Why fashion brands need to leave cultural appropriation in 2021
by Adele Lefebvre du Prey
Photo by Ayah Bourghli
“Clothes are an integral part of our identities. It’s not just what you wear but why you’re wearing it that matters”, Ayah, 25.
The question of what constitutes identity in 2021 is vast, but it’s clear that some industries have more to gain from understanding it than others.
The fashion industry wouldn’t exist without our fundamental need for self-expression. If clothing choice was purely about cost and practicality, we’d still be wandering around in animal skins or togas.
In that sense, understanding the nuances of identity has always been crucial to fashion brands. But identity has never been so fluid or complex than it is today - particularly when it comes to the cultural and religious aspects of our identities in an increasingly diverse Western population.
Being more inclusive to minority cultures is something all brands should be striving for, but when there are so many factors to consider, it’s perhaps no surprise that some brands are missing the mark.
SELFHOOD member Ayah, 25, referenced Dolce & Gabbana’s attempt to attract wealthy Emirati clientele by launching a range of elaborate Hijabs and Abayas, pointing out that the way the head scarves were worn by the models was incorrect. “I can tell where a Muslim woman comes from by the way her headscarf is wrapped. It’s a signifier and integral part of our heritage and identity.”
Aniqah, 24, felt that the ‘East meets West’ formal wear collection from ASOS was “stealing from our culture” and explained that “embellished long skirts and dresses are passed down through generations and are made of highly personal and intricate designs…significant to the town we are from…they are sacred to my culture”.
These details are vital to get right but easy to miss - at least to a Western eye.
It’s clear that diverse representation should not just be a necessity in the models used but a consideration all the way through the process, from management to designers and marketers. In the case of ASOS, the designer behind the East meets West collection was indeed South Asian himself, but the replacement of the original names of the garments for more palatable Western items (lahenga to skirt, for example) on the website was the oversight that ultimately drew accusations of cultural appropriation.
Whilst this respect for tradition is important, fashion brands also shouldn’t be put off by the fear of getting it wrong. There is still space for creativity and interpretation, and brands have a big role to play in shaping identities too. Nadin, 25, spoke about a blurring of the lines between culture:
“I’m definitely breaking stereotypes. I feel like I've got a unique look…I would say I'm modest, I know the requirements of the Hijab, but I'm not fooling anyone…I'm very honest with myself.”
For brands, getting it right is often more about addressing an unfulfilled need rather than trying to remake something that already exists - with Nike’s modest clothing collection frequently being referenced by the SELFHOOD Collective as a great example of a brand getting it right.
Rather than trying to be part of an existing fashion, Nike addressed a need for athletic wear for both Muslim women and anyone else who chooses to dress modestly. They created a range that could not be found elsewhere. Ayah explained that their position was strengthened by their existing reputation for supporting and showcasing marginalised communities on a global scale - evidence that only those brands truly committed to representation are likely to avoid allegations of performative action.
Creating products for underrepresented cultures in the Western world is not a trend. As diversity is increasingly brought to the forefront of discussion, it will come with an ever-increasing requirement for brands to deep dive into the nuances of minority cultures, before creating ranges to include them rather than appropriate them.