Blood is the New Black • Since 2004, Blood is the New Black has sought to: 1. Showcase emerging artists in order to aid their careers in the arts. 2. Introduce you to artists you may not have had the opportunity to know about otherwise. Our line encourages the public to explore current art and design trends by prominently featuring the artists’ work on our products. Blood is the New Black designs explore topics that are relevant to those who create them for us. Ranging from love to death, sex, money, social status, nature, God, even the extinction of the Dinosaurs, our shirts are truly walking canvases. In other words, we make art available to all to view and wear. From the shirt design, to the hangtag and neck label on each shirt, we give credit where it’s due, instead of obscuring the talent behind our brand name. And we guess if you really want to get technical, Blood is the New Black serves a third purpose too…To create shirts that look and feel good to wear, we hope you enjoy the result. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Mitra Khayyam • Owner Mitra Khayyam always wanted to be an artist but unfortunately she never really had the skill, even so much as to draw a straight line. Well aware of her limitations, she chose to delve into the fashion industry, focusing on the business end versus the creative. After several years of working in "the industry", she went from being told she'd "never work in this town again" by one of the most prominent fashion photographers to being named one of V Magazine's "Seventeen Most Industrious" in NYC. In 2004, Mitra finally decided to launch Blood is the New Black based on her thesis written a few years earlier. Her intention is use the company to open up talented artists to wider audiences and to allow their art to become available to many in this wearable form. Mitra and Blood is the New Black operate out of sunny Los Angeles, California, USA. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *