Dear Afrocentrists, “African prints” are not from Africa - I’ve had a lot of inquiries about the Kente fabrics we sell at Dziffa.com.
Some ask why our prints are so expensive when other outlets are selling them for a quarter of the price we offer them for. I want to address this by first saying that most of the “African prints” you buy are not made in Africa. I’ll use the picture below to address this topic. The fabric I’m wearing on my body in this issue is called Kente. It’s made from cotton by skilled artisans and hand-woven in the manner that spiders weave their web. The headscarf I have on is an “Idea of Kente” stolen by the Chinese and co. and marketed to African-Americans as “African prints.”
African prints have no connection to the continent whatsoever and they are destroying our local fabric industry. To make matters worse, African market women are importing them and selling them to tourists as African. This African-Themed Show Had Zero Black Models. KTZ Appropriates Native American Culture at Fashion Week. Culture is Not Costume: Why Non-Africans Should Not Wear African Clothing.
Photo Credit: Zadi Araka/Deposit Photos by Nneka M.
Okona Within the past few years, we’ve seen an influx of what is commonly referred to as “tribal” or “ethnic” prints in big box retail and online stores. Forever 21, ASOS, H&M, Zara and others have been selling these African-inspired designs on a number of items—wallets, purses, sweaters, blazers, skirts, crop tops, skirts, leggings, scarves. It has been deemed fashionable and trendy, but it seems like nine times out of ten, the models wearing these pieces were White. As if my culture, my heritage—something that has gone back thousands of years—came with a price tag and could be tried on for one’s own liking.
Cultural appropriation is not my main issue with non-Black women (and to be honest, Black American women as well) choosing to relish in headwraps and funky prints that draw their inspiration from the Motherland—although, of course that’s a huge one. À l'allure garçonnière: the critical fashion lover's (basic) guide to cultural appropriation. Writing about cultural appropriation and racism in fashion is potentially the most controversial topic for fashion writers, with body politics (which isn't completely divorced from these issues) following close behind. those of us who identify as critical, progressive or liberal minded want to think these things will just go away, but cannot ignore all the signs say otherwise; in fact, racism and cultural appropriation seems to be selling more than ever as of late. just look at the fact that white models are still the standard on runways and in magazines, and that outdated, undeniably racist things like blackface will come back and rear their ugly heads in the pages of vogue even in our supposed "post-racial" era.
"So... should I not wear minnetonka shoes or feather earrings anymore? " sydbarretsaves "Am I gonna go to liberal-PC-prison for wearing silver and turquoise jewelry? "" Don't Mess Up When You Dress Up: Cultural Appropriation and Costumes. LINKAGE: The Feather In Your “Native” Cap. This means war: why the fashion headdress must be stopped. The right to dress like an idiot is a fundamental principle of festival culture, but at this weekend's Bass Coast electronic music festival in British Columbia, Canada, one particular kind of idiot will not be welcome.
Last week, the organisers told festival-goers that Native American feathered headdresses, also known as war bonnets, would not be permitted on site. "We understand why people are attracted to war bonnets," they wrote on the festival's Facebook page. "They have a magnificent aesthetic. But their spiritual, cultural and aesthetic significance cannot be separated.
Bass Coast festival takes place on indigenous land and we respect the dignity of aboriginal people. " The coverage the festival's policy has received is as revealing as the decision itself. More Fun With Cultural Appropriation! This Time With Ankara Prints. So I was at a big box store over the weekend, hoping to pick up a few jeans on clearance, when something caught my eye.
It was a fabric in a graphic print of pink and blue, sticking out like an oddity among a display of black, white and navy skirts. I wandered over to examine more closely, and when I pulled the garment from the rack, found myself surprised. It was a jersey pencil skirt in what was supposed to be an ankara print. Oh… okay, I thought. Cultural Appropriation: The Fashionable Face of Racism. By Chimene Suleyman There is a painting in my parent’s house that my mother made.
It is a self portrait; green eyes looking back between the black cloth of the headscarf painted around her face. It is a beautiful painting, carnal even. The assigned image on my phone for my father is a photograph taken from the same time as my mother’s painting. He sits straight, regal, the red chequered keffiyeh draped around his head. Nicholas K’s Spring 2014 Collection.