ZARA MUHMMAD K1119242

CULTURAL APPROPRIATION IN FASHION 1

An Analysis on the Negative and Positive Aspects of Cultural Appropriation in the
Fashion Industry: Valentino African Themed Spring/Summer Collection 2015 Fashion
Show and Through the Looking Glass Met Gala case studies.

Introduction
There can be a lot of confusion when it comes to cultural appropriation, but culture in
itself is something that is continuously evolving and changing with time. Stuart Hall
defined culture as one of the most difficult concepts in the human and social sciences
and there are many different ways of defining it. In more traditional definitions of the
term, culture is said to embody the best that has been thought and said in society. It is
the sum of the great idea, as represented in the classic work of literature, painting,
music and philosophy the high culture of an age. Belonging to the same frame of
reference, but more modern in its associations, is the use of culture to refer to the
widely distributed forms of popular music, publishing, art, design and literature, or the
activities of leisure time and entertainment, which make up the everyday lives of the
majority of ordinary people what is called the mass culture or the popular culture of
an age (S.Hall, 1997). As Stuart Hall highlighted, culture can be referred to as
different forms, thus due to natural human interaction of different cultures, which
consequently enables people to adopt elements from other cultures, and integrating it
into ones life for personal use, is considered cultural appreciation. However, some
people may feel that this integration without background knowledge of the cultural
meaning becomes cultural appropriation. The concept of appropriation itself as
described by The Oxford English Dictionary, defines appropriation as The making
of a thing private property; taking as ones own or to ones own use. Cultural
appropriation is a very important topic that lacks discussion in todays society,
especially when it comes to race and fashion. This essay aims to depict the negative
and positive aspects of cultural appropriation in the fashion industry by using two
case studies, which are Valentino African Themed Spring/Summer Collection Fashion
Show 2015, and Through the Looking Glass Met Gala.

