Iraq Fashionistas Champion Climate-friendly Vintage Wear

Global fashion accounted for two percent of greenhouse gas emissions in 2019 and climate-conscious social media influencers are pushing for sustainable fashion. AHMAD AL-RUBAYE / AFP
Global fashion accounted for two percent of greenhouse gas emissions in 2019 and climate-conscious social media influencers are pushing for sustainable fashion. AHMAD AL-RUBAYE / AFP
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Iraq Fashionistas Champion Climate-friendly Vintage Wear

Global fashion accounted for two percent of greenhouse gas emissions in 2019 and climate-conscious social media influencers are pushing for sustainable fashion. AHMAD AL-RUBAYE / AFP
Global fashion accounted for two percent of greenhouse gas emissions in 2019 and climate-conscious social media influencers are pushing for sustainable fashion. AHMAD AL-RUBAYE / AFP

In a palm grove north of Baghdad, bemused Iraqi shepherds looked on as models paraded second-hand garments down an improvised catwalk, seeking to raise awareness of the fashion industry's environmental impact.

Haute couture has given way to upcycled outfits, sourced entirely from used clothes, as the models strut, pause and pivot on the runway, a sign of the growing popularity of chic, environmentally friendly vintage wear among young Iraqis, AFP said.

"We don't want overproduction of clothes, we have to reuse them," said Mohamed Qassem, 25, a hairdresser and organizer of the fashion show near Al-Hussainiya village.

The global fashion industry accounted for two percent of greenhouse gas emissions in 2019, according to the World Resources Institute.

Campaigners and a growing number of climate-conscious social media influencers have led a push toward sustainable fashion.

Many young people in climate-stressed Iraq, like Qassem, have become passionate about vintage clothing.

The palm grove event showcased fluorescent green puffer jackets, long black leather coats, ample double-breasted blazers, and modern takes on traditional costumes.

In many parts of Iraq, scarred by decades of conflict, peaceful rhythms are gradually returning to daily life and second-hand clothing offers aspiring fashionistas an affordable chance to express themselves.

Climate threats
As Baghdad's streets see more "fast-fashion" and imported brands, the outfits at the Al-Hussainiya event predominantly feature green elements, a nod to the show's environmental message.

Iraq, synonymous with date production, has seen its iconic date palms placed under stress by the effects of climate change and the years of conflict.

"The goal is not to focus only on clothes, but also abandoned orchards, palm trees that disappear every day," Qassem said.

The United Nations says oil-rich Iraq is one of the five countries most exposed to the impacts of climate change, already witnessing extreme summer heat, frequent droughts, desertification and regular dust storms, which will exacerbate as the planet heats.

The designs at the fashion show will not be put on sale. Organizers mainly hope the symbolic parade will raise awareness.

Ahmed Taher, a 22-year-old stylist who put together the sets for the show, said "second-hand pieces are clothes of excellent quality".

"When you wear them, you have the impression of wearing luxury clothes. It's different from what you find in stores."

A business student, Taher offers Baghdad's hipsters vintage clothes on Instagram -- where he has around 47,000 followers -- selling pieces for around $20.

"We want to wear unique clothes and not all look like each other," he said.

'Last a lifetime'
A student-turned-model for the day, Safaa Haidar, said she was attracted to vintage clothes as she could shop "according to my personality".

But in Iraq, where the UN estimates nearly one-third of the 42 million inhabitants live in poverty, many wear used clothing out of necessity.

In the winding alleys of central Baghdad's second-hand clothes market, stalls overflow every Friday with shirts, shoes and jeans, with shoppers checking sizes in front of the sellers.

Here a shirt can cost barely $2, while other pieces can sell for as much as $60 or even $200.

Mohamed Ali, a 20-year-old engineering student, came to buy shoes.

"It's not that we can't afford to buy new, but here we find better quality and unique pieces," he said.

Ali recounted his parents' stories from life in the 1990s, when Western sanctions against Iraq meant they would wear clothes, even "inside out, until they were worn out, because they could not afford" new ones.

Now, Ali and most of his friends shop for vintage clothes for their durability and style, he said.

Merchant Hassan Refaat, 22, sells imported second-hand clothes which find a new life in Iraqi wardrobes.

He also imports goods from Iraq's northern autonomous Kurdistan region, bordering major textile producer Türkiye.

"Second-hand clothes are of better quality than the new clothes available on the market," he said.

"Very often, they are branded pieces, and the brands last a lifetime."



Invited to the Met Gala, Nothing to Wear? Hint: Find Yourself a ‘Superfine’ Suit

 Designs by Jacques Agbobly, left, and Jeffrey Banks, intended for the upcoming Costume Institute exhibit, “Superfine: Tailoring Black Style," appear in the installation room at the Metropolitan Museum of Art in New York on March 20, 2025. (AP)
Designs by Jacques Agbobly, left, and Jeffrey Banks, intended for the upcoming Costume Institute exhibit, “Superfine: Tailoring Black Style," appear in the installation room at the Metropolitan Museum of Art in New York on March 20, 2025. (AP)
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Invited to the Met Gala, Nothing to Wear? Hint: Find Yourself a ‘Superfine’ Suit

 Designs by Jacques Agbobly, left, and Jeffrey Banks, intended for the upcoming Costume Institute exhibit, “Superfine: Tailoring Black Style," appear in the installation room at the Metropolitan Museum of Art in New York on March 20, 2025. (AP)
Designs by Jacques Agbobly, left, and Jeffrey Banks, intended for the upcoming Costume Institute exhibit, “Superfine: Tailoring Black Style," appear in the installation room at the Metropolitan Museum of Art in New York on March 20, 2025. (AP)

What’s in a suit?

