Cultural Appropriation Of 2012's New York Fashion Week

The fashion industry is one of the most prevalent and visible forms of influence on today’s society. Billboards, malls, magazines, TV, movies, advertisements, runways, etc. are filled with fashion campaigns usually distributed to make a statement and to influence the consumers. Often times, the fashion industry engages in offensive promotions like romanticizing eating less and the “thigh gap” or producing clothing that has “depression” plastered all over it. One of the most offensive trends of the fashion industry is the use of cultural appropriation to promote their company or clothing. Cultural appropriation is the taking of something produced by members of one culture by members of another culture. The products of that culture usually have a special sacred or cultural significance to them, which is why cultural appropriation is seen as offensive and exploiting rather than appreciated. The public tends to overlook these extreme messages and appropriation from the fashion industry, brushing them off as trendy and ideal. This becomes a problem because the fashion industry’s blatant use of cultural appropriation in editorials and ads influences people to show admiration for products from other cultures yet still remain prejudiced against the people who created and continue to practice that culture.

New York Fashion Week was a successful nine days this year. There had been some doubt about the industry due to its state of flux recently. There was a larger amount of diversity, in age, race and body type. Social media platforms such as Instagram were very active with updates from the various shows that were taking place. The presence of social media has grown to a relatively large size and its reach continues to grow. Marketing is heavily effected by those who are influential, such as celebrities. Companies are attempting to gift their merchandise to those influentials in hopes that they will seen and photographed in the articles of clothing, therefore benefitting the company. Fashion Week has a large effect on the fashion world and will effect the appearance of

The fashion industry is rapidly growing and constantly generating new fashion trends almost weekly. Fashion for some may seem ridiculous and unnecessary; but fashion is not just a meaningless usage of article of clothing or farcical materials sew together for coverage. There is more to fashion than meets the eyes, fashion is precious and significant. It is a reflection of self-image, it speak the ream about who we are and how we review ourselves. Not only is fashion the reflection of self-image but also the reflection of our history as Coco Channel have said, “Fashion is not something that exist in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening.” Fashion

The reason why some people want to be part of the London Fashion Week is because the catwalk theatre is a particularly visible realm where identities are created through visible performances, (Entwistle & Rocamora, 2006) people want to belong into a certain world thus one’s taste of fashion shows who you are. The elite have their own way of greeting as evident by the air kiss they give one another showing field’s habitus as the poor cannot get such a greeting thus a hierarchy is brought out as not all people get that kind of a greeting. There are boundaries during the London Fashion Week as there are gatekeepers that allow or deny entrance to the field; some are excluded from the show because of their low status. The field fashion is like doors which one unlocks in order to gain various accesses. To be in the show one must have a ticket and, one’s social capital determines one either to be in the exhibition hall or to be in the catwalk theatre. This is so because not everyone can gain access to the event unless there are belonging to the field; as when one is in the field there also gain a

Grace Bonner’s groundbreaking reputation stems from her success in pushing black male identity in fashion beyond the streetwear and her identity as a mixed-race individual is integral to her practice. Cultural appropriation prevails as a controversial issue in the fashion industry. As designers constantly seek for inspiration beyond their immediate culture, their designs often result to be imprudent and objectively offensive. Jenni Avins, however, reminds us that “we have to stop guarding cultures and subcultures in efforts to preserve them. It’s naive, paternalistic, and counterproductive. Plus, it’s just no how culture or creativity work.” Adopting elements of different culture is natural by-product of the interaction of different customs and globalization that indicate a diverse and rich society. This, however, should not function as a leeway for designers to abuse cultural appreciation as cultural appropriation or racism. Many don’t realize that wearing elements of different cultural backgrounds inadvertently perpetuate segregation and stereotypes, especially when a subculture becomes haute couture: universally promoted by and promoting Western refinement. Those who claim that ‘imitation is the sincerest form of flattery’ fail to recognize their inherent privilege or be aware of the history of oppression that the population of a subculture suffered from.

The rush of commotion from people coming and going, the loud overhead noises of redundant announcements, the faces of serious creatures. Just a few satirical ways to describe behind the scenes of a fashion show.

This summer, to celebrate Carolina Herrera’s 35th anniversary in the fashion industry, SCAD FASH Museum has put on an exhibition of her work. Titled, “Refined Irreverence,” the exhibition is composed of both new and vintage pieces encompassing everything from her 1981 inaugural runway collection, day wear, bridal wear, and red-carpet gowns. Some of her new pieces on display were worn by celebrities such as Michelle Obama, Tina Fey, Lady Gaga, Lucy Liu, and Taylor Swift, Renee Zellweger. Herrera’s collections were inspirational and beautiful beyond belief.

Each of her pieces were beautiful dresses that hug a woman’s body to showcase its curves, while showing the right amount of skin. Her collection was filled with exquisite metallic appliqués, open backs, sheers and plunging necklines, all which makes the perfect look to wear when you want all eyes on you. The silhouettes and fabrics utilized simply embellished the women’s body and added seduction without crossing any lines. The collection counted with six gorgeous pieces that ranged from cocktail dresses to gowns which range from $1500 to

My final illustration, Purple Haze is a depiction of my view of haute couture in the fashion world today. The drawing displays one female figure wearing a purple gown tulle and chiffon walking down the runway. While the crowd is fairly neutral, the figure is wearing a lush purple ball gown. This image depicts the detailed and over the top designs of haute couture dresses.