Valentinos Influence in Fashion

One of Italys finest designers, Valentino Garavani is globally admired and respected
for his romantic red carpet gowns and beyond exquisite couture creations. At eighty,
he still remains a dominant figure in the fashion world, and even though retired at
present, his creative presence still remains a significant figure on his eponymous
designer label. At the tender age of seventeen, Paris is where he pursued his interest in
fashion and later on became a junior apprentice at Jean Desses house of fashion. In
this time he became addicted to sketching at any moment he got, and these sketches
(including those of style icon countess Jacqueline de Ribes), would later on become
his signature designs. After designing Jackie Kennedys wedding dress to marry
Aristotle Onassis, Valentino opened his first shops in Rome and Milan before jet
setting to New York where he spent his time mingling with and designing classy
dresses for famous personalities in the art and fashion worlds. In the mid to late
eighties, Valentino launched his first childrens wear line in addition to a clothing
collection designed specially for young adults named Olivier. His company was sold
in 1998 for $300 million, but Valentino still remains an influential figure and decision
maker much to the delight of the fashion world. As fashion began trending towards
red carpet events showcasing the worlds best dressed, Valentino became popular with
socialites and actresses. In 2008 the world saw its last Valentino fashion show,
highlighting his signature red gowns; even after retiring, Valentino still works on
special commissions, and up to our present time, the company still continues to thrive.
African Fashion & History
African attire continues to thrive and everyone in the fashion industry is taking
advantage of its on-going creativity and success, Valentino fashion house being one.
According to archeological findings, the African cloth production origin has been lost
in time, but early drawings can be seen in some parts of ancient Egypt dating back to
2000 B.C.E. Linen remnants and fifth century cotton were found in northern Sudan,
and woven fiber pieces have been found in West Africa, Nigeria to be precise; this
dates back to the ninth century C.E. In most parts of Africa these materials are used on
a daily basis, especially for traditional ceremonial costumes, for example in Uganda
they design fabric from the inside of fig trees which are then worn for village dances
and other special ceremonial occasions when ancestors are honored. The mud cloth of
Mali and the kuba cloth of the Democratic Republic of Congo are all considered to be
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CULTURAL APPROPRIATION IN FASHION 3
traditional African dress. African clothing is full of distinctive patterns and designs,
as well as bright colors and rich cultural meaning (source, africanstyle.com). These
fabrics are special because they are all hand made quality. Presently, there are four
types of cloth used to make African attire such as: industrial prints, weaves, batiks,
and tie-dyes. The bright colors all represent different meanings to different tribes for
instance; late Zimbabwean author Yvonne Vera who wrote The Voice of Cloth (2008)
explored the presence and purpose of African cloth as structure, metaphor, and object.
In Vera research, she presents findings that the production and consumption of
African cloth are understood to present domestic graphologies; this term, coined by
Vera refers to the unnoticed communication by conventional discourse due to the
domestic, and therefore seemingly inconsequential, materials appropriated to convey
a message. Textiles play a significant role in the articulation of the often silenced
experiences of incest, infanticide, rape and abortion that make up the narratives of
Nehanda (1993), Without a Name (1994), Under the Tongue (1996), Butterfly
Burning (1998) and The Stone Virgins (2002), (jessicahemmings.com). Thus, one
form of dressing cannot represent the entire continent as Valentinos African themed
fashion show suggests.
African Themed Fashion Show 2015
The fashion show was inspired by wild tribal Africa and the collection was viewed
as a journey to the beginning of time and the essential of primitive nature (Twitter),
these words are an uncomfortable use of outdated adjectives, which may come across
as a racist analysis towards African people and their background. After the retirement
of Valentino Garavani in 2008, Maria Grazia Chiuri and Pier Paolo Piccioli (both
creative directors and CEO for the Valentino label) took on the responsibility of
moving the brand forward with time. Together they re-birthed the brand and have
achieved immense, unique success in couture fashion, and have also revived a major
luxury label by turning it into a leading force in creating ready-to-wear couture and
accessories. This dynamic duo continue to raise the bar at fashions highest level, and
have gained international success and recognition from their entertaining runway
shows. However, the African themed 2015 fashion show sparked controversy and the
designer duo were accused of cultural appropriation following a show predominantly
featuring a cast of white models wearing cornrows for hairstyles, and African bongo

drums being played as background music. The show consisted of eighty-seven

different looks, and only eight of those were given to black models. All the elements
of African inspiration were typically incorporated into the show, from raffia, Kikuyu
textiles, belts designed from African trade beads, to bone necklaces, embroidery and
embellishment, not forgetting feathers, fringing and dreadlock hairstyles to
accompany the cornrolls.

Was the casting of predominantly white models intentional to cause outrage

amongst people in society? Or was it an unintentional (carried away) mistake
made by the designers?

In an article by Yo Zushi Whats Mine is Yours (2015) he states that many of those
people of minority in the major industries of the world calling out cultural
appropriation of all kinds from clothing and hair to musical genres seem to share
this proprietorial attitude, which insists that culture, by its nature a communally
forged and ever-changing project, should belong to specific peoples and not to all.
As explored in this statement, (and to lessen the blow), Valentino should have made
the entire runway show all about Africa as it was inspired by the continent, which
should have included African models. In supporting of Yo Zushi (2015) statement, he
went on to say, When it comes to great movements in culture, the racial interloper is
not wrong. None of us can, or should, own hip-hop, cornrows, or the right to wear a
kimono.
Lack of Diversity
The fashion industry is notoriously known for lack of diversity in their runway shows,
magazine covers and advertising campaigns. At the Autumn/Winter 2015 shows
staged across the worlds four major fashion capitals, eighty percent of the models
that walked the runway were white. This was an improvement over the
Spring/Summer 2015 season, but only by three percentage points
(businessoffashion.com). Unfortunately, cultural appropriation is a growing problem
in fashion that does not seem to be changing much for the better. In Valentinos entire
show there were known only to have ten black people in the entire production
including the models. Most people do not like discussing the key issues of cultural
appropriation, but instead use ignorance as a cover up excuse.

