His son, who was called Aladdin, was a very careless and idle fellow. He could hardly, by his daily labor, maintain himself and his family, which consisted only of his wife and a son. Part of the objective of this film is to show people who they are and the fact that they have passions, they have families, and they have their own stories.There once lived, in one of the large and rich cities of China, a tailor, named Mustapha. They don't know their lives, and therefore they think it's okay to push them aside in the subway or spit at them, or spew racist hate at them. “People don't see Asian women,” Chan said. That woman was indicted on hate crime charges in July.Ĭhan and Li say they created their short film to make the point that the Asian community is populated by real stories, and not just gruesome news headlines. In June, a Florida woman allegedly attacked four Asian women in Manhattan with pepper spray and yelled racist comments at them.
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That threat of violence continues to be a fact of life for these women and others like them. It's interesting to me how everyone sort of deals with it.” Some of them are more affected than others. “It's one of the first questions I've asked each of these women. “What really drew me to these women is they work in the garment district here - which is in Midtown Manhattan, where a lot of these crimes or violence has been happening - and they have to go to work every day,” Li said. "But when we talk about Asian seamstresses, there's often this cliche of sweatshops and cheap labor, and the ladies that I work with are just as good as the European counterparts.”Ĭhan and Li said the perseverance the women displayed in coming to work each day during a pandemic, and during a time when it felt unsafe for Asian people, inspired them to continue making the film over a 16-month period. “When we think about ateliers in fashion, we often think about the people in Paris, and it's this very romanticized vision of fashion creation," Chan said. Chan reached out to Li about creating something similar about the fashion industry. Then she discovered “Spicy Village,” the documentary Li directed about a Chinatown noodle shop fighting to stay open during the pandemic. "When, in actuality, that process is both sort of front of house and back of house.”Ĭhan had never made a film before, but said that after the shooting spree at three Atlanta spas in 2021, in which six Asian women were killed, she felt frustrated, sad, and hurt – and wanted to turn her anguish into action. “I think there's the misnomer that people behind the scenes are just sort of like minions, doing the work, and that all the creativity is like these designers," she said. “But often, you know, we don't really talk about the people who are actually making the clothes.” “I've noticed that a lot of people love to talk about the models and the designers and the glamorous part of the industry,” Chan said. “Invisible Seams,” which shows how eight women who work in the garment district build community through their shared experiences, is one example among a wave of Asian artists who are responding by bringing to light real stories of resilience.
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One figure from the NYPD Hate Crime Task Force shows the number of anti-Asian incidents reported in the subway alone increased by 233% from 2020 to 2021. The film, released on Vimeo in May, was directed by documentary filmmaker Jia Li and produced by Jodie Chan, vice president of marketing and communications at fashion label Carolina Herrera.ĭuring the course of the COVID-19 pandemic, New York City saw an uptick in violence against Asian people.
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Huang and seven other women patternmakers have just been featured in “Invisible Seams,” a short documentary about their patternmaking skills. The women making the garments aren’t the designers – but they are the ones who make the sketches on paper reality.