The Art of Appropriation: When Fashion Borrows Without Paying Tribute
Cultural appropriation is a complex and controversial concept that has become central to contemporary debates on fashion and ethics. Emerging from postcolonial studies in the 1970s, it refers to the use of cultural elements from marginalized groups by a dominant group, often without acknowledgment, consultation, or compensation. This practice is rooted in a historical context marked by colonization and unequal power dynamics. Khémaïs Ben Lakhdar, fashion historian and author of Cultural Appropriation: History, Domination, and Creation, emphasizes that this dynamic is not merely a creative borrowing but a systemic process of decontextualization and re-semantization, stripping marginalized cultures of their voice and heritage.
In the fashion industry, cultural appropriation is particularly evident due to the global reach and symbolic power of clothing. Since the 19th century, when Parisian haute couture developed alongside colonial expansion, clothing has been used as a tool of cultural domination. In the colonies, dressing local populations according to Western standards was seen as a way to 'civilize' these peoples, while Westerners freely adopted elements of these cultures for their exotic appeal or personal whimsy. This colonial legacy persists in contemporary practices, as evidenced by numerous recent examples. In 2018, Gucci faced criticism for marketing a Sikh turban as a fashion accessory, stripping this religious item of its meaning. Similarly, Louis Vuitton incorporated traditional Romanian embroidery into a tropical-themed advertising campaign, decontextualizing its significance and origin. In 2012, Victoria’s Secret used sacred Native American headdresses during a lingerie fashion show, reducing these spiritual symbols to decorative objects.
These practices reflect a recurring pattern in which the cultural traditions of marginalized groups are exploited as aesthetic resources, often without any benefit to the communities involved. As James O. Young explains in Cultural Appropriation and the Arts (2010), this dynamic perpetuates economic and symbolic inequalities. Fashion thus becomes a tool of domination, where non-Western cultures are reduced to mere decorative motifs, while profits flow to major fashion houses. Khémaïs Ben Lakhdar describes this phenomenon as a true 're-semantization,' where cultural elements are stripped of their original meaning to fit Western tastes.
Social media has played a significant role in exposing and criticizing these practices. It has amplified voices long marginalized and democratized the debate around cultural appropriation. Campaigns such as those by Victoria’s Secret or Gucci have sparked waves of online outrage, forcing brands to respond. However, these discussions often remain superficial, focusing on questions like 'Can I wear a boubou if I’m not African?' or 'Is it racist to wear dreadlocks?' While relevant, these inquiries overshadow the systemic nature of cultural appropriation, rooted in historical and economic power dynamics.
A particularly illustrative example is streetwear. Born from African American and Latino cultures in the 1980s, this style was initially an expression of social resistance and class identity. It was quickly co-opted by the luxury industry. Dick Hebdige, in Subculture: The Meaning of Style (1979), describes how subcultures see their stylistic codes adopted by elites, stripping them of their original significance. Today, brands like Supreme and Yeezy, alongside houses like Chanel and Louis Vuitton, incorporate streetwear into their collections, turning this symbol of defiance into a commodity for dominant classes. This appropriation reflects a broader trend where popular styles, often associated with marginalized communities, are adopted without acknowledgment of their origins.
In response to growing criticism, some brands attempt to present themselves as ethical through initiatives like collaborations with local artisans or promotional videos showcasing traditional craftsmanship. However, these efforts are often seen as superficial. Ben Lakhdar notably highlights the cynicism of such campaigns: 'Showing a Mexican embroiderer in a corporate video does not decolonize fashion. These initiatives often mask the ongoing exploitation of power dynamics.' True decolonization of fashion requires systemic reform across all aspects of the industry, from design to production.
To move beyond mere aesthetics, Ben Lakhdar proposes several avenues. It is crucial to rethink the creative process by incorporating historical and cultural context into mood boards and inspirations. Collaborations must be authentic, ensuring fair compensation and active participation from the communities involved. Redistributing profits is essential: the revenue generated from creations inspired by marginalized cultures should partly benefit these communities. Finally, consumers must be educated about the exploitative dynamics underlying cultural appropriation, encouraging support for brands committed to ethical practices.
Decolonizing fashion is not limited to diversifying casting or incorporating cultural references into collections. It involves acknowledging and dismantling the power structures embedded in the industry's history and operations. As Ben Lakhdar emphasizes, 'Fashion must move beyond symbolic gestures and commit to profound transformation.' Cultural appropriation, far from being a mere controversy, reveals the structural inequalities that permeate our societies. Transforming fashion into a space of respect and cultural exchange is not only an ethical imperative but also an opportunity to redefine the industry in an era of diversity and global awareness.