Cultural Inspirations in Fashion Design

Cultural Inspirations in Fashion Design: A Critical Examination of the Tapestry of Influence

As an art form, fashion design is a testament to the human ability to weave together various threads of inspiration and creativity. Cultural influences have long played a significant role in shaping fashion, whether through traditional patterns, materials, or styles. However, in exploring artistic inspirations in fashion design, it is crucial to maintain a critical lens and challenge the conventional wisdom that often romanticizes these interactions. By delving into the history and employing discerning intellectual rigour, we can uncover the complex tapestry of cultural influence within fashion.

The Dangers of Cultural Appropriation:

One cannot discuss cultural inspirations in fashion design without addressing the delicate issue of cultural appropriation. While some argue that borrowing elements from different cultures is a form of appreciation and homage, it is essential to recognize that power dynamics and historical contexts play a significant role in this conversation. Cultural appropriation becomes problematic when commodifying and commercializing sacred symbols, traditional designs, or important cultural practices.

To truly appreciate and engage with cultural inspirations in fashion design, designers must navigate this fine line carefully. Fashion designers should aim to foster respectful dialogue and collaboration instead of merely cherry-picking elements of other cultures without context or understanding. This entails acknowledging and compensating the communities from which these inspirations are drawn, actively promoting cultural exchange, and uplifting marginalized voices.

Revitalizing Cultural Traditions:

While cultural inspirations can be mishandled, they also possess the power to breathe new life into forgotten or marginalized traditions. Fashion, with its fluidity and adaptability, can catalyze cultural revitalization. By incorporating elements from diverse cultural sources, designers have the potential to reintroduce traditional craftsmanship and aesthetics to a broader audience.

Historical examples illustrate the transformative power of fashion in cultural revitalization. The works of Paul Poiret in the early 20th century, for instance, drew inspiration from the Orient, infusing new life into the fading traditions of Ottoman textiles and Middle Eastern design. This revitalization was not without its controversies, but it also allowed for the appreciation and recognition of cultural treasures that may have otherwise been lost to history.

Moving Beyond Stereotypes:

Cultural inspirations in fashion design must strive to move beyond surface-level stereotypes and clichés. Instead, a truly intellectually rigorous approach demands that designers delve deeper into the historical and sociocultural contexts of the cultures they draw inspiration from. The goal should be to understand the nuances and complexities of a particular culture rather than reducing it to a collection of external signifiers.

For instance, using Native American headdresses as fashion accessories is an egregious example of reducing an entire culture to a mere fashion statement. It is essential to question whether these appropriations perpetuate harmful stereotypes, reinforce power imbalances, or trivialize the struggles and experiences of marginalized communities. By critically examining the cultural inspirations they employ, designers can ensure that their work fosters understanding and respect rather than perpetuating harmful narratives.

Reciprocity and Collaborative Exchange:

To truly honour cultural inspirations, fashion designers should actively seek reciprocity and collaborative exchange with the communities they draw from. This means going beyond appropriation and engaging in meaningful dialogue with cultural practitioners, artisans, and experts. Such collaborations can promote understanding, build bridges between cultures, and ensure that artistic inspirations are accurately represented and respected.

Fashion designers can use their platforms to amplify voices and stories that have been historically marginalized. By giving credit where it is due and using their influence to advocate for inclusivity, designers can challenge the prevailing power structures within the industry and effect positive change.

Cameron’s thoughts with special notes from bridal seamstress Bradi MacSleyne

On Cultural Appropriation

Dan said alot about cultural appropriation in this post, I’d like to give a different view. Cultural appropriation has a bit of a history, especially in film and television but in culture more broadly. It has been a tradition, among Europeans and European descended peoples to go to a new country, adopt their customs as their own and not include the people whose customs they have borrowed or stolen. Hollywood was famous for this in the early part of the 20th century by hiring white actors to play roles that should have gone to people of different ethnicities. Anything that wasn’t anglo-saxon was considered exotic well into the later half of the 20th century and entire cultures were often reduced down to tropes, themes, and vignettes that lacked the impact of the real thing.

Fashion has certainly begged, borrowed and stolen from cultures all around the world and continues to do so to this day. Where is the line between appreciation, inspiration, and cultural theft? It can be hard to find that place due to the history of colonization and repression that often accompanies these discussions. There is also a “western” or “European” centric view of the world that this discussion takes place around. Europeans might dress up like Chinese or Japanese people but you don’t see too many Chinese putting on lederhosen or trying to be Tyrolean.

For elites and others, adopting western dress and standards as been seen as a benchmark for being taken seriously on the Interntional stage. This is most noticeable in the dress of Japanese officials following the opening of Japan. At the surrender of Japan to the United States and Allied forces in 1945, the Japanese officlals arrived in morning dress reminiscent of the British with pointed collars, waist coats and top hats. Just a few decades earlier, they would have arrived wearing traditional clothing from their own culture. In a way, they had appropriated European style fashion in order to project their power to the world.

However, accusations of cultural appropriation aren’t always appropriate. In Japan, for example, a kimono can be a gift to a visitor or a new friend. India has a similar gifting culture around clothing. Although there is a not strong tradition of this within the European context, it does not mean that it is any less valuable or important. It is easy to blame fashion for many crimes and sins. But appropriating culture is not something that I think is so easy to lay at the feet of fashion. This is especially true today because the industry has changed so much and fashion is far more diverse than it has been in the past. Thanks to groundbreaking women like Naomi Campbell, Iman, and Ashley Graham, fashion has embraced different body types, skin colors, and even gender expression. These things always existed but they were not often given much attention by the most notable designers or in the wealthiest sectors. Times have changed.

