DHAKA: A new film offering a glimpse into the lives of garment workers in Bangladesh is challenging stereotypes about women by showing them driving the economy and fighting for justice in factories. “Made in Bangladesh” is based on the life of Daliya Akter, a garment worker who escaped child marriage and went on to lead a trade union fighting for workers’ rights in the capital Dhaka.
Akter’s story — securing pay for her co-workers despite a concerned husband and threats from her bosses — puts a rare spotlight on female triumph over adversity in conservative Bangladesh, the world’s second-largest garment exporter.
Nearly 80% of the 4 million people working in the sector that produces clothes for companies including H&M and NEXT are women who work long hours for minimal pay.
Still, stereotypes of women workers as passive and powerless persist.
“There is a narrative that garment workers are always oppressed. But while working on the film I realized that these women fight back strongly and are empowered,” director Rubaiyat Hossain told the Thomson Reuters Foundation by phone.
“These workers... need to be heard. It is because of them that our economy is improving and we have to acknowledge them.”
Bangladesh’s apparel industry has come under pressure to improve factory conditions and workers’ rights, particularly after the collapse of Rana Plaza complex in Bangladesh more than six years ago, when 1,136 garment workers were killed.
LOW WAGES
The disaster led to more factory inspections, the closing down of dozens of factories deemed unsafe, and government labor reforms.
But low wages and a declining number of female union leaders remain key challenges.
’Made in Bangladesh’ premiered in the United States on Dec.6 and Akter, who is played by actor Rikita Shimu, said she hopes the film will encourage garment workers to speak up when it screens in Bangladesh next year.
“There are a lot more unions today than in 2013 but there still are workers who are afraid to voice their concerns and the film will help them,” said Akter.
Akter began working with internationally acclaimed film-maker Rubaiyat Hossain in 2016 after the factory she worked at closed after losing international contracts.
Akter later joined the thousands of Bangladeshi workers who travel to the Middle East each year in search of work, arriving in Jordan’s port city of Aqaba in 2018 to work as a machine operator in a factory producing trousers and skirts.
She returned to Bangladesh months later after falling ill.
Despite her trials, Akter plans to continue fighting for workers’ rights.
“I don’t know for how long I will live, but I know that I will fight for workers’ rights till my last breath,” she said.
Film on Bangladesh’s garment workers spotlights women driving change
https://arab.news/pxkeb
Film on Bangladesh’s garment workers spotlights women driving change
- Nearly 80% of the 4 million people working in the garment sector are women who work long hours
- Low wages and a declining number of female union leaders remain key challenges
Yataghan boutique in Jeddah celebrates Saudi heritage
JEDDAH: Yataghan, the contemporary Saudi jewelry house founded in 2008 by designer and entrepreneur Sarah Abudawood, has announced an expansion with its Riyadh debut at Kingdom Centre, alongside the relocation of its headquarters and flagship store to a street-front location on Jeddah’s Thalia Street.
The brand, known for blending Arabian heritage with modern minimalism, unveiled two boutiques designed as immersive experiences rather than mere retail spaces.
Every detail of the new Jeddah location has been carefully curated; brass accents inspired by the Yataghan blade evoke precision and luxury, while striped, gray onyx symbolizes continuity and progress, according to the brand’s founder. Vast windows, softened by Yataghan’s signature hexagonal motif, a symbol of harmony, order, and strength, flood the boutiques with natural light, creating an inviting environment for visitors.
Inspired by the Yataghan sword, with its distinctive, single-edged blade, the brand’s collections fuse minimalist design with Arabic calligraphy and tribal motifs.
“The name Yataghan draws its meaning from the two swords on the Saudi flag — a symbol that has always fascinated me for what it represents: conviction, protection, truth, and above all, balance,” Abudawood told Arab News.
“The Yataghan sword, known for its graceful curve and exquisite craftsmanship, embodies purpose and precision. It is drawn to defend what matters and to guard what is sacred. It sets boundaries and restores equilibrium, reminding us that strength is not only about force, but about knowing when to advance and when to stand still.
“That balance is reflected in every piece we create. Because, like the sword, Yataghan is more than an ornament; it is a statement of purpose, and identity.”
Abudawood explained the cultural inspiration behind the brand, highlighting pieces connected to Saudi identity. “This branch carries designs that are deeply connected to Saudi identity and cultural memory. Some pieces are exclusive, inspired by symbols, rhythms, and forms rooted in our heritage, interpreted through a modern lens … Jeddah, in particular, has a unique spirit: fluid, expressive, open, and layered with history. That essence subtly informs the designs you’ll find here.”
The founder also spoke of the brand’s philosophy of minimalism and meaningful design.
“It comes from my belief that simplicity creates space for meaning. I have always been drawn to architecture and the principle that form must follow function. I design with intention; nothing is accidental. Every line has a purpose, every curve holds a story. Minimalism, for me, is not about removing emotion; it is about distilling it. I want each piece to feel timeless, personal, and quietly powerful.”
The label has been flaunted by high-profile clients — including Jennifer Lopez, Lady Gaga and Lama Akeel — but Abudawood emphasized the brand’s focus on connection over visibility. “Whether someone is a public figure or not, what moves me is when they feel seen by the jewelry. Yataghan has always been about resonance, about creating pieces that speak to identity, strength, and personal stories,” she said.
Looking ahead, 2026 will mark new chapters for Yataghan, including local and international expansion, innovative collections, and a stronger focus on storytelling and community collaborations. “Growth has never been about reach alone; it’s about depth, integrity, and lasting impact,” Abudawood added.
“Ultimately, what drives me is purpose. I’m motivated by the desire to create work that matters, to offer women something that reflects who they are, not who they’re expected to be. Design, for me, is a form of dialogue, a way to translate emotion into form. As long as I’m creating with honesty, intention, and heart, I know I’m exactly where I’m meant to be.”
