Exports of Textiles, Clothing, and Ready-Made Garments (RMG) Accounted for 77% of Bangladesh’s Total Merchandise Exports in 2002

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By 2005 the ready-made garments (RMG) industry was the only multibillion-dollar manufacturing and export industry in Bangladesh, accounting for 75 per cent of the country's earnings in that year.

Bangladesh's export trade is now dominated by the ready-made garments (RMG) industry.

In 2012 Bangladesh’s garment exports – mainly to the US and Europe – made up nearly 80% of the country’s export income.

By 2014 RMG represented 81.13 percent of Bangladesh's total export.

The most prevalent and influential aspect of women’s embroidery digitizing clothing in ancient times is the huipil, which is still prominent in Guatemalan and Mexican culturetoday.

The huipil is a loose rectangular garment with a hole in the middle for the head made from lightweight sheer cotton.

The huipil is usually white with colorful cross-stripping and zigzag designs woven into the cloth using the brocade technique still commonly used today.

The huipil could be worn loose or tucked into a skirt; this depends on the varying lengths of the huipil.

Huipils were important displaying one’s religion and tribal affiliation.

Different communities tended to have different digitizing designs, colors, lengths as well as particular huipils for ceremonial purposes.

It was uncommon and often disgraceful to wear a huipil design from another community within one’s village; although, it was a sign of respect to wear a community’s huipil when visiting another village.

Although, women were not just limited to their community’s design.

Instead the design offered an outline for what women were required to have and within the community design women were allowed creativity to make theirs different from others often to express praise to different kiuggkes animals around the collar.

The term fiber art came into use by curators and art historians to describe the work of the artist-craftsman following World War II.

Those years saw a sharp increase in the design and production of "art fabric."

In the 1950s, as the contributions of craft artists became more recognized—not just in fiber but in clay and other media—an increasing number of weavers began binding fibers into nonfunctional forms as works of art.