Cultural Appropriation and Fashion: A Digital Literature Review
Introduction
Cultural appropriation is a sensitive topic in the fashion industry. Designers, consumers, and activists all have varying opinions on whether or not cultural appropriation is morally-wrong. Most scholars and journalists agree that cultural appropriation harms historically-disenfranchised people but disagree on the severity of the distress. Cultural appropriation is best defined as “the use of genres, rites and rituals, symbolism, traditional knowledge, artifacts, or technologies pertaining to a community without its permission” (Maiorescu-Murphy 2). The topic of cultural appropriation of BIPOC culture in the fashion industry addresses several issues: the vague definition of cultural appropriation, its harms and benefits, the debate over cultural appreciation vs. cultural appropriation, and solutions to eradicate harmful practices of cultural appropriation.
A male model dons a Sikh turban--a sacred item in this minority group.
Srivastava, Akarshi. “Gucci’s Indy Turban at Milan Fashion Week.” ShilpaAhuja, 21 June 2021, https://shilpaahuja.com/cultural-appropriation-in-fashion/.
The Harm of Cultural Appropriation
The harmful effect of cultural appropriation is widely contested among the sources I have collected. Roxana D. Maiorescu-Murphy states that cultural appropriation “lead[s] to diminished self-esteem and even self-loathing,” due to the stereotypes that arise from it (2). A lack of understanding–-both historical and social–-leads to damaging depictions of a culture; for example, a Marc Jacobs SS17 fashion collection instructed its white models to wear dreadlocks (Bains). After analyzing Jacobs’ show in-depth, Pham declares that Jacobs seeks to, “[improve the] unrefined, unsophisticated, incomplete, and, most crucially, unfashionable racialized form,” that he perceives dreadlocks to be (74). Unfortunately, this message is hardly conducive to the appreciation of black hair textures and hairstyles (Pham 77). Other sources focus on the economic consequences of cultural appropriation. For example, Vézina points out that mega brands and designers borrow Indigenous designs with no thought of repayment (6). Interestingly enough, cultural appropriation can aid historically-disenfranchised designers in selling their clothes to a wider audience, even if individuals do not pertain to a set culture (Socha). Connie Wang, meanwhile, acknowledges that cultural appropriation is harmful to BIPOC due to “Things like power, authenticity, respectfulness, and credit,” however, she notes that it is not always injurious.
Cultural Appropriation vs. Cultural Appreciation
The sources I have collected debate the differences between cultural appropriation and cultural appreciation. According to Dodgson, “the difference between taking advantage [of a culture] and appreciating a culture ultimately comes down to where your heart sits.” To honor a culture one must understand its significance first (Dodgson). Devinder Bains agrees, stating that “A lack of awareness and knowledge surrounding minority groups,” which implies that misinformation and ignorance are the driving force behind acts of appropriation. Summers disagrees with Dodgson and Bains; she does not believe that “postracial inclusion and assimilation,” in the fashion industry is a form of respect (247). This notion of appreciation allows designers to treat black culture as an aesthetic that anyone can take part in (Summers 248). Pham, meanwhile, abandons the terms cultural appreciation and cultural appropriation in her writing, preferring to use the term “racial plagiarism” instead (68). She argues that proponents of cultural appreciation, “give too much weight to the designer’s feelings–-their good intentions,” ignoring the valid concerns of the BIPOC community (Pham 68). However, opponents of cultural appropriation are bombarded with “ridiculous arguments… comparing [Marc] Jacobs’s use of dreadlocks to non-Japanese people eating sushi” (Pham 68). Wang agrees that the term cultural appropriation is not applicable or all-encompassing, specifically in situations where minorities appropriate BIPOC cultures. Though, she argues for the necessity of the term cultural appreciation “to take into account that these forms of exchange might be less hurtful, or more thoughtful” (Wang).
Conclusion
Analyzing cultural appropriation is a difficult task due to the conflicting nature of my sources. The definition of cultural appropriation is quite vague because the meaning of the term differs for everyone. Some sources focus solely on the harm of cultural appropriation, while others muse over its complicated role in the fashion industry. However, all sources agree that cultural appropriation can injure the BIPOC community. There is some disagreement over the meaning of cultural appropriation, whether it harms or benefits, the difference between appropriation and appreciation, and solutions to end malignant forms of appropriation. As a society, we must better understand the term cultural appropriation to resolve injurious behavior in the fashion industry.