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In spite of this lack of diversity, a lot of articles that openly discuss cultural
appropriation in the fashion industry are now being published and garnering media
attention, which shows that people are pushing for change. Whether people want to
acknowledge and adhere to positive change is a different matter entirely. Valentino
could argue that using only a handful of black models for the show is not to
downgrade them but to act as a (saving the best for last) or preserving their
uniqueness without the threat of overuse;

But would major fashion labels be accepted and successful if they only used
people of color in presentation and international advertising?

Ashish Gupta is one of those new generation designers based in London but born in
India that wants to make a difference when it comes to diversity. His first show was at
London Fashion Week 2004 and has his mainline collections stocked in Brown and
Focus and Selfridges as well as major fashion locations across the globe. Not only has
he made a name for himself with his designs but he also wants his voice heard on the
matter of diversity in the fashion world, which later led him to use all black models in
his 2014 runway show. In his own words he expresses that, Being of none-white
origin myself, I dont think enough is done to promote more diversity in the fashion
industry, at every level of the fashion industry. And I think its all very well having a
token black girl here and there, but I just thought I really want to make a statement
about it. The fact that we are having this conversation means that its an issue. If a
designer has all white girls in their show, nobody says to them what was your
decision behind casting all white girls? Gupta said (english.cntv.cn). Other
designers such as Riccardo Tisci, Tom Ford, Sophie Theallet, Kanye West, Diane Von
Furstenberg and Eckhaus Latta also showcased real diversity in their shows that didnt
hinder their careers; Valentino just wasnt one of them.
Not only did Valentino commit cultural appropriation in the 2015 African Themed
fashion show, they also caused a negative stir in their Spring 2016 Campaign where
white models were styled in non-European garments and blatant cultural looks. The
irony is that the photo shoot was shot in a Maasi village located in Kenyas National
park, the lead hairstylist for the 2016 Spring Campaign, Guido Palau attempted to
soften reduce the negativity by explaining that the clothes have some tribal
inspiration (again the use of the word tribal), so the hair has that feeling as well
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its a bit influenced by the 60s and 70s when girls used to travel and they would
bring back inspiration from other places and cultures, which is kind of an eclectic way
of styling yourself (Vogue Magazine). In this case, it is not only the cornrows that
are a problem but rather the Africans used as backdrops instead of taking part in the
campaign as models. As a fashion campaign it is understandable that Valentino is not
an American brand, but an international fashion house should be aware by now that
after the mistakes of the 2015 African Themed Fashion Show, about how things are
perceived in all places. Discussions of cultural appropriation have come up too many
times for Valentino to be oblivious to the problem. The 2016 Spring campaign
portrays one culture verses another, somewhat like white overtaking black on African
soil, or the white culture being highly glorified while another (the Maasi people) is
criticized.
Numerous publications have expressed their distaste on how the fashion label is
completely insensitive to what it means to culturally appropriate, but by the looks of
Valentinos previous works it seems the aesthetics of the label is not going to change
as time moves forward. At this point it is only fair to say that Valentino is being
willfully ignorant. Firstly, by appropriating a hairstyle that came from the African
people and coming out with a budget imitation, secondly, by undermining a sacred
cultural practice of the Maasi by using it as a backdrop for designs that do not look
like they were inspired by the Maasi themselves.

If the people of Kenya and the Maasi dressing supposedly inspired Valentino,
why then did they not use the Maasias as models for the campaign instead of
the white models?

