Excerpted by Latoya Peterson
This recipe for femininity looks, to me, as if it is aimed toward a stereotypical Hong Kong billionaire’s wife. The clothes evoke a demure, under-control, decidedly non-rowdy (read: non-Western) type of woman who appreciates her role as an ornament of great value, and sits prettily and quietly in Gulfstream jets.
—Cintra Wilson, “Critical Shopper: Derek Lam,” The New York Times
(Thanks to Rob Schmidt for sending this in!)
(Image credit: NYT)
by Latoya Peterson
What does this picture call to mind for you? What is the first thing you think of?
This shot one of a series of photos featuring Gisele Bündchen, shot by Norwegian fashion photographer Sølve Sundsbø. The pictures make use of Gisele’s body contrasted with those of buff, dark skinned male models. I am often wary of the color contrast idea in fashion photography – darker skinned minorities always seem to end up as background color – the results are usually striking.
However, there also seems to be another dynamic at play here. Continue reading
by Special Correspondent Wendi Muse
So even though fashion designers have a tendency to appropriate and re-design fashion they witness during their world travels (or, cough, imperialist imaginations), the magazine writers and journalists just can’t seem to find the right words to characterize the collections. Instead of talking about geometric prints, the use of found objects as jewelry items, and color choices in a way that could be deemed appropriate and less offensive, they shade their words with sweeping generalizations and talk about “Africa” like a one trick pony.
In a recent New York Times fashion week photo spread entitled “African Influence on the Runway,” the first mistake made is the usual assumption that Africa is one big country. Morocco has a completely different fashion history from South Africa which has a different fashion history from the Congo, just, you know, as a tiny example. So in the title alone, they end up equating the diverse fashion traditions to one big imagined Africa. To make matters worse, the corresponding article is entitled “Out of Africa.” In reading the captions, I kept waiting for a punchline. The Times was just being ironic and funny, right?
Nope. They were for real.
Photo 1: a woman with crimped hair
“In the 2009 spring season, African style is a drumbeat through the clothes and accessories. Surprisingly it isn’t about the ethnic. Instead, it is the sculpted geometric shapes of Africa and its rich spicy colors that are the strongest forms of identity. Couture coiffeur Orlando Pita created these sculptural silhouettes for Christian Dior.”
African style is a “drumbeat?” Come on, y’all, really? Oh and just in case we forgot, “rich spicy” is not a way to describe food. It describes a continental identity in its “strongest forms.” Barf.
But wait, there’s more. . . so much more! Continue reading
by Guest Contributor Minh-ha, originally published at Threadbared
In New York magazine’s Spring Fashion issue, there are six feature stories on clothes, designers, and models including a story on a group of tenderfoot but fresh-faced white male models (“Fashion Week’s handsome rookies”), an interview with style icon Kate Moss on her clothing line at the much-anticipated and much delayed opening of TopShop in downtown Manhattan (recent reports have doors opening in April 2009), and a recession-minded article with an increasingly familiar theme, “Everything Here is Under $100″). In addition, there is the usual array of designer label advertisements and celebrity spokesmodels: Posh and Becks for Emporio Armani, Katie Holmes for Miu Miu, Gwyneth Paltrow for Tod’s, as well as an anonymous sea of puerile, well-heeled, ivory-faced Gothamites slinging everything from Marc Jacobs handbags to cocktails to lifestyles.
Jessica Lustig’s article, “The Fashion Thief,” was the only feature story or advertisement in the Fashion Issue that featured a person of color, any color. Lustig follows Kevahn Thorpe, an African American young man from Queensbridge Houses project in Queens, New York, as he is arrested and rearrested for shoplifting from high-end Manhattan shops like Prada, Bergdorf, Barneys, and Saks.
There’s a lot about this article that’s unsettling. Continue reading
By Special Correspondent Fatemeh Fakhraie. An expanded version of this piece can be found at Muslimah Media Watch.
Last summer saw the launch of ALO Hayati, “America’s Top Middle Eastern Lifestyle Magazine.” Thanks to a gracious donor, I finally got my hands on a copy of the July 2008 issue.
All lifestyle magazines have an aspirational feel to them, and this one was no different. Chock full of advertisements for Dubai hotels and Swiss watches, ALO wasn’t particularly different than any other lifestyle magazine. Considering the economic situation of magazines, it doesn’t seem like an incredibly auspicious time to launch one aimed at a materialistic lifestyle. I wasn’t able to find any updates about the magazine’s publication on the website, and as far as I’m aware, this is the only edition, though in the magazine they refer to an earlier issue in some places.
As someone who enjoys a good glossy every now and then, I delighted over advertisements with Kim Kardashian, and interview with exclusive designer Bijan, and a fluffy piece on intercultural relationships (though I did not care for the cover teaser: “Shocking Intercultural Stories”).
