Cultural bootlegging in fashion irks designers
IT IS HIGH TIME THAT WESTERN FASHION HOUSES STOP CULTURAL APPROPRIATION IN THE NAME OF FASHION, SAY INDIAN DESIGNERS
From time to time in the fashion industry, the West looks at the East for inspiration and vice versa. However, Italian fashion brand Gucci was recently called out by netizens for selling a kurta-like garment for $3,500 (approximately
`2,55,629). The garment described as a ‘floral embroidery organic linen kaftan’ on the Gucci website resembled the traditional kurta, which offended many woke fashion lovers. In a similar case, Louis Vuitton received a backlash for selling a
$705 ‘keffiyeh-inspired’ scarf, and the brand was accused of cultural appropriation by online critics and was forced to take it down. It is not the first time fashion-forward brands have faced allegations of cultural appropriation and blind copy paste in the name of inspiration. We speak to top Indian designers on why cultural bootlegging in the fashion business needs a check.
ACKNOWLEDGE, ADMIT
Textile revivalist and couturier Ritu Kumar believes what Western brands are doing with cultural designs is nothing less than plagiarism. She recalls spending a hefty amount to study original Indian designs and fabrics that were taken away to European museums and studios centuries ago, and are being used by high fashion brands as their own. She points out, “When India was colonised, the Westerns took away all the original arts, crafts, and fabrics from our craftsmen to replicate, mass-produce in industries and sell it back to us at exorbitant rates. The biggest example of this was our Jamawar shawl designs, which are now called paisley across the world and all big brands are claiming their copyright on it.
Similarly, the blocks and techniques for our Chintz and booti prints and the art of making vegetable dyes were taken away in European studios, and even to get access to them one has to pay a significant fee. It is high time we call out the fashion giants for taking away our heritage and calling it their own. The exploitation from the past 300 years needs to stop at some point and social media is Louis Vuitton received a backlash for selling a $705 ‘keffiyehinspired’ scarf, and the brand was accused of cultural appropriation finally enabling it.”
It is high time we
call out the fashion giants for taking
away our heritage and calling it their own. The
exploitation from the past 300 years needs to stop at some point and social media is finally
enabling it
—Ritu Kumar, textile revivalist & couturier
Although, one has to keep a check on the history of the piece and its significance and that is something I learned the hard way when I did T-shirts with Indian Gods on it and it became an uproar. I wasn’t trying to offend anyone with my idea but I got scared and pulled out because I didn’t want much ado about nothing.
—Rina Dhaka, designer
MUCH ADO ABOUT NOTHING
Difference between inspiration and appropriation has always been subject to an uproar. In the case of Gucci, the bigger uproar was not the cultural appropriation but the price point for something easily available for low price being recreated at such phenomenal rates, believes top designer Rina Dhaka. She says, “Although, one has to keep a check on the history of the piece and its significance and that is something I learned the hard way when I did T-shirts with Indian Gods on it and it became an uproar.”
“I wasn’t trying to offend anyone with my idea but I got scared and pulled out because I didn’t want much ado about nothing,” adds Rina.
RESPECT THE HISTORY
The problem with cultural appropriation is that it can take away heritage, often leaving the community out of the story entirely. According to designer Jenjum Gadi, to be inspired by a culture without hurting sentiments is the right way to go about it. He uses a lot of inspiration from his NorthEastern tribal designs in his collection keeping in mind the significance and symbolism. He informs, “In the past, there have been controversies when some Western brands used Red Indian headgear, turbans, hijabs, and other cultural and religious symbols as a fashion statement. It is a personal subject for many people, and if you show it without research and sensitivity, it comes across as disrespectful. A few years back, a popular e-com website was called out for selling a tribal outfit from the North-East as a Halloween costume, and people were hurt to see their cultural garment being used as a prop. When someone blindly copies without understanding the meaning of the motif, design, or symbolism they end up looking stupid.”
DO THE DARN RESEARCH
Agreeing to the basic concepts in fashion, Kashmiri designer Wajahat Rather defines “Inspiration in a designing process as a form of appreciation for a culture, subculture, religion or tribe.” He mentions, “Sometimes designers unknowingly cross the line even when their efforts and intentions are sincere. In one of my collections, I used calligraphy and I was careful to use textures and not even words as a gesture to appreciate the art form without including any religious couplets. Cultural and symbolic associations are important, and if we are working with any tribe or culture it is important to understand what it means to them. If you want to replicate any design, use it tastefully without hurting any sentiments.”
CHECK THE MORAL ETHOS
A few years back, a popular e-com website was called out for selling a tribal outfit from the North-East as a Halloween costume, and people were hurt to see their cultural garment being used as a prop
—Jenjum Gadi, designer
Appropriation aside, the idea of seeing a basic garment such as kurta selling for a staggering `2.5 lakh appalled many people. However, designer Anand Bhushan begs to differ and feels it is okay to choose a price point as per your brand. He says, “Every high-end brand has an aspiration and snob value and that’s why we have different categories in fashion — street, designer, and luxury. Thanks to social media, everyone has an opinion now and even the ones who are not luxury consumers are now commenting on prices. If we take Gucci’s case, the silhouette is global and one can find similar A-line cuts in
Greek, MiddleEastern, and
European garments too. An important thing for a brand is to keep the moral compass and ethos in check before using any cultural, religious or national reference while designing.”
If we take Gucci’s case, the silhouette is global and one can find similar A-line cuts in Greek, Middle-Eastern, and European garments too. An important thing for a brand is to keep the moral compass and ethos in check
—Anand Bhushan, designer
Sometimes designers unknowingly cross the line even when their efforts and intentions are sincere. If you want to replicate any design, use it tastefully without hurting any sentiments
—Wajahat Rather, Kashmiri designer