This question is also directed to the 2015 African Themed Fashion Show where
almost no black models were used for the entire production. If Valentino has used
cultural appropriation twice in two different shows with similar themes, then their
intentions are to please a certain demographic by ignoring the fact of stealing
another cultures dress code and not giving credit where its due. In the 2016
Campaign (also African themed), there is at least one black model out of a sea of
white models wearing African Bantu knots in her hair; again Valentino, not learning a
lesson from previous backlash; Valentinos creative hairstylists could have used
different hairstyles to complement the models instead of forcing cultural looks that

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look somewhat odd visually. But then the fashion label can argue that they are
appreciating and not appropriating. In other words, fashion brands such as Valentino
can culturally appropriate African culture but refuse to employ African models for
major photo shoots and runway shows, but instead displays them in the background as
props and backdrops. It is understandable that it is not Valentinos responsibility to
educate people on other cultures, but if theyre using a certain tribe and their cultural
practices to sell a product, at least take the opportunity to educate your target market
on the tribe and not just utilize it for a cheap, shallow exhibition.
The Spring 2016 Campaign may come as a surprise to the Kenyan people as the
Maasi culture is viewed as a sacred one, and the Maasias are historically known to be
very protective of their culture, so it is unusual that they allowed themselves to be
depicted in this way. Juxtaposed with the 2015 African Themed Fashion Show, if
Valentino had used Maasi models instead of white American, it would be more along
the lines of art/culture sharing, but this is again deemed as cultural appropriation at its
finest. Valentino previously stated in an online article that they wanted to portray the
African refugees from Africa who came to Italy for a better life in a positive way.

So why then did they not hire (and pay) Maasi people as the main models for
the campaign?

Some will argue that it is definitely not artistic to slap some cornrows and African
attire on predominantly white models which somewhat resemble vultures in a desert,
and the Maasi who rather look like the actual real models. What is even more
ignorantly disturbing is that the Maasi do not wear cornrows but instead have their
heads clean shaven as it is common practice at many cultural rites of passage which
represents a fresh start that is made when one passes through new chapters of life.
Only the Maasi warriors are allowed to wear long hair that is weaved (not cornrowed)
in thin braided strands.
Various Issues & Social Media
Africa the continent (not a country)
Hairstyles for the (Caucasian) models: cornrolls and dreadlocks

Throughout history people of color have contributed a lot towards the fashion industry
but have not received due credit. There are a number of issues regarding Valentinos
African themed fashion show, firstly,
o The term (Africa) meaning the entire continent as a whole and not just a
specific country takes generalizing to another level; so the show represents
everything to do with Africa.
Secondly,
o Many people were enraged with the hairstyles that were used on the white
models i.e. cornrows and dreadlocks.
This is not the first time that the fashion label have used named hairstyles in their
shows; for example in Valentinos January 2015 pre-fall collection campaign the label
came under fire (again) for using cornrows in that show which consequently gave
them social media backlash, thus being accused of cultural appropriation.
Thirdly,
o Handbags and accessories were adorned with tribal-like masks, tribal
necklaces, feather and fringe detailing, and beaded belts, which doesnt fully
speak for the attire worn by Africans in Africa.
However, the majority of the white models used mostly offended people. This is the
response from social media (Twitter): @sdpowell1 Returned from my shower to find
Valentino putting cornrows and dreadlocks in their white models hair.
@Alt_Jennifer Valentinos wild Africa show aka cultural appropriation central.
@Xanattack16 African themed like the continent? With more than 50 countries?
Please tell us more Valentino. @Occhiolismic Valentinos new collection is Africa
inspired yet most of the models walking were white? I expected more from them to
be honest. @rmagia perhaps cornrows on mostly white models couldve been the
first red flag to anyone with eyes on the Valentino team.
Valentinos Response
After sparking an online (backlash) debate on social media, Valentinos response was
to defend its intentions. Even though the clothes that were designed were beautiful,
the fashion label should have been aware that the backlash was viewed as appropriate
and predictable, as cultural appropriation becomes an on going hot topic in the fashion
industry. A tirade of negative tweets were released on Twitter, Valentino then released

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a tweet of a picture of one of only eight black models that was featured in the show on
their Instagram page.

Did they use this picture to show the world that the fashion show actually did
have black models showcasing diversity, and to put a stop to the backlash?

