Fashion between Inspiration and Appropriation

Abstract

Fashion is considered an element of “cultural identity”. At the same time, it has always been a dynamic phenomenon in which different styles, designs and models converged, acting both as a source of attraction for designers as well as a source of inspiration to draw and depart from in an attempt at innovation. Influences were reciprocal, with the phenomenon of Orientalism going hand in hand with that of Occidentalism. Today’s discussion focuses on the vindication by various ethnic groups of ways to protect their own folklore as expression of their own cultural identity. The questions that arise are manifold. This contribution aims at framing the problem in the nowadays fashion industry as well as investigating the various possibilities of protecting folklore while preserving cultural identity. The discussion will deal with recent studies that have analyzed the various aspects of cultural appropriation. Intellectual property will be taken into consideration as a way to protect folklore. Nevertheless, this article suggests that other options for achieving protection of cultural heritage and folklore emerge in the field of Private Governance and Corporate Social Responsibility that will offer new opportunities to tackle the problem of cultural appropriation in the fashion world.

Indigenous Entrepreneurship and Venture Creation: A Typology of Indigenous Crowdfunding Campaigns

“…Commercial campaigns view indigeneity as distinguishing themselves from other campaigns, and communicating an authentic Indigenous identity is of paramount importance to the success of these campaigns. Furthermore, with increasing awareness and disapproval of cultural appropriation (Gertner, 2019; Pozzo, 2020), campaigns without a genuine connection to Indigenous communities and culture are viewed far less favorably by the crowd. For these reasons, compared to the other campaign types, commercial campaigns are more likely to engage in authenticizing —embedding and integrating Indigenous references and symbols in the activities, products, and services featured in crowdfunding campaigns (Table 4).…”

The fine line between localization and cultural appropriation in personal luxury goods: An exploratory study

“…CA in luxury has become a contemporary topic in both literature and pop culture, and mass media (Green & Kaiser, 2017). An exponentially increased sensitivity towards this issue is evident as luxury goods are more a means of self‐expression than a signifier of status (Geczy & Karaminas, 2018; Pozzo, 2020). The more a country is rooted in its local traditions, the greater onus that these codes are respected and not exploited for commercial purposes.…”

An investigative study to style reading: The style of Cristobal Balenciaga interpreted by contemporary fashion designers

“…Cobb et al (2020) say that historical dress research in the collection provides practice-based opportunities for the students in fashion or textile and provides service opportunities for the public. Pozzo (2020) expresses that "Fashion is considered an element of "cultural identity." At the same time, it has always been a dynamic phenomenon in which different styles, designs, and models converged, acting both as a source of attraction for designers and a source of inspiration to draw and depart from in an attempt at innovation.…”

“…Au et al (2000) say that "consumers may be seen to be searching for their identity and expression of creativity. Pozzo (2020) says that "Clothes, hats, shoes, and accessories as "fashion" expressions involve an element of volatility, of transience. At the same time, they may constitute the "identity" element of a certain culture.…”