According to curators busy prepping the newest Met Gala exhibit, a whole lot more than tailoring: history, culture, identity, power and, most of all, self-expression.

“Superfine: Tailoring Black Style,” this year’s spring show at the Metropolitan Museum of Art’s Costume Institute, will be launched as usual by the star-packed Met Gala a few nights earlier, on May 5. It’s the first Met show to focus exclusively on Black designers, and the first in more than 20 years to have a menswear theme.

As always, the exhibit inspires the gala dress code, and this year’s — “Tailored For You” — makes clear that guests are invited to be as creative as possible within the framework of classic tailoring.

In other words, expect a lot of great suits.

“Everything from Savile Row to a track suit,” quipped guest curator Monica L. Miller, a Barnard College professor of Africana studies, considering the versatility of a suit. She sat recently in a conference room at the Met with photos and notes plastered on the walls. She was in the middle of writing descriptive labels for the more than 200 items in the show — an exhaustive (and exhausting) task.

The suit, Miller said, “represents so many things.” And tailoring, she added, is a very intimate process.

“It’s not just about getting a suit that fits you physically,” Miller said, “but, what do you want to express that night?

It was Miller’s 2009 book, “Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity,” that inspired the show and led Andrew Bolton, curator of all the blockbuster Costume Institute shows, to bring her in as guest curator. The show uses dandyism as a lens through which to explore the formation of Black style over the years.

“Dandyism was about pushing boundaries,” Miller said.

Behind her, a section of wall was devoted to each of the 12 themes that divide the exhibit: Ownership, presence, distinction, disguise, freedom, champion, respectability, jook, heritage, beauty, cool and cosmopolitanism.

The early sections will begin with the 18th century and focus more on historical artifacts, with later sections looking at the 20th century and beyond. In addition, each section will begin with historic garments, accessories or photographs, and end with contemporary fashion.

Getting the first look at all this, on the traditional first Monday in May, will be a high-powered crowd from the worlds of entertainment, fashion, sports and beyond. Gala co-chairs this year are musician-designer Pharrell Williams, Formula 1 star Lewis Hamilton, actor Colman Domingo and rapper A$AP Rocky; NBA superstar LeBron James is honorary chair.

If that weren't enough star power, this year, there's an additional host committee with athletes like Simone Biles and Jonathan Owens, Hollywood figures like Spike Lee and Ayo Edebiri, musicians like Janelle Monáe and André 3000, author Chimamanda Ngozi Adichie and other artists, playwrights and fashion figures.

They and other guests will be free to tour the exhibit before the lavish dinner begins. This year, exquisitely tailored celebrities will examine other examples of exquisite tailoring — as well as historical artifacts like a horse jockey uniform worn between 1830 and 1840.

In an installation room late last month, a museum staffer worked painstakingly on restoring those jockey trousers, a pin cushion at the ready. Near her, two items were already hanging on mannequins. One was a classic Jeffrey Banks suit from 1987, a double-breasted jacket and trousers paired with a dapper plaid wool coat, the ensemble finished off with a light pink tie.

“See how the coat and suit play off each other,” noted Miller.

Next to it was a very different kind of suit — a denim jacket and trousers embellished throughout with beads — by a far less widely known designer: Jacques Agbobly, whose Brooklyn-based label aims to promote Black, queer and immigrant narratives as well as his own Togolese heritage.

The show makes a point, Miller said, of highlighting designers who are well known and others who are not, including some from the past who are anonymous. It will veer across not only history but also class, showing garments worn by people in all economic categories.

Because there are not many existing garments worn or created by Black Americans before the latter part of the 19th century, Miller said, the early part of the show fills out the story with objects like paintings, prints, some decorative arts, film and photography.

Among the novelty items: The “respectability” section includes civil rights activist W.E.B. Du Bois’ receipts for laundry and tailoring. “He’d go to Paris and London, he would visit tailors and have suits made there,” she said.

And the “jook” section includes a film clip of the tap-dancing Nicholas Brothers — who in 1943's “Stormy Weather” produced one of the most astounding dance numbers ever to appear on film.

“We wanted to show people moving in the clothes,” Miller explained. “A fashion exhibit is frustrating because you don't see people in the clothes.”

Miller wondered aloud whether there might be a stretch material in the pair’s tuxedos (they perform multiple splits coming down a staircase). She also noted that the tuxedo, like the suit in general, is a garment that cuts across social categories. “If you are at a formal event the people serving are also in tuxedos, and sometimes the entertainment is in tuxedos, too,” she said.

“It's a conversation about class and gender.”

The exhibit opens to the public on May 10 and runs through Oct. 26.