Appreciation, not Appropriation: Cultural Inclusivity in the Spotlight

The concept of inclusivity and diversity in the world of fashion is one that is constantly being refined. What someone may consider diverse may not encapsulate the facets of society that others feel need to be represented. Whether it be merely a box that needs to be checked off or a strategic plan to create a certain aesthetic, diversity and inclusion in aspects such as race, body size, gender, and opinions are coming into question as more people have the power to challenge them. For example, “Earlier this year, Gucci was criticized for putting turbans on white models. Many Sikhs condemned the move as a huge sign of disrespect, pointing out that the turban is a symbol of faith, not a fashion accessory” (Independent). While companies and brands such as Gucci take steps to create a truly diverse atmosphere and culture, they also need to be aware of the line that is cultural appropriation, and the way that they are able to maneuver around these issues is what truly can set them apart in an era that is hyper-aware of diversity and culture.

Gucci received considerable backlash upon releasing a balaclava knit during Black History Month in 2018 due to its resemblance to blackface, which is widely considered a racist caricature due to its history of being used in crude stereotypes of black people in the United States. (Source: The Guardian)

Research and surveys show that inclusion and diversity practices of retailers play a big role in the way that millennials are choosing to spend their money. This suggests that there is a strong correlation between what consumers want and how much diversity and inclusion are valued by the brand. An Accenture survey shows that “54% of younger millennials surveyed believe that retailers have a responsibility and duty toward addressing wider social and political issues with regards to diversity.” High-profile figures and influencers are major players in driving the movement forward and bringing awareness to the issue; instead of negatively shaming the lack of diversity, these strategies paired with social media platforms can emphasize the importance in straying away from stereotypical societal views. 

“Research and surveys show that inclusion and diversity practices of retailers play a big role in the way that millennials are choosing to spend their money.”

For example, Victoria’s Secret has been under the knife multiple times for its lack of diversity; Cosmopolitan adds that “while last year’s show was labelled ‘more diverse than ever,’ with almost half of the models being of black, Asian, or Hispanic descent, not one of the 52 models was plus-size.” However, other brands have made strides in being more inclusive and aware of the population: Revlon and Fenty Beauty have launched palettes that cater to more diverse shades of skin color to reach a wider and more inclusive audience, both satisfying the consumers as well as generating more revenue from a larger consumer base. 

Runway models have also spoken out about the issue and are excited about the future of fashion now that there is more awareness surrounding the need to include more ethnicities, skin colors, and other aspects of culture. Halima Aden, the first hijabi model on the cover of Vogue, says that “the most important thing is that we continue having this conversation and invite models to contribute to the industry in other ways too… It’s so great when models can do more, have a voice, and talk about important things. I think that’s the next step for fashion” (Vogue). Aden, along with other women that challenged the status quo such as Luc Bruyere, a handicapped model, and Stav Strashko, the first transgender woman in the history of Isreali cinema, have voiced the impact that inclusion and diversity have on society and the fruit it will bear on the path towards fostering more cultural heterogeneity. 

While applauding the strides made in including more cultures, there is an important caveat to this change in direction: as many firms look towards bringing in diversity into media and ads, it has also stimulated conversations around cultural appropriation.  The Oxford English Dictionary defines “cultural appropriation” as the unacknowledged or inappropriate adoption of aspects of a society by members of another and typically more dominant society. This raises a lot of questions regarding the terms being used, as well as the underlying assumption that there is a hierarchy when it comes to different societies. What standards are used in measuring the dominance of one society versus another? 

“While applauding the strides made in including more cultures, there is an important caveat to this change in direction: as many firms look towards bringing in diversity into media and ads, it has also stimulated conversations around cultural appropriation.”

There are three examples lately in the world of high fashion where brands have been under fire for being insensitive and appropriating other cultures. In 2018, Dolce & Gabbana faced backlash for appropriating elements of Chinese culture; in 2019, Gucci was accused of using blackface; and this year, Commes Des Garcons was criticized for using cornrows on white models (BBC). However, many brands have seen and felt the influence of social media on how they market themselves. One of the ways that these brands have reacted is by educating and appointing diversity councils that can focus on recruiting a diverse selection of models, understanding what kind of story they want to tell in runway collections, and considering how the audience would receive it. Dr. Royce Mahawatte, a Senior Lecturer in Cultural Studies at Central St. Martins, says, “rather than drawing a line, we can look at the innovation that young designers, image makers, and fashion writers, many of whom are non-white are bringing to the scene. If individuals want to wear clothes that knowingly hark back to colonial oppression, no one will stop them but they might expect to be asked about what they were thinking.” 

But companies still remain defensive about their use of cultural symbols and icons in their models, demonstrating the problem with emerging preferences towards diverse representation with traditional leadership. For example, “Marc Jacobs used dreadlocks on mainly white models only— the designer responded: ‘[To] all who cry “cultural appropriation” or whatever nonsense about any race or skin colour wearing their hair in any particular style or manner— funny how you don’t criticize women of colour for straightening their hair.’” The argument presented here is that cultural appropriation is only called as such when a perceived minority group's culture is being borrowed, but when the perceived dominant group’s culture is being borrowed, there seems to be no backlash. The problem, therefore, that makes a certain act cultural appropriation rather than cultural celebration is that the items that represent the culture are used as fashion accessories “rather than as a celebration of the culture.” 

Ultimately, what companies and brands need to be aware of is the very fine line between diversity and cultural appropriation. This requires something much more than just including a colored model in the runways or reproducing a certain article of clothing from a culture. While it may not be intentional, these can lead to accusations of cultural appropriation. What is needed in the process of introducing an inclusive runway group or a line of fashion apparel is respect and appreciation for the beauty of the culture.