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Inside The Dodgy World Of Dropshipping On Depop
I’m scrolling through Depop when I’m hit with an overwhelming sense of déjà vu. I’m certain I’ve seen these cow print, Docs-esque boots somewhere else online. A quick reverse Google image search and I’ve cracked the case: I’ve seen these exact shoes before on AliExpress. AliExpress, part of tech company Alibaba Group, is a Chinese e-commerce site which sells cheap, mass-produced goods. You can get nearly anything on the site, from kitchen tongs shaped like cat paws to plush avocado keyrings, but the platform is arguably best known for its touting of fast fashion. With prices even lower than those on sites like PrettyLittleThing and Boohoo (this generic-looking ruched dress is a staggeringly cheap £2.28), it’s easy to see why so many people are drawn to AliExpress. And because of its eye-wateringly low prices, AliExpress is not only a popular destination for trend-hungry buyers; it’s also a go-to for Depop sellers looking to make a quick buck through dropshipping. Dropshipping is a simple concept. The dropshipper will sniff out a trend, find a corresponding product from a site like AliExpress (Shein, Wish and ROMWE are other popular options), then create a listing for the item they’re selling – usually for a drastically marked up price. For example: on AliExpress, those cow print boots are listed at £17.36, yet on the listing I saw, they were £42. Dropshipping is a simple concept. The dropshipper will sniff out a trend, find a corresponding product from a site like AliExpress, then create a listing for the item they’re selling – usually for a drastically marked up price. When dropshippers get a buyer, they simply send the product directly to them from the wholesale site. They never even see or handle the items that they’re flogging; as Sirin Kale put it for Wired, a dropshipper is simply “the middleman in a globalised supply chain”. Although the practice is banned on Depop for ethical reasons, that doesn’t mean the app is totally free from dropshippers. I message the seller of the £42 boots and ask where she sources her items – specifically, if the boots are from AliExpress or a similar site. She replies almost instantly: “I can’t tell people about all my suppliers, it’s taken me years to find ethical suppliers. I wouldn’t have a business anymore if I let people know my suppliers.” I tell her not to worry and press on with asking her about her thoughts on sustainability instead. She stops replying. While on the surface, dropshipping seems harmless enough – many justify it by arguing that buyers do ultimately receive the item as advertised, after purchasing it at an agreed price – it’s an incredibly insidious practice, especially when it takes place on Depop. Ordinarily, there’s an onus on the consumer to resist buying into fast fashion but dropshipping complicates this. What happens when the consumer thinks they’re buying ethically? Maddy, 19, is a Depop user based in Manchester. She bought a ‘voting is hot’ T-shirt off a Depop seller for £20, only to find the same item listed on AliExpress for £2.11. “I figured this out when I looked up the original brand [the design is from independent business, Denimcratic] and found replicas on AliExpress,” Maddy says. “It was cleverly done because the Depop listing I bought from did not specify a certain brand.” “It’s one thing to increase the price of an item for profit when you’ve clearly stated the brand and its condition but it’s another thing to be disingenuous and dishonest about where the item is from,” she continues. “I understand why people are compelled to do this – the seller stated that she started doing it for economic reasons – but personally I’m just convinced that it is very unethical to do this on an app that encourages stepping away from fast fashion.” This is ultimately why, in March 2020, Depop took a stand and banned dropshipping from the app, with revised guidelines stating that the practice clashes with its values of “quality, creativity and sustainability”. Fabian Koenig, vice president of trust and safety at Depop, told Refinery29 that they are continuing to root out dropshippers on the platform by using “a combination of manual and automated enforcement” and taking action on all user reports that they receive. With this in mind, users like Maddy might reasonably assume that a purchase on sustainability-focused Depop is, by default, an ethical purchase. But this isn’t always the case. Dropshipping puts money back into fast fashion – an industry which is responsible for 8% of all carbon emissions and 20% of global water waste. Retailers like AliExpress tout the very worst kind of fast fashion too, because when dresses and jackets cost £2, it raises serious questions about whether the workers producing these items are being treated fairly. Given that 93% of fast fashion brands aren’t paying garment workers a living wage, it doesn’t seem likely. Dropshipping is also hugely detrimental to small Depop businesses like Jazzy Garms. Twenty-two-year-old