COP: Project Statement

Basing from the theme of representation of East Asians in High Fashion and its effects in the representation of East Asian cultures and traditions, the practical outcome directly links to one of the strategies to tackle Cultural Appropriation outlined by Stuart Hall in his book about Representation and Culture, which is to substitute ‘negative images’ with ‘positive images’. It also as stated in the rationale, is a visual presentation of the theories and studies that are explored  in the essay.

The practical outcome created which goes alongside the essay, is a publication displaying examples of Cultural Appropriation and Stereotyping, as well as celebrating ways in which it is being tackled by designers who belong to the culture. Mirroring the essay, the publication stands as an educative form of application that informs the target audience with a clear understanding of the message of the publication. As investigated in the essay, High Fashion brands tend to ‘get away’ with appropriation and stereotyping ethnic cultures due to their high prestige and inaccessibility to the mainstream that they avoid major backlash in their adverts. To highlight this, examples such as Chanel’s ‘Gabrielle’ bag editorial campaign showcased the blatant ignorance to race whilst not receiving much criticism on it. However, as this is a key idea in the publication, perhaps if it was accompanied by succinct text to successfully  get the message across rather than leave it to the subjective opinions of the audiences then maybe the images will have more significance and meaning and the audiences will understand more about the idea of Western privilege in the High Fashion industry. 

On the other hand, it can also be seen as ‘suggestive’, therefore the audiences can explore the images and topics in a more subjective way, much like how High Fashion audiences are now more culturally aware of ethnic culture across the world. Furthermore, the engagement of native East Asian fashion designers is also reflected in the publication which will hopefully allow the readers to realise how although the High Fashion industry is quickly progressing economically, it’s cultural progression and acceptance of ethnic culture is only just beginning.