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Green is (NOT) The New Black

December 5, 2017
Below is the paper, “Green is (NOT) the New Black: The Role of Sustainable Fashion in Historically Black Communities”, that I presented at LIM’s Fashion Then & Now conference on October 20th, 2017. Good afternoon. My name is Mikaila Brown. I’d like to thank the organizers of this conference, LIM, and my fellow panelists. It is an honor to be given a platform to tackle this topic and I look forward to the discussions I hope this presentation will inspire. My initial intention in preparing for this paper was to conduct an anthropological examination of sustainable brands in the West Harlem area. For the last year, my company, The Common Thread Project, has been deeply investigating the historical, political, and cultural background of prevalent fashion trends in that area. My early searches for sustainable fashion brands in Harlem yielded very little, but I did come across an article that highlighted the local African artisans who make and sell wooden and metal jewelry and Africa print dresses on Harlem’s 116th and 125th streets. My first thought was a question. “Are these products sustainable?”. But then I realized that they fit many of the necessary components to be considered ethical and sustainable: * Many of the materials used are eco-friendly * Their production contributes minimal to no harm to the environment * Almost everything is hand made by one or a few local artisans, which is the exact opposite of “fast fashion” * And these products are woven into the cultural fabric of their community and not only reflect the aesthetic of said community but also economically feed back into it. So why did it surprise me that these fashion products could be categorized as “sustainable?”. I realized my skepticism was fueled by my own preconception that a sustainable brand meant overpriced products, and a white-owned business that markets a cause to be supported. To be clear, when referring to the terms “sustainable” or “ethical” throughout this paper, my definition is way less myopic. In this paper, I am referring to brands committed to how fashion products are made, encompassing everything from environmental issues like how the cotton was grown to social issues like how the garment workers are treated and paid. And while sustainable brands come in all shapes and sizes as we’ve seen and heard today, I am speaking specifically about ethical brands whose production is based in nonWestern communities, but who are owned and managed by Westerners. Ok. So in examining my own misconceptions of what constitutes “sustainable fashion”, my paper topic began to shift. I began to critically analyze how race impacts how sustainable fashion is defined, understood and operated. The fashion industry has not been insulated from the current political climate and the conversations—and sometimes shouting matches—we’re having around race and representation in our country today. We’re hearing increased calls for more diversity across the industry—on the runway, in corporate fashion boardrooms, and in major design houses. Conspicuously absent from these conversations has been a critical analysis of

Cultural Appropriation ABCs

March 19, 2018
A is for Approval- Avoid approving any media campaigns marketing to, for or with POC without a POC (who feels safe to be honest) in the room. B is for Black Twitter- Black Twitter is cultural appropriation kryptonite. Unlike in the past, when designs could be stolen by bigger and wealthier brands without notice or recourse, Black Twitter is always watching and they will call you out. C is for Cite Your Sources- As stated by Dario Calmese in his @BOF article, culture is erased when top fashion brands profit from pieces “inspired” by small, minority fashion designers without giving credit. D is for Diversity Directors: H&M just got one. Google and Apple have them too. Every company, large and small, needs someone who is paid to keep companies and their staff accountable to being inclusive, fair and culturally sensitive. E is for Edges- Leave them to the (black hair) professionals. F is for Find Meaning: Find out why people wear what they wear AND what it means to them. The more an article of clothing means to the community, the less likely you can get away with making it just another trend. G is for Global: This isn’t an American problem, nor is the outrage. The H&M ad was marketed by their British division, featured a black boy living in Sweden with his Kenyan parents, and inspired South African protesters to trash their stores. H is for Hair- is a critical part of black fashion. Cultural appropriation has come in the form of cornrows, box braids, afros and dreadlocks. For years WOC were programmed to (self) hate the natural kinkiness of our hair, but now that we have reclaimed it, stay clear of copying our hair. I is for Inclusion: Inclusion means that there are no campaigns a POC isn’t appropriate for. We live everywhere, we wear everything, we buy everything. We are everything. J is for Journalistic Integrity: Fashion journalists do your research. Avoid trolling for clickbait by attributing a trend to someone rich and white, just because it isn’t “sexy” that its already been done by someone poor and black. K is for Kardashians: They win the prize for most offenses. Don’t @ me. L is for Listen: Listen to the communities you use for inspiration. And that means you need to actually talk to them and heed their opinions, even if it means bad things for your profit margin. M is for Melanin: If a Model has it before the photo shoot, they should have it after the Photoshop N is for Nuances: There are nuances behind why people wear what they wear. If you copy their style without truly understanding them, you undermine and destroy the significance, impact and value of that particular practice/object/tradition. You reduce them to oversimplified stereotypes. No bueno. O is for One Dimensional: This is how cultures are portrayed when coopted by fashion brands that don’t fully understand them. These interpretations never read as inspired, rather they are easily revealed to
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