The magazine featured an interview with Leila Ahmed, which was a great one, likening the current western media representation of Muslim women to the same patronizing Orientalism that played out in the first wave of colonialism in Middle East. Her interview shed lots of light on the history and future of the headscarf. Despite the educational qualities of her interview, I kept thinking, “Who is this educating?”
While not every Middle Eastern person is going to be familiar with the history behind the headscarf, it seems sort of odd to have an educational feature about hijab in a magazine aimed at a demographic that has a fairly lengthy history with headscarves, even if many of them aren’t Muslim. Something about this piece tugged at me. It almost felt as if it was aimed at people who were not Middle Eastern. Continue reading
by Guest Contributor Marisol LeBron, originally published at Post Pomo Nuyorican Homo
Last year Puerto Rican artist Miguel Luciano created a pair of Nike Air Force Ones with the image of Filiberto Ojeda Rios, head of the Puerto Rican Indepencence group Los Macheteros.
by Guest Contributor Tami, originally published at What Tami Said
Discussions about American Apparel’s new Afrika line of clothing on this blog, Feministing and Racialicious sparked some confusion among people who wondered “What’s so wrong with being inspired by another culture?” Nothing, really. But “inspiration” drawn from a historically oppressed culture comes with a tangle of baggage born of generations of marginalization and bias.
It’s all about the oppression
Cultural appropriation is the adoption of some specific elements of one culture by a different cultural group. It denotes acculturation or assimilation, but often connotes a negative view towards acculturation from a minority culture by a dominant culture. It can include the introduction of forms of dress or personal adornment, music and art, religion, language, or social behavior. These elements, once removed from their indigenous cultural contexts, may take on meanings that are significantly divergent from, or merely less nuanced than, those they originally held. Or, they may be stripped of meaning altogether.
The term cultural appropriation can have a negative connotation. It generally is applied when the subject culture is a minority culture or somehow subordinate in social, political, economic, or military status to the appropriating culture; or, when there are other issues involved, such as a history of ethnic or racial conflict between the two groups.Cultural and racial theorist, George Lipsitz, outlined this concept of cultural appropriation in his seminal term “strategic anti-essentialism”. Strategic anti-essentialism is defined as the calculated use of a cultural form, outside of your own, to define yourself or your group. Strategic anti-essentialism can be seen both in minority cultures and majority cultures, and are not confined to only the appropriation of the other. For example, the American band Redbone, comprised of founding members of Mexican heritage, essentialized their group as belonging to the
Native American tradition, and are known for their famous songs in support of the American Indian Movement “We Were All Wounded at Wounded Knee” and “Custer Had It Coming”. However, as Lipsitz argues, when the majority culture attempts to strategically anti-essentialize themselves by appropriating a minority culture, they must take great care to recognize the specific socio-historical circumstances and significance of these cultural forms so as not the perpetuate the already existing, majority vs. minority, unequal power relations.
In other words: It’s the oppression, stupid. Continue reading
by Guest Contributor Tami, originally published on What Tami Said
So, over on Feministing, Samhita wrote an article about the new Afrika line of clothing by American Apparel. Under the headline: “Jungle prints are back,” the blogger wrote:
And this time to add to the classiness, they are being marketed as the “Afrika” collection. Please get ready to see self proclaimed, post-racist, ironic hipsters near you wearing this fall trend. You know because this isn’t totally racist or anything. This company will never cease to amaze me, in every way.
I’m siding with Samhita on this one. While I would not use the word racist to describe what American Apparel has done wrong, I would use exotification, “othering,” cultural commodification and, well, stupidity. Plenty of Feministing commenters disagree, however, with lots getting stuck on the idea that wearing animal print is inherently racially offensive. No one is saying that. The problem is not zebra print. The problem is distilling a continent of many countries, cultures, languages and peoples down to its wildlife and faux tribal print. There is a tired “dark continent” stereotype at the heart of the American Apparel clothing line’s name and marketing. And THAT is a problem.
What other continent is viewed this way? When was the last time you saw a fashion collection of brown bear fur and Celtic prints labeled “Europe!” No one would buy a pan-European marketing ploy that blended Irish culture with prints from animals found in upper Scandinavia and Russia. Such a thing would be foolish. But no one can be bothered to know the difference between Zambia and Mauritania. Africa becomes just a mush of dark tribal folk and wild animals, and suffers the indignity of insensitive marketing all the time. Asia, too, but that’s another post. (Someone needs to stop Gwen Stefani before she appropriates again.)
What do you think? Is American Apparel’s new Afrika line simply an homage or typical hipster cultural tone deafness? (Be sure to check out the comments over on Feministing. A link is at the top of this post.)