Why Handmade Clothing Will Never Be Cheap (and Why That’s the Point)
There’s a sentence I keep hearing that drives me a little insane: “But why is it so expensive?”
It’s a fair question. It matters. It’s also a question that assumes a system where cheap is normal and the true costs are invisible. Making clothing slowly and well is not a hobby. It’s labour, history, repair, material choices, and intention all folded into something you wear. That is what I do. That is why I price my work the way I do. And that is why a $5 t-shirt will never be ethical. Below I’ll explain the long story in short: where this work comes from, what “cheap” actually costs, and what buying handmade supports.
1. Sashiko and visible mending are born of care, not style
Sashiko isn’t a modern trend. It began as an honest, work-driven practice in Japan — a way for people to reinforce clothing, extend use, and turn necessity into pattern and beauty. The stitch literally means “little stabs” and historically appeared in utility garments and boro textiles where fabric was scarce and mending was essential. Museums and conservators now call these patched garments a living archive of resourcefulness. (Victoria and Albert Museum)
When I stitch sashiko on a pair of jeans, I am joining that lineage. It’s repair and it’s art. It’s also time consuming.
2. “Cheap” clothing relies on hidden costs
The global fashion system has been tuned for speed and low marginal price. That looks great on a price tag and terrible everywhere else. Wages in garment supply chains are chronically low. Investigations and ongoing campaigns by industry watchdogs show that a large share of the world’s biggest brands do not pay living wages and that the piecework systems used in manufacturing leave workers especially vulnerable. In short: someone, somewhere is paying the difference for a $5 tee. (Fashion Revolution)
Beyond labour, there are environmental costs — textile waste, microplastics, carbon emissions from rapidly churned polyester — costs the system rarely reflects in the price consumers see. The industry’s scale and speed create those hidden impacts. (UniformMarket)
3. Handmade work costs more because time costs more
When you buy handmade, you are literally buying time. A sashiko repair or an embroidered patch is measured not in minutes but in hours of attention, not only to stitch but to design, fit, and finish. There is skill involved, and skill takes practice. Materials are often higher quality or reclaimed in a way that requires extra sourcing and prep. All of that adds up.
There are clear, practical reasons handcrafted goods are more expensive: no economies of scale, higher material costs per piece, and the need to cover the maker’s living wage and business overhead so the work can continue. Those are not excuses. They are the point. (Briselier)
4. What handmade buying actually supports
When you pay for a hand-stitched coat, a meticulously mended pair of jeans, or a carefully embroidered patch, you’re doing several important things:
- You are paying a real person for real time and skill.
- You are choosing a product that is more likely to last and to be repaired again.
- You are refusing the race-to-the-bottom economics that depend on labour exploitation and waste.
- You are investing in a practice that has cultural history and ongoing relevance.
This is not moralizing; it’s accounting. The math looks different when you include labour, material integrity, and longevity.
5. What to do if you want to shop better (and more affordably)
If you want to make a difference with your closet but money is tight, there are practical steps that still move the needle:
- Repair first. Visible mending preserves things you already own. Learn a stitch or buy a fix from a maker.
- Buy fewer, buy smarter. A single well-made piece worn often beats several cheap pieces.
- Look for transparency. Brands that publish where they make things and what they pay are easier to support. The Fashion Transparency Index is a useful place to start. (Fashion Revolution)
6. What Stitch & Salvage is doing about it
I want my work to be sustainable in the broadest sense — socially, environmentally, and artistically. That means:
- I price work so I can pay myself and anyone I collaborate with fairly.
- I use reclaimed materials where possible.
- I make small, intentional runs and offer custom commissions for people ready to invest.
- I teach sashiko because repair culture scales through skills, not guilt.
If you’re curious about commissioning a custom piece, joining a workshop, or trying a small Sashiko patch of your own, sign up for the mailing list. That’s where I share workshop dates, custom openings, and honest conversations about craft.