Cultural Appropriation In Fashion And Entertainment

Is it ever acceptable to “borrow” culturally inspired ideas? Who has ownership over intangible culture? What role does power inequality play? These questions are often at the center of heated public debates around cultural appropriation, with new controversies breaking seemingly every day. Cultural Appropriation in Fashion and Entertainment offers a sociological perspective on the appropriation of race, ethnicity, class, sexuality, and religion embedded in clothing, textiles, jewelry, accessories, hairstyles and tattoos, as well as in entertainment, such as K-pop, Bhangra, and hip-hop. By providing a range of global perspectives on the adoption, adaptation, and application of both tangible and intangible cultural objects, Kawamura and de Jong help move the conversation beyond simply criticizing designers and creators to encourage nuanced discussion and raise awareness of diverse cultures in the creative industries.

It is not uncommon for white suburban youths to perform rap music, for New York fashion designers to ransack the world's closets for inspiration, or for Euro-American authors to adopt the voice of a geisha or shaman. But who really owns these art forms? Is it the community in which they were originally generated, or the culture that has absorbed them? While claims of authenticity or quality may prompt some consumers to seek cultural products at their source, the communities of origin are generally unable to exclude copyists through legal action. Like other works of unincorporated group authorship, cultural products lack protection under our system of intellectual property law. But is this legal vacuum an injustice, the lifeblood of American culture, a historical oversight, a result of administrative incapacity, or all of the above? Who Owns Culture? offers the first comprehensive analysis of cultural authorship and appropriation within American law. From indigenous art to Linux, Susan Scafidi takes the reader on a tour of the no-man's-land between law and culture, pausing to ask: What prompts us to offer legal protection to works of literature, but not folklore? What does it mean for a creation to belong to a community, especially a diffuse or fractured one? And is our national culture the product of Yankee ingenuity or cultural kleptomania? Providing new insights to communal authorship, cultural appropriation, intellectual property law, and the formation of American culture, this innovative and accessible guide greatly enriches future legal understanding of cultural production.

This is an open access book. FACTUM Conference proceedings are the output of one of the few academic events of its nature happening globally, researching fashion communication from different angles and perspectives. It includes contributions from scholars studying communication and marketing, management, digital transformation, and cultural heritage, among other disciplines. This book presents papers from the third bi-annual Conference, which aims to become the major reference point in the field. These proceedings seek to promote theoretical and empirical interdisciplinary work on how various communication practices impact both the fashion industry and societal fashion-related practices and values. With these proceedings, several objectives are aimed to be achieved, namely: - to establish and consolidate an international and interdisciplinary network of scholars in the field of fashion communication; - to share methodological approaches; - to expand the dialogue between communications studies and fashion-related disciplines; - to encourage junior researchers to pursue their scientific interests in this field. Finally, the book can be used by professionals in the field of fashion communication and marketing, who are eager to access sound research in a field that is developing very fast due to its digital transformation.

Fashion law encompasses a wide variety of issues that concern an article of clothing or a fashion accessory, starting from the moment they are designed and following them through distribution and marketing phases, all the way until they reach the end-user. Contract law, intellectual property, company law, tax law, international trade, and customs law are of fundamental importance in defining this new field of law that is gradually taking shape. This volume focuses on the new frontiers of fashion law, taking into account the various fields that have recently emerged as being of great interest for the entire fashion world: from sustainable fashion to wearable technologies, from new remedies to cultural appropriation to the regulation of model weight, from advertising law on the digital market to the impact of new technologies on product distribution. The purpose is to stimulate discussion on contemporary problems that have the potential to define new boundaries of fashion law, such as the impact of the heightened ethical sensitivity of consumers (who increasingly require effective solutions), that a comparative law perspective renders more interesting. The volume seeks to sketch out the new legal fields in which the fashion industry is getting involved, identifying the new boundaries of fashion law that existing literature has not dealt with in a comprehensive manner.

Exposes the new generation of whiteness thriving at the expense and borrowed ingenuity of black people—and explores how this intensifies racial inequality. American culture loves blackness. From music and fashion to activism and language, black culture constantly achieves worldwide influence. Yet, when it comes to who is allowed to thrive from black hipness, the pioneers are usually left behind as black aesthetics are converted into mainstream success—and white profit. Weaving together narrative, scholarship, and critique, Lauren Michele Jackson reveals why cultural appropriation—something that’s become embedded in our daily lives—deserves serious attention. It is a blueprint for taking wealth and power, and ultimately exacerbates the economic, political, and social inequity that persists in America. She unravels the racial contradictions lurking behind American culture as we know it—from shapeshifting celebrities and memes gone viral to brazen poets, loveable potheads, and faulty political leaders. An audacious debut, White Negroes brilliantly summons a re-interrogation of Norman Mailer’s infamous 1957 essay of a similar name. It also introduces a bold new voice in Jackson. Piercing, curious, and bursting with pop cultural touchstones, White Negroes is a dispatch in awe of black creativity everywhere and an urgent call for our thoughtful consumption.

This new edition of a classic work offers a concise introduction to the sociology of fashion, and demystifies the workings of the fashion system. From the origins of fashion studies and the difference between clothing and fashion, through to an examination of 21st century subcultures, and the impact of the digital age on designers, Fashion-ology explores fashion as a global, institutionalized system. With accessible overviews of key debates, issues and perspectives, Yuniya Kawamura provides a complete exploration of the field. Two two new chapters have been added for this third edition, covering 'The Diversification and Changing Landscapes of Fashion Systems' and 'Ecological and Social Sustainability in Fashion' respectively. There's also more on: - the metaverse as the latest fashion system - the de-Westernization of fashion - postmodern discourse on fashion's relationship to race, gender and class - social media as consumption, production, evaluation, and marketing - fashion weeks, including Modest Fashion Week, Black Fashion Week, the Global Sustainability Fashion Week, and Queer Fashion Week There's also a guide to sociological research in fashion, making this essential reading for anyone studying fashion, sociology, anthropology, or cultural studies.

Bringing together a wealth of primary sources and with contributions from leading experts, Dress History of Korea presents the most recent approaches to the interpretation of dress and fashion of Korea. Through close analysis of visual, written, and material sources-some newly excavated or recently re-discovered in global museums-the book reveals how dress and adornment evolved from the period of state formation to the modern era. Authors with a range of academic and curatorial experience discuss the close relation of dress and adornments to the socio-political and cultural history of Korea and place the dress history of Korea within broader contexts in studies of fashion, material culture, museology, and costume design. As in other cultures, modern Korean fashion owes many of its styles to historic dress and this process of adaptation is explored within high fashion and popular culture contexts in ways that benefit historians, curators, and designers alike. With key materials newly available to global readers, Dress History of Korea is the indispensable guide to the study of Korean dress and fashion.

Now, for the first time, a philosopher undertakes a systematic investigation of the moral and aesthetic issues to which cultural appropriation gives rise. Cultural appropriation is a pervasive feature of the contemporary world (the Parthenon Marbles remain in London; white musicians from Bix Beiderbeck to Eric Clapton have appropriated musical styles from African-American culture) Young offers the first systematic philosophical investigation of the moral and aesthetic issues to which cultural appropriation gives rise Tackles head on the thorny issues arising from the clash and integration of cultures and their artifacts Questions considered include: “Can cultural appropriation result in the production of aesthetically successful works of art?” and “Is cultural appropriation in the arts morally objectionable?” Part of the highly regarded New Directions in Aesthetics series