The Hair sash is Often the Only Part of the Traditional Outfit that is Still Locally Woven by Women on a Backstrap Loom

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Starting in 1974 the Multi Fibre Arrangement (MFA) in the North American market ensured that trade in textiles and garments remained the most regulated in the world.

Among other things the MFA set quotas on garments exports from the newly industrialising countries of Asia.

Entrepreneurs from quota-restricted countries like South Korea began "quota hopping" seeking quota-free countries that could become quota-free manufacturing sites.

The export-oriented readymade garment (RMG) industry emerged at this time.

Daewoo of South Korea was an early entrant in Bangladesh, when it established a joint venture in December 27, 1977 with Desh Garments Ltd. making it the first export oriented ready-made embroidery digitizing garment industry in Bangladesh.

After only one year in which 130 Desh supervisors and managers received free training from Daiwoo in production and marketing at Daiwoo's state-of-the-art ready-made garment (RMG) plant in Korea, 115 of the 130 left Desh Garments Ltd. and set up separate private garment export firms or began working for other newly formed export-oriented RMG companies with new garment factories in Bangladesh for much higher salaries than Desh Garments Ltd offered.

Each ethnic group not only has their own way of wearing the hair sash interlaced or wrapped around their long hair, but colours, motifs, widths, and the manner of setting up the loom and incorporating the geometric and figurative designs into the cloth are distinct.

Elaborate hair sashes woven of finer digitizing thread with more complex imagery are worn on special occasions.

The 1960s and 70s brought an international revolution in fiber art.

Beyond weaving, fiber structures were created through knotting, twining, plaiting, coiling, pleating, lashing, and interlacing.

Artists in the United States and Europe explored the qualities of fabric to develop works that could be hung or free standing, "two or three dimensional, flat or volumetric, many stories high or miniature, nonobjective or figurative, and representational or fantasy."

The women's movement of the same era was important in contributing to the rise of fiber art because of the traditional association of women with textiles in the domestic sphere; indeed, many of the most prominent fiber artists are women.