Inappropriate Inspiration: Why Cultural Appropriation is Problematic

By Jennifer Bringle

It seemed harmless enough. A pair of cutoff shorts, embroidered with a colorful starburst pattern. A dress, adorned with a zig-zagging geometric motif. A blouse, festooned with vibrant embroidered flowers.

Yet these pieces—Anthropologie shorts, a Zara dress and a Patowl blouse—all drew the ire of Mexico’s Ministry of Culture, which sent a notice to the companies earlier this year accusing the fashion brands of cultural appropriation of native motifs and techniques.

In recent years, we’ve heard a lot about cultural appropriation in the fashion industry, and it’s an issue that can arise in any realm of textile design, including fabrics for the home. But what exactly does cultural appropriation mean? And why is it problematic?

ROOTED IN RACIAL INEQUITY

Stated simply, cultural appropriation is the unacknowledged or inappropriate use of the customs, traditions or images of a culture by members of another—usually more powerful—culture.

“When we think about cultural appropriation, we’re thinking about a more dominant society taking from a less dominant society,” says Marcia L. Weiss, director of Fashion and Textiles Futures Center and associate professor of textile design, Jefferson (Philadelphia University + Thomas Jefferson University). “Without taking the time to understand what you’re looking at, it becomes a purely visual exercise. And when we’re talking about things that might be sacred or have centuries of cultural significance, that’s a problem.”

And appropriation has a long history throughout the world, often tied to the confiscation of land and other property from native people by white settlers, be it from Native Americans in the U.S., African tribes or ancient civilizations like the Maya in Mexico.

“There’s a history of that appropriation that goes back to colonization, where people just take,” says Annicia Durka, director of woven product, P/Kauffman. “When we’re looking at white-centered culture, it’s white people who have colonized and taken from indigenous people in Africa and other countries—it’s really tied back to that.”

Because of this history, a white designer using a native Mexican embroidery pattern without attribution, or incorporating an African mud cloth motif without acknowledging its origin, is seen as appropriating the tradition of another culture for their own gain.

Similarly, sacred objects and motifs, like traditional Native American feathered headdresses, the Hindu god Ganesh, or the Star of David, also should not be used simply as patterns or decoration by people who do not practice those faith traditions. The use of another culture’s sacred imagery in this way would be akin to wearing an unearned Purple Heart as a simple accessory.

This Zara dress drew the ire of Mexico’s Minister of Culture.

These Anthropologie shorts also were flagged for appropriating traditional patterns.

And this Patowl blouse incorporated traditional Mexican motifs and techniques.

APPROPRIATION VS. INSPIRATION

Textile designers often find inspiration in global trends and through their travels to other countries and cultures. But is it OK to source inspiration this way? Yes, with certain considerations.

One of the key differences between inspiration and appropriation is properly crediting the culture or artist whose work or traditions have inspired you.

“There’s a way to give credit just like you would a licensee,” Durka says. “If you enjoy someone’s artwork, you wouldn’t just copy it—you would give that person a royalty, you would give a credit.”

Or better yet, if the artist or craftsman is living and accessible, reach out to them for a collaboration, or work with designers representing other cultures who can give an authentic interpretation.

“There’s a way to create original artwork or a certain hand or a feeling that’s very different than simply copying something,” Durka says. “If there’s a certain look you’re looking for, seek out a designer or studio that’s authentic in that or a dealer that deals in that.”

If that’s not possible, a designer can still draw inspiration from another culture without appropriating. Instead of keeping a reference image or item nearby or on a mood board, put it away and allow your own creativity to flow rather than being overtly guided by your inspiration.

“The big difference is using reference material that inspires you and creating something original with it,” says textile designer Saana Baker. “Letting it filter through your personal point of view and your lens is super important.”

Also important? Attribution.

“Citing your resources and doing your research is also paramount,” Baker says.

CHANGING PERCEPTIONS

The key to eradicating cultural appropriation in textile design is being willing to do the work—research, think critically, and be willing to change processes to avoid inadvertent appropriation.

“We’re at a point in society where we’re being asked to think a little harder,” Baker says. “Do we want this legacy? This is basically a legacy of subjugation— I can own this because I won the war or I opened the tomb and took something.”

It’s also important to look at peers in the industry, and recognize that there are people representing many cultural backgrounds who can provide a more accurate, authentic take on a design than a person not of that heritage.

“There’s this perception that there are not a lot of people of color in the design field and the home market, but actually there are a ton of us,” Durka says. “And up until now, it wasn’t really beneficial to call that out—it’s just now that people are seeing that as a benefit, and we’re able to show our full selves and people see that as an asset.”

And ultimately, the best way to avoid cultural appropriation is to not see it as simply an issue that affects others, but rather as a reflection of our industry as a whole, and one that could apply to any member of the textile production community.

“If as designers we can put ourselves in someone else’s shoes, picture it from our perspective of what things are unique and important from our own personal background and heritage, things that we would find challenging if someone took them and used them in a different way,” Weiss says. “If we look at them through those eyes, we can understand how it might feel when something is inappropriately appropriated.”