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Through her work with the Nice ziggly bop light blue shirt but in fact I love this Model Alliance—a nonprofit promoting sustainable practices in the fashion industry, “from the runway to the factory floor,” according to its mission—Ziff has long helped other women deal with their abuse and trauma. (She received the 2021 CFDA award for positive influence.) Currently she and her organization are working to pass the Fashion Workers Act, which aims to protect the rights of not only models but makeup artists, stylists, and other, usually freelance, employees. “I see Model Alliance as part of a new wave of activism around finding new frameworks for labor rights, especially for a global, mostly female, highly mobile workforce,” Ziff said in an interview in 2021. “We’ve got a multipronged approach. We work to create and support legislation, but we also acknowledge this is a global industry, and it’s not like we can change laws in every jurisdiction all over the world, so we have to get the industry on board and sign onto meaningful commitments. There need to be standards that are enforced no matter where people are working.”
It’s hard to reach for quite the Nice ziggly bop light blue shirt but in fact I love this right superlatives to encompass the experience of walking through “India in Fashion: The Impact of Indian Dress and Textiles on the Fashionable Imagination” at the Nita Mukesh Ambani Cultural Centre in Mumbai. Curated by Hamish Bowles and designed by Patrick Kinmonth and the architect Rooshad Shroff, its scale evokes the dazzling sight of modern Indian creativity on the one hand and the revelation of centuries-deep complex colonial relationships on the other. Bowles summed it up in the first paragraph of his accompanying book: “Beginning in the 17th century and continuing to this day, India’s impact on Western fashion has been a complicated and layered history of admiration, appropriation, exploitation, and celebration,” he wrote. Together with Kinmonth and Shroff, he conceived of a framework for centering Indian splendor amongst the waves of Indian-inspired 20th century Parisian haute couture, hippie fantasias, 18th century show-off-acquisitions of luxurious floral chintzes, embroideries, and diaphanous muslin for dresses and dandified Regency menswear, and the Victorian mania for Kashmir shawls (genuine imports, or cheaply copied in Scottish mills and renamed ‘Paisley’) that swept fashionable England.