The term ‘hip-hop’ refers to a complex culture compromising of four elements: deejaying, rapping, rhyming, graffiti painting, and b-boying. These elements incorporate hip-hop dance, style, and attitude. “Hip-hop originated in the primarily African American economically depressed South Bronx section of New York City in the late 1970s” (Tate, pg.1). Hip-hop is a culture of fashion, language, music, movement, visual art and expression. The genre of hip-hop comes with a very significant history and evolution with its own heroes, legends, triumphs and downfalls. “Real” hip-hop is often stressed in the 21st century due to what is being passed off as hip hop, and it is often made clear that just because one takes a hip hop class, or listens to hip-hop music, does not mean they conform to the true immersion of hip-hop culture. Therefore, “real” hip-hop encapsulates the true essence of hip-hop culture, untarnished by impurities such as rapacious record labels, and vapid, materialistic subject matter. Due to the background of how and where hip-hop first emerged, the African American culture often feel responsible to protect what is for them, and to protect the culture of hip-hop entirely. Boyd states that even though hip-hop as a culture was created as a social movement, the “commercializaiton” of hip-hop demonstrated in film and media construes it to another form of urbanization and popularity”(Boyd, 79). However, in the two movies being examined in this essay (Save the Last Dance

Our event is a spring fashion show for the well-known department store Nordstrom. Nordstrom is a leading fashion specialty retailer offering exciting clothing, shoes and accessories for men, women and children. Since 1901, they have been committed to providing customers with the best possible service. The theme of our event is to showcase powerful women in the fashion industry. To do this, the fashion show will be featuring designs from Diane Von Furstenberg, Donna Karan, and Rachel Zoe. Our catch phrase for the event is “Empowering women one outfit at a time.” The purpose of the show is to showcase the spring 2017 collection of our three designers while encouraging women to express themselves through fashion.

I chose to talk about Marc Jacobs runway show because it caught my attention between all the other runways during New York fashion show. Marc Jacob made all the audience feel like they are on cloud around the stars through the fog that filled the stage and the bulb lamps that centered the cat walk. the models started the show with pastel color palette which made us in a dreamy mood and then it moved to unexpected bright strong color which in my opinion took us from a dreamy mood to an adventurous mood and that made me want to see more of the collection. Marc Jacobs chose unusual hair style “DreadLocks” which made the headlight in the fashion world after the show. this hair style made a lot of people ask

Fashion has been around ever since ancient times, since the time of the Romans, it survived the world wars and is yet today a business with rapid changes. Fashion started off as an art form, a way for the riches to show their social status with unique and innovative designs that only they could afford. It was a way to separate the social classes of the society. In this paper I will include the creator of haute couture, and how the following designers developed couture, as well as having leading names in today’s ready-to-wear industry. The list is long, but I chose to focus on the three most important designers of the modern fashion industry.

This essay will be considering the historical development of haute couture by analysing Charles Frederick Worth’s (father of haute couture) key factors in the success of haute Couture. I will then discuss Coco Chanel’s thriving impact on haute couture as well as ready-to-wear caused by the second world war. Saint Laurent’s drift to ready-to-wear and the high street fashion system will also be discussed in order to answer if haute couture is relevant in fashion today. The books I will be analysing and referencing are ‘A Cultural History of Fashion in the 20th Century’ by Bonnie English, ‘Couture’ by Ruth Lynam, ‘How Fashion Works’ by Gavin Waddell. Which will thoroughly breakdown the evolution and historical development of fashion by cultural, economic, environmental and social changes to finally come into a conclusion.

Although celebrity culture is typically associated with actors and actress, consumers may also rely on the trustfulness and credibility of politicians and first wives when deciding fashion trends. In the 1960s, fashion icon Jackie Kennedy took over the fashion industry (Joel 1). She appealed to many stay-at-home women because she was commonly known to have a “sophisticated simplicity” (Joel 1) approach to fashion. Her successor, First Lady Michelle Obama has instantly become a fashion icon herself as well. She is commonly seen wearing American designers therefore pushing “the American fashion industry into the international spotlight” (Givhan 1). People are often so draw to her style because it gives a glance into her personal life. As Givhan states, “Obama’s clothes have connected with the public in contemporary terms, in the language of Hollywood’s glamour, Seventh Avenue’s bold entrepreneurship and the democracy of the mass market” (Givhan 1). In March 2009, Michelle Obama appeared on the cover of US Vogue which showcased her “dress, style, and poise” (Gibson 40). Brett Schenck, president of Hart Schaffner Marx states, “It’s usually the frenzy behind the first lady” (Jones), but in the some instances, President Obama has also made an impact on the fashion industry. In the summer of 2009, designer Donatella Versace created a runway show that was designed and dedicated to him. The clothes she created where inspired by President Obama because it showcased “a relaxed man