Mainstream media and popular culture are saturated with cultural appropriation. 2010s trends perfectly represent this phenomenon, from major events to music videos to Pinterest boards. 2012 gave us “hipster” culture, which piggybacked off of Chicano attire from the previous decades. 2013-2016 popularized the whitewashing of Hindu culture as seasonal Coachella uniforms. And dating back to the mid 90s, Black culture has perpetually been appropriated by non-Black consumers.
Appropriation is undeniably detrimental, but we must move beyond mere acknowledgment of this fact. Educating ourselves on the true purposes of the clothing that we buy is a top priority. Only then can we come to understand the history of resistance and the beauty woven into the fabric. It is our responsibility as responsible consumers and citizens to debunk the appropriative cosplays of culture and uplift the original creators and cultures they originate from.
The Palestinian Keffiyeh
The Keffiyeh’s pattern is a woven monument of history that speaks to Palestinian identity. The headscarf’s pattern contains 3 main representations of labor and nature, which are integral to Palestinian culture. And it is not the only article of clothing or pattern design to capture Palestinian culture. To learn more about the Palestinian Thobe and Tatreez embroidery, read here!
The thick lines on the Keffiyah represent trading routes utilized in historic Palestine. A fishnet pattern and a pattern of curved lines are positioned between the lines. The fishnet pattern reflects the importance of fishermen and, by extension, comments upon the occupation’s blockage of Palestinian fishermen. The curved lines embody the olive tree, a native plant of Palestine tied to themes of resistance and the perseverance of Palestinian identity.
The keffiyah is one of many items with deep meaning in Palestinian history and culture, and it has quickly become one of the more recognizable ones. Since the outbreak of the War on Gaza, protestors and allies of Palestinian liberation across the world have sported the keffiyah. While the support of protestors and allies, specifically non-Palestinian ones, is admirable, it comes with responsibility.
In donning a country’s attire, you are also representing that country’s values. Furthermore, it is a privilege for white allies to wear such symbols without fear of Islamaphobia or a targeted hate crime, such as the attack of 3 Palestinian students in Vermont last November.
Bandanas & Chicano Culture
Examples of appropriate Chicano culture include baggy clothing, bandana shirts, and more. It is important to note that even the use of a simple font like the blackletter typeface mentioned in an article from HypeBeast.com has a specific intention. Rooted in the celebration of life and death in Mexican culture, these fonts and representations of culture signify immense pride and honor.
The use of Chicano culture by non-Mexican individuals has produced a range of negative effects. In an article from the La Salle Falconer, Alexa Ramirez-Hernandez shares her shocked reaction to white girls on TikTok wearing bandana shirts, calling the style “basic.” People outside of a specific culture wearing items such as the Chicano shirt do not and cannot embody the history behind the “trend.”
Bindis & Appropriated Hindu Culture
An article by Armour Magazine explores the personal navigation of identity and the cultural appropriation of Hindu garments and spiritual practices. Writer Nisha Mani clarifies that misrepresentation does not spawn from having set ownership of certain resources or practices within Hindu culture. The problems of appropriation involve layers of privilege, with white models and celebrities lauded for adorning these garments while the groups from which they originate are mocked.
Coachella is notorious for the appropriation of Hindi practices, as it consistently leans into exotic fashion aesthetics. Celebrities and regular festival attendees alike have exhibited patterns of appropriation by wearing bindis and traditional sari dresses. Using Mani’s argument, the problem arises when prominent figures use cultural garments as exotic festival fashion and lack genuine respect for their significance.
Turquoise & The Indigenous Influence
Indigenous Americans are among the most discriminated and heavily targeted community in terms of appropriation and marginalization in America. The Lakota People’s Law Project uses Aviator Nation to epitomize the harm caused by appropriation. In the article, Sarah Rose Harper demonstrates how brands like Aviator Nation profit from “white saviorism” — particularly by utilizing Indigenous imagery and culture as the basis of their branding.
Appropriation of Indigenous culture is all around us, from turquoise jewelry, moccasins, and geometric patterns in woven apparel. These items, often associated with the visual aesthetic of Southwest America, stem from a rich history of Indigenous spiritual beliefs. Turquoise, for example, is believed to hold connections to the spiritual world, as well as “communication with spirits, good fortune, and healing,” according to a blog post from T Skies Jewelry.
T Skies Jewelry is an interesting place to analyze the use of Southwest American and Indigenous culture for branding. Owner Mathew James is of mixed ethnicity, including Indigenous descent. James founded T Skies to educate consumers on the significance of turquoise and craftsmanship in Indigenous culture. This led to the employment of local artists and a successful non-profit. The marketing of “Southwest American” imagery as an authentic representation of Indigenous culture is notable.
Interwoven with Intention
The key takeaway seems to be that unless you are of a certain ethnic or cultural group, you should not represent yourself as such by wearing the garments and accessories from said groups. And this is true, for the most part. However, examples like the Keffiyeh and Turquoise jewelry carry significance beyond the immediate Palestinian or Indigenous community. Some garments and accessories are meant to be worn with the intention of supporting a community facing erasure or even genocide.
To the previous point of Armour Magazine writer Nisha Mani, the purpose of cultural representation is to pay respect, demonstrate pride, and preserve the livelihood of a given culture. Thus, it is worth considering how much one can genuinely express pride for a culture they’re not a part of. Before wearing a Keffiyeh to a protest or fashioning a shirt from a bandana, consider their origins.
