By Guest Contributor Ruth Hopkins, cross-posted from Last Real Indians
… And Native appropriation continues to evolve in ever more bizarre ‘fashion.’
Apparently putting scantily clad white women in warbonnets is losing its shock value, because designers are moving into a new phase of cultural assassination, in hopes of making genocide doubly lucrative.
Imagine my horror this morning, upon discovering Ralph Lauren’s latest venture. Let’s call it Assimiliation Era Chic.
By Guest Contributor Dallas Penn, cross-posted from Dallas Penn
I can remember the first day I ever wanted to wear a piece of Ralph Lauren clothing. I was with a group of friends on the subway heading to Manhattan one morning on the way to high school. I spotted a teenager in the car next to ours wearing a color-blocked windbreaker. The vibrant colors of the jacket resembled the packaging from the Lifesavers candy roll. Everything else in my eyesight turned to grayscale as I went into hunter mode to acquire the jacket.
When the R train pulled into Lexington Avenue, I went after the dude like a wild animal. I ran down the morning rush-hour platform with reckless abandon, people screaming in my wake as they were almost pushed onto the train tracks. I chased dude up the escalator, nearly knocking people over the edge as I pursued him relentlessly. The kid in the windbreaker jacket disappeared from me at the landing, but my obsession with Polo by Ralph Lauren has stayed with me since.
This was in 1986 and here I stand 25 years later with over 1000 pieces of Polo by Ralph Lauren clothing and gear in my archives. What made me give over half of my life (and frankly, over half my net wealth) to the loyalty of this brand? It is more than Ralph Lauren’s slick marketing efforts which describe his Polo brand as the ultimate in luxury lifestyle apparel. It is that kid’s efforts and mine–and all Black kids’ efforts–to retain the Polo pieces they wore on their backs. This was the New York City I grew up in.
By Guest Contributor Catherine A. Traywick, cross-posted from Hyphen Magazine
Perhaps the most celebrated Fall collections to debut at this year’s Fashion Week were those that creatively incorporated technology. Several designers showcased computer-generated prints, retooling traditional craft textiles into computerized patterns comprising ultra modern garments. But even as fashion critics overwhelmingly celebrated this preponderance of technological innovation, most seemed similarly enamored of Ralph Lauren’s far less pioneering embrace of one of fashion’s oldest tropes: Shanghai Chic. Critics eagerly dedicated valuable column inches to the collection, which featured all the mainstays of Asian-inspired fashion: jade jewelry, golden dragons, cheongsams. While some candidly wondered whether the designer’s invocation of China was a statement about the nation’s growing economic competitiveness, others were simply happy to break out as many tired euphemisms for “Eastern” as possible. (Not only did the “Orient Express” make several stops but East, inevitably, met West.)
The familiar scenario aptly reinforces a key observation made by culture critic Thuy Linh Nguyen Tu in her newly published book, The Beautiful Generation: “Even when freed to dream and invent,” she writes, “[designers] seem only to return to long-held ideas about an exotic and erotic orient.”