Jazmin is the Bristol-based seller behind the festival and rave clothing brand. “Everything’s handmade to order and we’re as ethical and sustainable as we can be,” she tells me. Jazmin explains that her fledgling business has run into serious problems due to dropshipping on Depop, with one of her designs being stolen by an AliExpress manufacturer. “A few months ago I had a pair of my butterfly reflective flares ripped off on AliExpress. They just took all of my pictures from my photoshoot and mass-produced this awful copy of my trousers,” she says. “There was basically nothing I could do.” Dropshipping puts money back into fast fashion – an industry which is responsible for 8% of all carbon emissions and 20% of global water waste. A few weeks later, the situation got worse for Jazmin when she saw Depop dropshippers begin to sell the AliExpress version of her trousers – priced on her shop at £59 – for as little as £13. “I messaged the sellers to take them down. I expected them to understand … but they actually did the opposite,” she recalls. “They basically didn’t care at all. They were like, ‘You should have copyrighted the design, it’s not my fault your design got copied.’ And they just didn’t take it down.” Fortunately, Jazmin has since managed to regain control of her design after registering it in the UK. “Now I have all the paperwork which makes it illegal to sell it, so whenever it pops up now I can just message the seller and legally they have to take it down,” she says. “But it’s just a bit of a nightmare, really.” Amber, who lives in Devon, is another Depop seller who’s had to contend with dropshippers on the app. But she says she understands the allure of flogging overpriced tat from AliExpress, as she used to do this herself. Amber’s shop took off as she grew savvier. “I would scroll through Instagram and save pictures of people wearing jewellery that I thought was trending, then I would try and find a version of that online. Or on AliExpress you can post a picture of an item and suppliers can contact you and offer to make it for you,” she explains. “So, if you wanted to, you could basically rip off any design you wanted.” It seems likely that this is what happened to Jazmin and her butterfly-patterned flares. “I thought, This is really easy. Selling jewellery and making lots of money out of it seemed like such a great idea. Like, how could you go wrong? How could this be bad?” Amber continues. “I don’t think dropshippers realise the ethics of what they’re doing, because I never did.” Things clicked into place for Amber after she read an article about child slavery in the Democratic Republic of the Congo. “I had that realisation of, like, Oh, this is what they mean when they say unethical,” she says. After reading up on the sweatshops behind fast fashion brands, Amber vowed to stop selling goods from AliExpress. “After that I definitely thought, I don’t want anything to do with this, there’s no way this is ethical in any sense.” Dropshippers are so far removed from the human consequences of their actions – especially since they never even handle the items they’re selling – that it’s easy to see why so many continue with it despite its dodgy reputation. It’s hard to see the true cost of dropshipping when you’re firing off orders from your bedroom, sweatshops out of sight and out of mind. But that’s still no excuse. Happily, Depop is continuing to crack down on dropshipping. “We are continually investing in building an even stronger Trust & Safety team, developing the right technology and tooling to detect and remove dropshipped items better and faster from the platform,” Koenig stresses. It’s clear that Depop dropshippers’ days are numbered. In the meantime, dropshippers shouldn’t skirt around or ignore difficult questions like the seller of those £42 cow print boots (whose listing, thankfully, has now been taken down by Depop). They should face up to reality and make the necessary changes – just like Amber did. Like what you see? How about some more R29 goodness, right here?
an hour ago
Refinery 29 UK
I Tried DIY Boho Locs & This Is What I Thought
There are not many hairstyles I wouldn’t try. I’ve had weaves, braids, twist outs and wigs; I’ve worn my hair natural. But since hair salons have been closed for over a year, I have been forced, along with other Black women, to take matters into my own hands. Last year I gave myself a Big Chop followed by a DIY balayage and, miraculously, I didn’t ruin my hair. So this time around I’ve decided to go bigger: DIY Boho Locs. Boho Locs was founded back in 2016 by British entrepreneur Lulu Pierre after a Brazilian blowout “murdered” her natural hair, leaving it so damaged that she had no other option but to put it in a protective style. Lulu decided to install individual faux locs but the first attempt took her three days to complete. She then tried crochet locs but didn’t like the ones available because they were too springy, too shiny, too heavy or too uniform. So Lulu created her own crochet loc and customised it to make each one unique. At first she created