A white model walks the runway in a dress that features BIPOC designs.
Rinaldi, Eva. “Camilla.” Wikimedia Commons, 30 Apr. 2012, https://commons.wikimedia.org/wiki/File:Camilla_%286981329566%29.jpg.
Definition of Cultural Appropriation
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The term cultural appropriation is not well-understood, because scholars and journalists tend to have differing viewpoints on the issue. For example, Brigitte Vézina analyzes cultural appropriation from a legal perspective: “Cultural appropriation is a distortion, dilution or misrepresentation of the meaning of a [traditional cultural expression] TCE and a loss of control by its holders over that meaning” (6). She also points out that cultural appropriation “is a manifestation of a power imbalance,” between a dominant culture and a less influential one (Vézina 6). Eric Hatala Matthes agrees that cultural appropriation benefits the dominant culture over historically-disenfranchised people; however, his definition of appropriation goes one step further. Matthes defines cultural appropriation as the “misrepresentation, misuse, and theft of the stories, styles, and material heritage,” by long-standing, privileged individuals (343). This idea of theft is further corroborated by the scholar Minh-Ha T. Pham, who uses the term “racial plagiarism” when describing how fashion designers appropriate elements of black culture (69). Neither Osman Ahmed nor Brandi Thompson Summers defines cultural appropriation, although both sources analyze the impact of this issue in their work.
Marc Jacobs' collection utilizes dreadlocks, a traditional Black hairstyle, as a fashion accessory.
Halliday, Sandra. Marc Jacobs S17 Runway. Trendwalk, 16 Sept. 2016, https://trendwalk.net/2016/09/16/marc-jacobs-cool-but-never-calm-collection-reaches-new-high/.
The Benefits of Cultural Appropriation
One of the strongest arguments made in favor of cultural appropriation is its power to advance fashion. Wang explains the importance of cultural appropriation in uplifting individuals; for example, certain Japanese women appropriate the chola look to resist societal expectations for women. African-Americans also appropriate looks from African countries to reconnect with their heritage-–a heritage that their ancestors were forced to abandon (Wang). Other sources note that cultural appropriation fosters multiculturalism in the fashion industry. Indeed, Ahmed defines cultural appropriation as “an engine that drives culture forward and breaks down borders and divisions, rather than dividing them.” Cultural appropriation in fashion facilitates conversations between individuals of different cultural backgrounds, which works to dismantle stereotypes and further diversity (Ahmed). Lindsay Dodgson's work introduces another interesting idea: cultural appropriation as a form of honor. Perhaps cultural appropriation is essential to our appreciation of other cultures.
Kim Kardashian wears Fulani braids, a Black hairstyle, at a popular award show.
Alexander, Nicole. “Kim Kardashian MTV Movie & TV Awards.” Wikimedia Commons, 1 July 2018, https://commons.wikimedia.org/wiki/File:Kim_Kardashian_MTV_Movie_%26_TV_Awards.png.
Solutions
Experts and journalists have listed possible solutions to lessen the harm of cultural appropriation. Vézina proposes, “Raising awareness through social media or education programs…providing information to both appropriators and holders,” which is a unique take on the issue (15). Bains' suggests that the fashion industry hire BIPOC employees to avoid incidents of cultural appropriation. And yet, a Dior commercial was accused of inappropriately portraying Native American culture, even though it “had been developed in close collaboration with the Americans for Indian Opportunity (AIO), a fifty-year-old advocacy organization” (Maiorescu-Murphy 2). Several sources, overall, concur that it is the responsibility of a fashion designer or brand to give credit to the community he or she appropriates from. Recognition enables the designer to honor the culture and develop a prosperous relationship with its people (Vézina 12). Vézina emphasizes this point, stating that, “Indigenous communities…would like to see themselves associated with those [cultural] elements and not severed from them,” which has occurred in the past (12). An alternative route would be to utilize public policy to counter acts of cultural appropriation; although, Lenard and Balint, co-authors, both note that “even seriously wrongful cultural appropriation [rarely] merit[s] legislative responses to combat it” (347). There are countless solutions that designers and brands can adopt to lessen the harm of cultural appropriation. But it all depends on one's interpretation of the term cultural appropriation.