Part 7. Wealth and status in civilization are partly recognized and defined by an individual’s style of clothing, and the material and quality of its design. To be fashionable required money, until the introduction of the punk era. The 1960s were flooded with inspiration for social activism, and the punk scene was a retaliation against an oppressive and antiquated social system. It was at this time that Vivienne Westwood entered the fashion scene. Westwood championed her generation to embrace dressing in a less formal, more provocative way, with ripped clothing and printed T-shirts. The Metropolitan Museum of Art in New York City offers a different fashion exhibit every year, and Westwood’s contributions were featured in the 2013 punk theme exhibition titled “Chaos to Couture.” Westwood is considered one of the most influential fashion designers and activists in the world today. She is passionate about raising awareness of environmental and human rights issues and speaks out about the effects of climate change and overconsumption. Westwood garnered the attention of the international community to assemble for the ecological movement. In response, she founded the campaign “Save the Arctic.” The campaign’s exhibition helped raise awareness towards the protection of the Arctic while earning money from the sale of Westwood’s related merchandise, the profits from which were gifted to Green Peace. Westwood still embodies the anti-establishment attitude of the punk era through her design and activist pursuits, which can be witnessed on the runways, streets, in media, and at rallies.
One of the most pivotal periods when fashion served as a political statement was during the women’s suffrage movement. In an article titled “What Activism Means to Today's Shoppers” fashion historian Einav Rabinovitch-Fox, Ph.D. expresses, “Fashion was and is always political because it is a material way to express power.” Colors with meanings attributed to the women’s rights campaign include white to represent purity, purple to show loyalty and dignity, and green as an expression of hope. Suffragette white is still used today as a nod of significance in fashion. Members of the House Democratic Women’s Working Group wore white to the 2017 presidential address, and again at the 2019 State of the Union address, as a gesture signifying affinity for women's rights. Prominent female politicians have embraced the symbolism of wearing white on several other occasions. In a declaration of solidarity, Rep. Alexandria Ocasio-Cortez wore white at her swearing-in, and presidential candidate Hillary Clinton wore a white pantsuit at the final presidential debate of the 2016 election.
Womens movements in fashion expanded to other forms of rebellion such as the burning bra movement and eventually replacing skirts and dresses with pants and pants suits defying gender norms. During the 1960’s it was not customary practice for women to be seen in pants, and women wearing them received similar treatment to practices during segregation by not being allowed into establishments if wearing them. In 2018 women attending the Golden Globes award ceremony wore all black in solidarity to represent the “Me Too” movement which arose after the Henry Weinstein sexual assault allegations. During the 2020 Democratic National Convention, Michelle Obama wore a statement “VOTE” necklace which went viral. Following the highly publicized event, the politically charged jewelry quickly grew a following and sales from its boutique origin dramatically increased.
In 2010 the celebrity singer and entertainer known as Lady Gaga made headlines for wearing a dress made of meat. Gaga claims the meat dress was worn to protest the military’s “don’t ask, don’t tell” policy. The former discriminatory policy prohibited anyone who identified themselves as a member of the lesbian, gay, bisexual, transgender, and queer (LGBTQ) community from disclosing their identity, punishable by discharge from the service. In the same year, the Burqa, an Islamic veil worn by women, was banned in France. This Islamophobic move proved to be a problematic political endeavor, the response to which exacerbated issues with immigration, nationalism, and sexuality.
In 2014 American professional basketball player, Lebron James, caught the media’s attention when he wore a T-shirt printed with the quote, “I Can’t Breathe.” Worn by Lebron to signify the last words of Eric Garner, a black man who was killed by police officers, this is one of many examples of black activism. Singer-songwriter Beyonce’s 2016 Superbowl performance was boldly symbolic of the Black Panthers' movement. The Black Panther party differentiated themselves by wearing all black, including a black beret to signify their message. They typically included sunglasses to avoid personal identification. The group stood up against police brutality and racism experienced in the United States. Beyonce used her position and celebrity status, at one of the largest American televised events, as a powerful political statement.
During former president Donald Trump’s 2016 presidential campaign, Trump wore a red hat bearing the words, “Make America Great Again.” The hat, which was distributed as political swag being worn at rallies, may have started as an innocuous representation of political affiliation and policy views until it became radicalized as a statement of identity. The MAGA hat became associated with white supremacy. A critical view of the slogan insinuated that the country was no longer great, as it had been in the past. An article of clothing as simple as a hat wielded enough power to polarize a nation for its associated meaning. Trump’s campaign unveiled other concerning behaviors from the future president and in 2017, after taking office, a women's march was organized in response to vulgar comments made by Trump. The now famous pink “pussy” hats were worn by those who attended the march. It was a unified statement to protest the president’s rhetoric against women and marginalized people.
Examples of fashion movements are readily available to witness across media platforms within the present-day context but are not all the first of their kind. A significant historical fashion moment in the context of race movements was a result of English potter Josiah Wedgwood’s work. During the late 1700’s Wedgewood was an active participant in the abolition of slavery cause. In 1787 he produced a ceramic anti-slavery medallion, that could be mounted on broaches and buckles, becoming the precursor to the protest badge. Wedgwood’s design depicts a kneeling Black man, cuffed in chains, with the inscription, “Am I Not a Man and a Brother?” Textiles and ceramics bearing this motto and motif continued to be produced throughout the late 18th and 19th centuries. The medallions became fashion accessories that ladies wore as bracelets, adorning their hats with them, promoting the cause for justice. Unironically, the supporters of this cause recognized the correlation between Empire and global consumption, leading to the boycott of sugar because of its association with slave labor. Given the modern examples of polarization and political protests, the overlap of past and present ideologies is evident.
Fashion activism is not limited to wearing statement pieces, it can take on an array of forms. In 2017, cultural anthropologist and fashion professional, Kimberly Jenkins, developed an online research project called the Fashion and Race Database. Jenkins’s database compiles her research on representation and diversity in the fashion industry to, “amplify the voices of those who have been racialized (and thus marginalized) in fashion, illuminate under-examined histories, and address racism throughout the fashion system” (Jenkins). Over the last decade brands have come under fire for racist designs, and a notable lack of diversity both internally within apparel companies and as representation in marketing campaigns. Jenkins is addressing these issues as an educator and consultant. She has notably worked as a consultant for the fashion brand Gucci to bring cultural awareness to the company.
Geczy, Adam, and Vicki Karaminas. Critical Fashion Practice: From Westwood to Van Beirendonck. London: Bloomsbury Academic, 2017.
Givhan, Robin, and Michel Martin. “The Symbol of the Maga Hat.” NPR. NPR, January 27, 2019. https://www.npr.org/2019/01/27/689191278/the-symbol-of-the-maga-hat.
Jenkins, Kimberly M. “Vision Statement - the Fashion and Race Database™.” The Fashion and Race Database™ - It's time to decentralize the study of fashion. Accessed May 15, 2022. https://fashionandrace.org/database/vision-statement/.
Motta, Giovanna, and Antonello Biagini. Fashion through History: Costumes, Symbols, Communication. 2. Vol. 2. Newcastle upon Tyne: Cambridge Scholars Publishing, 2017.
“The Pussyhat Story.” PUSSYHAT PROJECT™. Accessed May 15, 2022. https://www.pussyhatproject.com/our-story.
“V&A · The Wedgwood Anti-Slavery Medallion.” Victoria and Albert Museum. Accessed November 1, 2021. https://www.vam.ac.uk/articles/the-wedgwood-anti-slavery-medallion/.
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