‘A very odd and ugly worldview’: the dark side of fast fashion brand Brandy Melville
If you haven’t heard of Brandy Melville, you probably don’t have a teenage girl in your life. The clothing brand – confusingly named for two characters, an American girl named Brandy and an Englishman named Melville who fall in love in Rome – is synonymous with a certain large swath of gen Z, very online and inundated since consciousness with images of very skinny celebrities like Bella Hadid. As one exstore associate puts it in a new HBO documentary on the brand: Brandy Melville was for the kinda basic but very trend-aware girl.
Over the past decade and a half, the brand built a giant following via Instagram, Tumblr and TikTok posts of and by teenage girls channeling a certain recognizable aesthetic: tiny outfits accentuating pre-adult metabolisms, exposed midriffs so taut they seem to be begging for a tape measure, long hair flowing cheerily in motion, overwhelmingly white. Most of the brand’s pieces sold for less than $40, in “one size fits all”, that size being small. What Abercrombie & Fitch was to millennials at the mall, Brandy Melville was to teenage girls on their phone – organically popular, ubiquitous and reinforcing existing, retrograde ideas of what’s cool and popular. A divisive status symbol spotted on such rail-thin celebrities as Kaia Gerber and Kendall Jenner that many people love to hate, and also secretly want.
More recently, the brand has also become synonymous with the environmental scourge of fast fashion and shady, discriminatory business practices. Brandy Hellville and the Cult of Fast Fashion, which premiered at SXSW and on HBO this week, digs deeper into a 2021 exposé by Business Insider’s Kate Taylor on the company’s murky, outright creepy management – not just the “opaque minefield” of “sustainable” fashion, as the director, Eva Orner, told the Guardian, but allegations of discrimination, “pedo energy” and sexual assault by company leadership.
The 91-minute film sifts through the appeal of the brand to young, mostly white girls; the exploitative and manipulative behavior of the company, as attested by numerous former employees; and the exploitative nature of the fast fashion industry in general, as evidenced by sweatshops in Prato, Italy, and beaches in Accra, Ghana, buried in piles upon piles of secondhand clothes dumped by western countries. Orner and her team spoke to hundreds of ex-employees, though most didn’t want to go on camera for fear of retribution or diminished future job opportunities. “It’s a very, very odd and ugly worldview coming from that company,” she said.
Unlike most fashion brands, Brandy Melville has no public CEO, no mission statement or top-down brand persona. Every store is owned by a different shell company; the name is owned by a Swiss company. The company’s structure is “designed to be not traceable”, said Orner. In her reporting, Taylor identified the CEO as an Italian man named Stephan Marsan, a shadowy figure with