In the fashion labels defense, the creative directors were supposedly thinking deeply
about the African continent in mind and didnt just go on a whim by talking about the
refugee crises in Italy to Vogue magazines (online) Sarah Mower. According to
(Vogue.com) tens of thousands of refugees from Senegal, Nigeria, Eritrea, Mali,
Gambia, and other parts of Africa have been making the dangerous journey across the
Mediterranean to southern Italy; a humanitarian crises Italy has been dealing with by
patrolling the seas, saving survivors, and giving them sanctuary. In referring to this
statement, Valentino created this African themed show to represent these refugee
survivors from Africa in a more positive light; and this is what the Valentino designers
had to say. We probably feel that the greatest privilege in doing our work is that
fashion can give a message. We think every person coming here is an individual, and
we can show that we can improve ourselves by understanding other cultures, said
Chiuri. Piccioli added, the message is tolerance, and the beauty that comes out of
cross-culture expression (Vogue.com). As stated by (Young, 2010) both aesthetic
and ethical arguments have been advanced against the practice of cultural
appropriation of art. One can argue that artworks that are the product of cultural
appropriation are bound to be aesthetic failures. Valentinos African themed fashion
show was not to create cultural appropriation but to enjoy a frivolous and joyful
thing such as the fashion industry. However, that did not stop the show from
appearing in a negative light to the rest of the world due to lack of concrete
knowledge about the African continent as well as racial diversity. The aesthetic
failures of certain artworks may cause them to be wrongly harmful to members of a
culture (Young, 2010).
For the fact that Valentino fashion house has committed cultural appropriation more
than twice in its career, the main point of Valentinos entire empire is obviously to do
with increased recognition and global profit gain; and it is also about culture in every
aspect. For example, from the cultural origin of the product, on to the methods and

cultural practices surrounding the products consumption, in addition to the cultural

capital that involves both the consumer and producer.

Met Gala
The Met Gala, normally called the Met Ball, but formally referred to as the Costume
Institute Gala. It is a major fundraising Gala that is held annually in New York City
for the benefit of the Metropolitan Museum of Arts, and celebrates a theme every year
for the institutes exhibition that runs for months after the opening day. In 2013 the
event was said to have risen up to 9 million dollars and slightly a little more than that
the following year. Those in high society, arts, fashion, film and music are the
attendees for this exclusive event, and are photographed on the famous red carpet,
critiqued and emulated by the press. 1946 was the birth of the Met Gala and since
1995 Anna Wintor (Vogue editor in chief) oversees major aspects of the Gala such as
the prestigious guest-list and the benefit committee. For every year there is a theme
for the Gala and within the event, drinks and cocktails followed by a formal dinner
takes place. The theme for 2014 Met Gala was Charles James: Beyond Fashion, which
was praised for master cutting and highly structured aesthetics. This years theme,
China: Through the Looking Glass, which was all about orientalism and was
organized by Andrew Bolton (American art museum curator) and focused on Chinas
impact on Western fashion throughout the centuries. Not all appropriation by artists
is cultural appropriation. Almost all artists engage in some sort of appropriation in that
they borrow ideas, motifs, plots, technical devices, and so forth from other artists (O.
Young, 2010). The guests are dressed according to the theme, and the institute itself
holds more than forty thousand costumes as well as accessories that represent over
four centuries both for men, women, and even children. Andrew Bolton describes it,
as costumes being infused with fantasy and nostalgia and romance, and what often is
created are a virtual China, a mixing of these anachronistic styles, which results in this
pastiche. What is interesting is how complicit China has been in forming those
fantasies (honisoit.com).
Met Gala and Positive Cultural Appropriation

