Bangladesh has consistently ranked among the world's top three exporters of ready-made garments (RMGs), supplying global brands such as Zara, H&M, Primark, Marks & Spencer, Tommy Hilfiger, Giorgio Armani and Ralph Lauren. One can see the magnitude of this in factories, in the volume of what leaves our port every year.
Yet, walk into a shop in New York or Rome, and you will not find a single Bangladeshi brand, despite the label stating "Made in Bangladesh".
However, some local brands have tested these international waters. Both Yellow and Le Reve have ventured into international markets. Illiyeen has demonstrated that a local brand can make it in a bigger stage. Aarong exports globally now after decades of establishing itself as a local brand focused on craftsmanship. The brand Gorur Ghash, targeted towards a younger crowd who prefer street wear, exports internationally as well.
Recently, the brand by Mehruz Munir, called Zuhrem, was showcased at the Paris Fashion Week 2025. Similarly, Tasmim Zobaear has showcased his brand in both Cannes and Paris Fashion Week on multiple occasions.
So, there is no question of capability here. It's no longer a theoretical case for a Bangladeshi label to go global. Rather, the pertinent question would be why more companies aren't doing it, and why those who tried were doing it half-heartedly or couldn't sustain it.
The reason partly lies in the fact that the global identity of Bangladesh through its fashion industry has so far been constructed only on the basis of its capacity to manufacture products. Still, the other part of identity, which is the identity of brands with its unique design language and narrative, needs to come about.
And this could happen because we do have our own Jamdani, Muslin, Nakshi Kantha and many more handloom histories that have been handed down from generation to generation. They carry real depth and history, which matter now more than ever, as international fashion actively looks for authenticity and true craftsmanship.
Still, it's not just heritage alone which takes a brand to cross the borders. It needs a well thought out positioning, a good design identity, a solid distribution network, proper international public relations, a website with a broader scope than just domestic market, retail presence, and most importantly, a customer experience worth coming back for. Sometimes it's this underlying framework rather than creativity that dictates the fate of a good label.
Another tough aspect of internationalisation is accessibility. Without the ability of the customers to reach the product, even the best fashion line will fail to attract the international market.
Design talent is not the missing element, but rather the commercial aspect of the industry. For example, in India, fashion houses such as Sabyasachi have managed to make the reputation for the Indian textile heritage not only through quality design, but also through investment in stories. This is the aspect we still have to cultivate.
Bangladesh has no lack of fashion talent either. Universities and fashion schools can widen their programmes not only with fashion design, but with branding, PR, trends forecast, international retail, sustainability and digital fashion, developing merchandisers, buyers, brand managers and other specialists needed to advance Bangladeshi fashion.
It is important to work out international exposure of the country's fashion through international fashion shows, buyer programmes, designer exchange programmes and exports. Bangladesh has already proven what it can produce.
The next chapter is proving what its own brands can build, and taking that further, to the world.
Zainab Maqsood is Founder & Managing Director, AMIRA.
[email protected]