Fashion is More than Clothes

And this is where fashion becomes incredibly important. In so many parts of our lives, the first thing that symbolized great change is a change in clothing. When culture changes, fashion changes immediately. We change what we wear right away in response to our changing environment. As Jean Pierre Gaultier said, “The clothes must lead.”

There are many people who feel like fashion is inaccessible to them. But the reality is that fashion is already impacting their lives. Whatever one chooses to put on ones body sends a message, creates a mood, or reflects personality. It cannot be escaped. It is part and parcel of who we are and what we put out in the world. One can judge context of the message being sent and whether it is good or bad. A guy in his 30 wearing a comic book shirt and ill-fitting jeans he’s had since highschool sends just as much of a message as a couture gown.

Major events in world history have influenced clothing. When the there was a mini-ice age in the 14th century, Europeans had to wear layers of clothing. This is best demonstrated by the color, but heavy Delft style dutch clothing from the period. Women wore four layers of skirts, furs, and linen stomachers with 4 layers on top as well to keep themselves warm in their drafty houses along the trading canals of the city.

Another more modern example is how WWI created clothes that women could dress themselves. This fundamental shift in clothing was led primarily by Coco Chanel, who with many others fled Paris to escape german bombs and when wealthy women on the French Riviera were looking for new clothes, they needed clothing that they could put on without the help of their maid. Modern ready-to-wear was born. Buttons moved to the front and a new way of wearing clothes took the fashion world by storm.

Back here in America, we have our fashion changing events like the Great Depression which killed the flapper dress of the 1920s. The waistline returned, sleeves were popular again, and necklines rose. It is of note that when things go wrong in this country, our style tends to become more conservative. This happened again around the 2008 financial crisis as well. In the styles of the early aughts, women especially were wearing lots of lace, exposed midriffs, and low, hip hugging jeans. In the wake of the financial crisis style moved away from this to simpler styles and high waists on denim. Most recently, the pandemic introduced masks and casual clothing as an outgrowth of athleisure. Bradi would mention here that she has observed that her brides, when they come to get their dresses fitted, are all wearing sports bras. The age of the cute (but always uncomfortable) bra was killed by Covid-19.

Iconic Fashion Shows

If you want to see some of the most iconic fashion shows that I could think from both the recent past and farther back into the 20th century I’ve prepared a playlist.
Some of my personal favorites include:

John Galiano 1994

This collection used formal deconstruction and unification of punk movements and the elegant casual to create a unique aesthetic.

Alexander Mcqueen, 1999 and Horn of plenty, 2009

The 1999 show featured an truly amazing moment of a model in a high waisted dress being sprayed with paint by industrial robots from a car factory. The 2009 Horn of Plenty show was remarkable for its use lace, high headdresses, and materials like wood branches. He was also well-known for being the only designer in history of cut tartan on the bias and make it match.

YSL Resort 1965

This show includes the well-know mondrian dress. Yves Saint Laurent took the work of 1920s painter Mondrian and used fabric to recreate many of the patterns. This was an accomplishment to unify many square pieces of fabric and cover the seams with black fabric to create unified whole. This dress is a symbol of the 1960s “mod” movement and is probably one of the most recogniziable pieces of fashion.

Dior 1947, 2000

The new look was the biggest thing to hit fashion since the atomic bomb. The New Look for Dior featured big skirts, lots of fabric and signified the end of rationing in Europe. The 2000 Dior show will always be iconic because of its scope and theatrical fantasy.

LV 2009

Louis Vuitton is a legendary french brand with over 150 years of history. They started as a luggage manufacture and are most well known for the leather goods. Although they do design clothes, everything begins and ends with the bags and shoes in any LV collection. 2009 would feature the popular color bags and accessories, a style that would become quite popular.

Alexander Wang 2011

Featuring a portmantea of layer and drop waist styles, this is when Alexander Wang really broke out and became a much more popular brand.

Versace 1995

It might not seem like it now but back in the 1990s, Versace was the definitely of style. With italian fragility and sense of design, the 1995 show is peak Versace. The iconic Versace silhouette, open waist, relatively short, and delicate silk/rayon fabrics that had become a hallmark of the brand.

Vivenne Westwood 1993

Vivenne Westwood was most known for her ability to merge the punk aesthetic with high fashion. In the 1993 collection she featured stackable hats in monotone colors with accessories. This is a direct call back to a punk style that was heavy on accessories and kept to dark colors and jewletones.

Conclusion:

Cultural inspirations in fashion design are a complex and multifaceted phenomenon requiring critical examination. To navigate this terrain with intellectual rigour, designers must be aware of the potential pitfalls of cultural appropriation while actively seeking reciprocity and collaborative exchange. By revitalizing cultural traditions, moving beyond stereotypes, and engaging in meaningful dialogue, fashion designers can transform their work into a force for artistic appreciation and understanding.

Let us not forget that fashion, like any other art form, has the power to shape and reflect the world we inhabit. By challenging conventional wisdom, drawing upon historical references, and employing an unapologetic pursuit of intellectual rigour, we can ensure that cultural inspirations in fashion design catalyze positive change and a celebration of the rich diversity of human creativity.