October of 2022. Several celebrities were gifted with boxes of clothes and would post themselves wearing Brandy Melville, these included Miley Cyrus, Kylie Jenner and Kaia Gerber.
The name of the label is fictional and inspired by a story about an American, “Brandy”, and a British, “Melville”, meeting in Italy. This is precisely where the company was founded, by Silvio Marsan. It eventually gained most of its popularity in California, through his son Stephan Marsan and his right-hand man Jessy Longo. The brand’s products are currently sold in physical stores across the world, from the Old Continent to the New World, as well as Down Under and the Far East. Today Brandy Melville has nearly 100 stores in over 15 countries and over 80 cities worldwide; it even features a sub-brand, called John Galt, after a character in Ayn Rand’s novel Atlas Shrugged.
©Courtesy of Max
The heinous truth behind Brandy Melville was brought to light by investigative journalist Kate Taylor. Her article on Insider unveiled how the brand is sexist, racist, and exploits labour. First of all it’s policy “one size fits all” — eventually changed to “one size fits most” — shows lack of size inclusivity. Furthermore, skinny white girls were the only ones employed to represent the face of the brand, whilst girls of colour or Asian descent would be placed behind the cashier or in the stock and fitting room. Several former employees described the Mean Girls catty-attitude that would pervade the work environment. This bestowed a feeling of belonging to an exclusive club and created a sense of competition that would even lead to eating disorders. For instance, some girls were laid off if they no longer fitted the “Brandy” body-type.
Opening Brandy Melville’s Pandora’s Box also brought to the surface the shady reality of how the clothes are manufactured. On the tags the brand claims to be “Made in Italy.” Indeed this is the location where each product is made, but it is not produced by the local craftsmanship that is synonymous with quality. Prato is the Tuscan city famous for being an important textile hub, to the point that Chinese people decided to establish themselves during the Nineties and now represent 10% of the city’s population. They started their businesses that epitomise the quintessence of fast fashion, since their factories rely on sweat shops. Therefore whatever they make and label “Made in Italy” is a gimmick. This perverse system highlights a widespread tendency that is endemic to the fashion industry. As a conversation in Brandy Hellville: The Cult of Fast Fashion points out: “Fashion was built on colonial struggles and on the backs of women of colour and the industry dehumanised their work force.”
In spite of that, second-hand fashion is setting a remarkable example. Always in Prato, there is also the figure of the “Cenciaiolo.” Back in the 19th century it was associated with the “Rag-and-bone man,” who would collect unwanted household items and sell them to merchants. In our contemporary culture this role has been nobilitated by those who upcycle discarded textile. The documentary shows how the Italian Mantellassi family, through their Manteco brand, recycle discarded fabrics using a mechanical process that is chemical-free. This attests the positive and change-making side of fashion, that contrasts the obscenities embodied by brands such as Brandy Melville.
©Courtesy of Max
Despite the lawsuits and bad publicity, the controversial label went back to business as usual and kept making hundreds of millions. Brandy Melville did not change its social strategy, nor did it give a public apology. Some have considered it a consequence of an immunity to scandal, because the field of fashion is filled with misconducts. However the documentary — produced by double Emmy-winning Jonathan Chinn and double Academy Award-winning Simon Chinn — serves as a powerful warning and reminder of our power as consumers that may encourage or end this disreputable behaviour.
Brandy Hellville: The Cult of Fast Fashion is an eyeopening parable of the entire fast fashion system. Thirty-six billion clothes are consumed in the USA and in Europe, while 80% are discarded. Ghana has become one of the several dumping grounds for unused clothes. Humans’ overconsumption of garments has caused to pollute the land and sea floor globally. There is no need to produce more, we should simply give a second chance to those fashion items that are present in the world. As one of the film’s interviewees states: “Think of fashion as a reusable service, rather than as a disposable product. Normalise re-wearing the same outfits. We need to buy less.”
Final Grade: A
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Here’s the trailer of the film.