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Unlike Valentinos African themed appropriation disaster, the 2015 Met Gala was not
an oriental mess. Society is becoming more aware of the negative side to cultural
appropriation so the western designers were able to respect the theme without
offending the Chinese culture. Celebrities were not all dressed in Kimonos as was
highly expected, but the Gala wanted to depict its understanding of Oriental history
and culture of China through art and cinema, by showcasing pieces of embroidered
nude tulle designs, golden dragons, emperor capes, and fascinating headdresses. As
explained by Edward Said, culture was the vital, informing and vigorating
counterpart to the economic and political machinery stands at the centre of
imperialism (Said, 1978). In the case of the Met Gala, fashion can be viewed as the
materialism and the means of communicating a story to an audience, and is the
embodiment of culture within the fashion industry. The event became the Mets fifth
most visited exhibition and the factors that contributed to its success were: the event
was opened until midnight, fewer lines meaning more free space to wonder and
explore, and special appearance from Anna Wintor to close the show. In defense of the
Gala and positive cultural appropriation, at face value, one can view the exhibition
and appreciate the cultural concept of the West encounters the East.
Even though the Met Gala represented positive cultural appropriation, some aspects of
the exhibition were not positive. For example, the disregard for the historical
implications of Poppy Delevingne coming out covered in opium i.e. The opium wars
of 1839-42 and 1856-60 between Qing-dynasty China and Britain are a perfect case
study of the international divergence of opinion that the Empire continues to generate.
In China the conflicts the first between it and a western nation are a national
wound: the start of a western conspiracy to destroy China with drugs and gunboats. In
Britain the wars barely seem to register in public memory (historytoday.com);
another negative would point was Emma Roberts hair in a bun held in by chopsticks
which the Chinese, Koreans, Japanese, Vietnamese in addition to other Asian ethnic
backgrounds use it to eat their food and not to put it in ones hair as decoration. These
were the only negative sides to the Met Gala and were not highlighted as a cultural
appropriation problem unlike Valentinos African themed fashion show.

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We live in a world where our everyday attire can be considered as cultural

appropriation. The term cultural appropriation has only recently been viewed as an
outrage and oversensitivity since the birth of social media, jumping from academia
and into the realm of social network discussions. Fortunately for the Met Gala
Through the Looking Glass exhibition, did not receive the negative social media
backlash that Valentinos African themed show experienced even though the media
were hesitantly waiting for the exhibitions downfall.

Is it politically fair or correct to say white girls/models should not wear

African clothes and cornrows or dreadlocks in their hair, or that Lady Gaga
should not be dressed in a Chinese couture kimono at the Met Gala?

People do not knowingly commit cultural appropriation with the intentions of stealing
from other cultures and making it their own, but to simply appreciate the design and
craftsmanship of particular items. Through the Looking Glass Spring exhibition had
nothing to do with the fashion industrys relationship with Chinese politics, human
rights or its people, but more to do with making the world experience a dream filled
with evening robes, cocktail dresses and ball-gowns; and capturing breathtaking
depictions of China as part of a broader cultural landscape. The exhibition also did not
intend to offer cultural appropriation and Chinese tourism, but gives an explanation to
the aforementioned term Orientalism a word that is commonly and continuously
used in the academic world.

Globalization and Cultural Appropriation

(End with conclusion)

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Bibliography
Hall, S. (1997). Representation, Meaning, and Language. In S. Hall (E.d),
Representation. Cultural Representation and Signifying Practices, pp. 15-30.
Thousand Oaks: Sage.

O. Young, J. (2010). Cultural Appropriation and the Arts: New Directions in

Aesthetics. John Wiley and Sons Publication.

W. Said, E. (1978). Orientalism. Pantheon Books, United States of America.

Ziff, B. and V, Roa. P (1997). Borrowed Power: Essays on Cultural Appropriation.

Rutgers University Press New Brunswick, New Jersey.

www.africanstyle.com/blackhistory/history_clothing.html
www.businessoffashion.com/community/voices/discussions/why-is-the-fashionindustry-diverse
www.highbeam.com/doc/1p3-3839677321.html Yo, Zushi. October 9, 2015. New
Statesman Publication (1996)
www.historytoday.com leslie-marchant/wars-poppies

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www.jessicahemmings.com/yvonne-vera-the-voice-of-cloth/
www.vogue.com/fashion-shows/spring-2016-ready-to-wear/valentino
english.cntv.cn/2014/09/18/VIDE141097404543916.shtml

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