the locs for herself but they later blew up on Instagram. Now the brand has over eight collections, more than 80 products to choose from and prides itself – like Unbothered – on being made by Black women, for Black women. When I discovered Boho Locs on Instagram, I instantly fell in love with the Iced Latte Boho Mermaid Locs, a 22-inch pre-looped loc and wave mix with touches of dirty and platinum blondes mixed with brown tones and sun-kissed blondes. Each pack costs £132 and includes 120 22-inch Goddess Locs and 20 strands of Mermaid Hair, which are all made from synthetic hair that can be reused, washed and worn for up to 12 weeks. The pack doesn’t come with a crochet needle, however, so I had to order one from Amazon for £4. Before I cracked on with the install, I watched Lulu’s in-depth YouTube tutorial on how to layer and double wrap the individual locs onto my hair. In the 11-minute video, Lulu made it look super easy and according to her, these locs cut the time you’d spend in a salon chair by four hours. I had to cainrow my hair before installing the locs. Disclaimer: I had to ask my friend to cainrow my hair because, unfortunately, I am one of those Black girls who never learned to cainrow my hair growing up. I know there are a few of you out there and I stand in solidarity with you. Once my hair was all in cainrow, I started the install. At first it was hard to understand how to loop each loc onto my hair but once I managed the first few, I got the hang of it. It was similar to knitting, and obviously crocheting, and before I knew it, I had added most of the locs to my hair. My cainrow was perfectly hidden underneath my locs, there was no pull and it looked absolutely stunning. The front part was the hardest because I have fine, 3C curly hair, which meant that I didn’t have a lot of hair to braid and therefore loop onto the loc. I wanted to try Lulu’s technique for the front, in which she splits a loc to wrap around the braid, but I couldn’t work it out. So I looped the loc around my braid and then tucked the remainder of my hair inside the loc. The whole install took the same amount of time as watching Judas and the Black Messiah, which is unbelievable considering I would usually sit in a salon chair for eight hours and spend upward of £400. For £132 (plus £4 for the crochet needle), I’m really, really pleased with the results. I have a whole head of faux locs that look gorgeous and can be styled multiple times and it’s a protective style for my natural curls. The locs don’t weigh down my edges, they look surprisingly natural and they have been designed with Black women in mind. I’m really surprised at how easy they were to install from the comfort of my home and I can’t wait to rock my locs throughout the summer. Refinery29’s selection is purely editorial and independently chosen – we only feature items we love! As part of our business model we do work with affiliates; if you directly purchase something from a link on this article, we may earn a small amount of commission. Transparency is important to us, if you have any questions please reach out to us. Like what you see? How about some more R29 goodness, right here?I Did My Own Balayage & Transformed My HairWhy I Gave Myself The Big Chop In Lockdown8 Butterfly Loc Looks We Love
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Phoebe Waller-Bridge Just Joined An Iconic Action Franchise
The rise of Phoebe Waller-Bridge continues with news that the Fleabag creator has been cast in an iconic action franchise. Disney has announced that she will star opposite Harrison Ford in the new Indiana Jones movie, which is due to start shooting this year. It’s the first film in the series since 2008’s Indiana Jones and the Crystal Skull. In the same announcement, Disney confirmed that legendary film composer John Williams will be scoring the movie, which is being executive produced by Steven Spielberg, Kathleen Kennedy and Frank Marshall. “I’m thrilled to be starting a new adventure, collaborating with a dream team of all-time great filmmakers,” said the film’s director James Mangold. “Steven, Harrison, Kathy, Frank, and John are all artistic heroes of mine. When you add Phoebe, a dazzling actor, brilliant creative voice and the chemistry she will undoubtedly bring to our set, I can’t help but feel as lucky as Indiana Jones himself.” Waller-Bridge, who won numerous awards for writing, creating and starring in Fleabag and serving as showrunner on the first season of Killing Eve, has also contributed to another iconic film franchise. She has co-written the script to upcoming Bond movie No Time to Die, which after several delays is now due to open on 30th September. Speaking about her contributions to the movie in 2019, Waller-Bridge has she has added “little spices” to the script. “They were just looking for tweaks across a few of the characters and a few of the storylines,” she told the BBC. She also made it clear that she will ensure the film’s female characters “feel like real people”. Like what you see? How about some more R29 goodness, right here?
