What does it mean ? 

The word 'Eurocentrism'  refers to viewing history and culture primarily from a European perspective, often prioritizing European achievements and norms over those of other cultures. It is a believe system that positions Europe as a the central force in shaping the history of the world.

What Are the Effects of Eurocentrism on fashion?

The so-called "birth of fashion" is often attributed to Europe in the late medieval period, around the 14th century. It emerged as a result of socio-economic changes, such as the rise of capitalism, urbanization, and the increasing importance of class distinctions. These developments fostered the desire for novelty and differentiation among the European elite, driving changes in clothing styles.( Welters, L., & Lillethun, A. (2011) 

By presenting European fashion as the universal standard, the legitimacy and innovation of non-Western dress systems are diminished. This Eurocentric framing not only skews historical narratives but also deeply shapes contemporary perceptions of global fashion, often marginalizing diverse cultural contributions.

The Berg Encyclopedia of World Dress and Fashion highlights the importance of examining dress as a global cultural phenomenon. It emphasizes that fashion has existed in various forms across stable societies long before European dominance. (Berg Encyclopedia 2010).

Scholars like Sandra Niessen advocate for a reimagining of fashion history as a global phenomenon, separating Western dress systems from the diverse sartorial practices of other cultures.

12-11- 2015

A UK Fashion House was called out for selling expensive sweaters that featured a design copied from the parka of a long-dead Inuit Shaman from Nunavut

Navigating Cultural Appropriation in Fashion: A Student's Perspective

As a fashion student, you quickly realize that cultural appropriation is a huge issue in the fashion world today. It's not just about where inspiration comes from, but also how we as designers, creators, and consumers engage with other cultures. During the first semester the assignment was to do research, and make an interpretation of a historical dress system of choice. The question often came up: How can we appreciate cultural elements without exploiting them? It's a fine line to walk, and the reality is that many fashion brands have crossed it by taking elements from marginalized cultures without understanding or acknowledging their origins (Tarlo & Moors, 2013).

I’ve come to learn that cultural appropriation isn’t just about borrowing styles or patterns, it’s about the power dynamics and histories behind those elements. When designers or brands adopt cultural symbols without proper context or respect, they often erase the deeper significance of those symbols. It becomes an issue of profiting off someone else's identity without giving credit or compensation (Niessen, 2003). It makes me reflect on the responsibility we have as students and future designers not just to be creative, but to also be respectful and informed.

In my view, the solution is not to avoid cultural inspiration altogether, but to approach it with care. It’s important to recognize where those elements come from, how they’ve evolved, and to credit and collaborate with the cultures you’re inspired by. By doing this, fashion can be an inclusive, global celebration instead of something that capitalizes on the exploitation of others (Tarlo & Moors, 2013). 

What role does Eurocentrism play in the Global Fashion narrative?

The link between Eurocentric framing and cultural appropriation lies in the way non-Western cultures are often viewed and treated through a Western lens. Eurocentric framing establishes a hierarchical worldview that centers Europe and its values, placing other cultures in a subordinate position. This framing influences how fashion, art, and cultural symbols from non-Western societies are perceived and commodified, often leading to their appropriation.

Cultural appropriation occurs when elements of a marginalized culture are taken and used by members of a more dominant culture, usually without understanding or respecting their original meaning or significance. In the context of fashion, this manifests when European or Western designers adopt symbols, textiles, and traditions from African, Asian, or Indigenous cultures, rebranding them as exotic or fashionable, often without acknowledging their origins or the cultural context they represent (Tarlo & Moors, 2013). The appropriation of these elements is frequently marketed as a form of "innovation" in Western fashion, reinforcing the Eurocentric view that non-Western cultures are sources of inspiration but not authors of their own cultural narratives.

This cycle perpetuates a global fashion system that elevates Western creators and ideals while erasing the agency and authenticity of the cultures from which these elements are drawn. Eurocentric framing not only distorts the historical narrative but also shapes the commercial use of cultural symbols, reducing them to mere trends or "exotic" aesthetics, which diminishes their true cultural significance. As scholars like Welters and Lillethun (2011) point out, the global fashion industry often fails to recognize the depth and diversity of dress traditions from outside Europe, thus reinforcing the dominance of Western standards while perpetuating exploitation and marginalization.

To combat this, scholars and activists call for a more inclusive and respectful approach to fashion history, where non-Western cultures are recognized as innovators in their own right, and their contributions are acknowledged with respect and cultural understanding (Niessen, 2003).

Welters, L., & Lillethun, A. (2011). Fashion History: A Global View. London: Bloomsbury Academic.

Wolf, E. (1982). Europe and the People Without History. Berkeley: University of California Press.

Berg Encyclopedia of World Dress and Fashion. (2010). London: Berg.

 Niessen, S. (2003). Reimagining fashion history as global. Fashion Theory, 7(1), 1-25.

Tarlo, E., & Moors, A. (2013). Islamic fashion and anti-fashion: New perspectives from Europe and North America. Bloomsbury Academic.

Additional insights drawn from class notes and discussions on Eurocentrism, cultural interdependence, and traditional African dress practices.