"This rethinking of disposability has an anti-capitalist appeal, as does thinking of oneself as someone who is not only, always, a consumer in search of the next purchase."

"But in the same way that making sustainable clothing purchases is a privilege many cannot afford, [visible mending] is a privilege to have the resources needed not only to mend something but also to take the time to make it beautiful. It is also a privilege to feel comfortable wearing clothes that are visibly worn, however beautiful the repair. We need to be careful not to romanticize the history of mending, a craft that has grown out of necessity. Miho Takeuchi, a traditional sashiko instructor and designer born in Japan and based in the United States, tells me via email that sashiko, which developed in poor communities in Japan’s Edo period, 'was born from the necessity of mending and patching garments, beddings and household items. In ancient days, clothing and bedding were made from homespun fabrics woven from native fibrous plants such as wisteria and hemp and necessity demanded that this clothing be recycled for as long as possible.' It was only later, she tells me, that the technique evolved to include the elaborate surface-level designs and intricate patterns popular with visible menders today."

From "Instead of hiding rips and tears, the visible mending movement turns them into art/Born from the Japanese art of sashiko, visible mending enables crafters to eschew fast fashion and make mistakes beautiful" (Vox). Some photographs of the handiwork at the link.