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Refinery 29 UK
This Is The Age At Which Women Reach “Peak Earnings”
Women in the UK hit “peak earnings” four years earlier than men, according to new research. Whereas on average, women can expect to command their highest salary at age 40, men do so at age 44. In Women’s average salaries are higher then men’s at age 21, the research by Totaljobs found, but from this point on men’s average earnings outstrip women’s. In time, men’s “peak earnings” will be more than £8,000 higher on average. This is no surprise given that women’s career prospects are more likely to be adversely affected by childcare costs and an inability to access the flexible working arrangements that can help working parents to thrive. “An individual’s ‘peak’ is heavily influenced by a combination of factors, such as gender, region, age, education, and experience,” said Jon Wilson of Totaljobs. “Finding the balance between achieving the right salary at the right time for personal priorities can be a real challenge, and workers are often navigating salary negotiation without really knowing what is fair and what they are worth.” The research also found that women’s pay rises are, on average, nearly £500 lower than those awarded to men. Since 2017, companies with 250 employees or more have been legally required to report their gender pay gap – the difference in earnings between their male and female staff members. To help even the playing field, Totaljobs’ Jon Wilson called for “more transparency” in the workplace when it comes to discussing salary expectations, bonuses and earning potential. “This is particularly important for women, who, as our data shows, are experiencing sizeable pay gaps and peak earnings faring far below that of men,” Wilson added. “The only way out of this longstanding issue is for businesses to truly commit to measures such as equal pay audits, transparency on pay and bonuses, and the removal of any biases that can impact an individual’s chances of a successful career path and higher wages.” You can get an idea of what your “peak earnings’ might be by trying out Totaljobs’ Peak Earnings Predictor. Like what you see? How about some more R29 goodness, right here?This Is How Many Students Are In Rent DebtMoney Diary: A 25-Year-Old In New Zealand On 31kYoung Women In Big Debt
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DMX’s Death Has Exposed The Insensitivity That Still Surrounds Substance Use
The hip hop community and fans worldwide have been reeling since news broke Friday (April 2) that DMX, born Earl Simmons, had been hospitalised because of a drug overdose. A week later, The Associated Press confirms that the rapper has passed away at 50. While many fans, peers, and media outlets had offered hopeful messages for a full recovery, there was an overwhelming display of other insensitive sentiments surrounding the rapper’s substance use. In the past week, the Twitter community commemorated the rapper’s life and work with fans recalling their favourite memories of the artist and the high points of his career, one that is to be admired. But I also saw tweets (which have since been deleted) that blamed DMX’s overdose on a lack of self-control, without having any context to support these claims. While it is easy, lazy and in poor taste to make “crackhead” jokes or poke fun at people who are very clearly navigating their relationships with substances when videos surface on social media, it does nothing to foster a climate of care for individuals, families and communities who have been impacted by this issue, especially regarding the language we use. However, this tragedy involving one of the most famous and beloved rappers of the 2000s is providing an opportunity to shift how audiences and the media engage with substance use, mental health, and the complications that arise with celebrity visibility. Throughout his tenure, the artist known as DMX has collected several public accolades: he’s had many chart topping albums like his debut It’s Dark and Hell Is Hot and the four following studio albums. His chops as a thespian were on full display in major budget films like Belly and Romeo Must Die. Additionally, he was a founding member of Ruff Ryders, a collective and label that was an integral part of propelling hip hop culture and music to the mainstream. These accomplishments crystallised the artist as a force to be reckoned with both within and outside of hip hop. Not many artists can boast that their first five albums debuted at number one and that they’ve gone platinum while balancing an acting career that garnered leading roles in blockbuster films. No matter how you look at it, DMX was a rap legend. But in the same way that his wins were public, so was his substance usage. DMX has spoken candidly about navigating his struggles. Most recently, in a November 2020 interview as a guest on Talib Kweli’s The People’s Party, he shared that at 14 years old, he was offered a blunt which he later found out was laced with crack. This incident, DMX says, is when “a monster was born” and his battle with addiction started. No matter how you look at it, DMX was a rap legend. But in the same way that his wins were public, so was his substance usage. While his interactions with substance use are both public and storied, the language that surrounds his usage, and many other people like him, tends to be callous and apathetic. “Since DMX’s situation has come to light, I think people have tread a bit more carefully in the sense that DMX is obviously a very beloved musical figure and a lot of us have deep sentiment attached to him and his music, but I don’t think the ways that they’re talking about it reflect a deeper and seeming respect for drug users in general,” Baltimore-based harm reduction worker Lex Wilson tells R29Unbothered. “The things they’re saying don’t reveal deeper respect for people who use substances, people who have chaotic relationships with substances or people who experience or have experienced addiction.” Because of their visibility, it may be easier for some people to extend grace to public figures. Social media has collapsed the space and distance between fans, celebrities and their public and private lives so there’s a level of access and surveillance (even if consensual) that we’ve not been granted in the past. Given the digital age, and the intrusion of gossip blogs, tabloids and paparazzi, we have an abundance of archived data of people navigating their substance usage. When public figures like Demi Lovato, Ben Affleck and Lindsay Lohan have been open about their use in the past, we know that their struggles aren’t exclusive to their status. We also know that fame, mental health and substance use has a long history of being documented in the media, though there seems to be a shift that tilts towards a more sympathetic lens, especially with the recent #FreeBritney movement and the Framing Britney Spears documentary. This turning point is an indication of an attempt to try to right the wrongs of past offensive views when it comes to celebrity and mental health. But what is to be said of people who exist on the fringes of pop culture’s purview and how we discuss them? Wilson provides us with insight on how to change language in our daily conversations. They share, “Addiction is a word I don’t use until other people name it for themselves, so I’ll just say ’chaotic relationship with substances.’’ It’s great that we can look at DMX and can name this as being pretty traumatic and understand how this trauma shapes his experience with substances, but we shouldn’t have to have all that information to extend grace and empathy to people who use drugs. We shouldn’t have to know about someone’s childhood trauma to be respectful to them, to extend care to them,” they say. “These are things we should be doing for drug users regardless of whether they’re prominent social figures, regardless of whether we know all the details of their complex experiences, regardless of whether or not they have been traumatised.” DMX needs grace by virtue of being a human being, by virtue of being a Black person, by virtue of being a substance user and every intersection there is…Lex Wilson Understanding the dynamic that people have between their usage or efforts to regulate it has the ability to shift our tone a great deal. We can then identify who does and does not get captured when the net of empathy is cast. Whitney Houston, even posthumously, is still the brunt of many jokes when videos of her seemingly erratic behaviour reappear on timelines, despite the numerous biopics, reports and accounts that confirm she was having a hard time changing her relationship with substances. “I think that DMX needs the extended grace by virtue of being a human being, by virtue of being a Black person, by virtue of being a substance user and every intersection there is,” Wilson says. “But I will say the amount of grace that we extend to DMX is inextricable from him being like a cis-het man. This sort of grace is not often extended to Black women, Black women who are sex workers, Black women who are fat, Black women who are disabled. There are biases that impact who we extend grace to and who we do that with more often.” Those ‘biases’ are an important addition to an already complicated conversation on the culture of addiction and the legacy of remembrance. As a Black cultural worker and archivist, I often think about the work involved in intentionally documenting culture. It’s important to me for multiple reasons: First, so much of Black history has been undocumented or mis-documented. Secondly, I have a deep desire to make our history and cultural production accessible to generations to come. In order to do so, we must contemplate the methods we employ in remembering, preserving legacies and memorialising places, things and people. With the advent of social media and the closing gap of our proximity to public figures, our conception of “celebrity” seems to be changing. In DMX’s case, he’s had a riotous history with substance usage, and unfortunately allegations of verbal and psychological domestic abuse. It’s important to acknowledge when there are polarising reactions to public figures — especially men — with a history of harmful behaviour. There will be people who want to celebrate their achievements and people who rightfully do not wish to because of the harm these men may have caused. And there shouldn’t be an expectation for those who feel the latter to join in the posthumous celebrations. In the wake of Kobe Bryant’s passing, many people took to social media to celebrate his achievements, but a lot of users called attention to his sexual assault case. While there was a desire to acknowledge his wins, many showed solidarity with survivors and the cause, standing firm in their completely valid convictions. The discomfort that comes with bringing up questions surrounding abuse or the problematic pasts of Black men does not excuse any of us from the conversation. Even when they are rap legends who provided the soundtrack to our childhoods, we should not make concessions for alleged abusers. We should contend with their pasts in a manner that acknowledges the entire scope of their history, which sometimes includes being a perpetrator of harm as well as being a survivor of it. “When you’re painting a composite picture of somebody and talking about people in all the spectrum of experiences they’ve had, it’s important to name that in many ways substance use can be a response to harm and people are often trying to navigate situations,” Wilson says about the act of remembering individuals who navigate substance control. “I like to talk about substance use through the frame of escapism because then we can better interrogate why we are so reticent to accept certain forms of escapism over others. I think a lot of people look at substance use and they’re able to name it as a coping mechanism, and then straight up say that’s bad. I am much more interested in interrogating the conditions that make people want to escape. Why do people keep trying to escape from reality? Maybe we can think about that, systems and biases that make life pretty insufferable like capitalism and white supremacy.” It is no secret that DMX has given fans a wealth of music and memories for a lifetime. Last summer, we were reminded of the energy he so often impared on stage by way of his Verzuz with Snoop. And when his rendition of “Rudolph the Rednosed Reindeer” reemerges on our timelines every year, we happily share it with friends and family alike. We have access to archived videos of his performances at festivals and concerts of the past that we can fall back on for a waft of nostalgia. As DMX transitions into ancestorship, we can and should celebrate his contributions to music and culture while acknowledging his difficult history. If you are struggling with substance abuse, please visit Talk to Frank, call 0300 123 6600, or text 82111 Like what you see? How about some more R29 goodness, right here?Hip Hop Icon DMX Dead At Age 50Ed Sheeran Opens Up About His Substance AbuseTana Mongeau Details Substance Abuse
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