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• W4380201429 abstract "At the intersection of law, social justice, cultural identity, and sustainability in fashion lies a topic that sparks conversations, divides opinions, ideologically separates the West from the rest, fashion from craftsmanship, and ultimately us as a global society. Cultural appropriation has been part of the social fabric since times immemorial. In legal vocabulary, to appropriate means to take something from the rightful owner without their consent. If we were to incriminate all instances of cultural appropriation, we could very well incriminate acculturation, cultural assimilation, or cultural syncretism. So it is natural and welcome to ask ourselves what is the difference between cultural appropriation and cultural appreciation, to observe different interpretations based on differences in cultural context between Europe, South-East Asia, and Latin America, for example, and to feel overwhelmed by the complexity of the topic and conscious of the risk of oversimplifying it. What is not natural, is to support a practice of extracting meanings and aesthetics from Traditional Cultural Expressions (TCEs), without the consent of the creators and custodians of these meanings and expressions, use them for commercial purposes–without compensation or sharing of benefits arising from their commercialization–or use them in ways that are derogatory, inappropriate or ignorant. The access to and use of TCEs without consent, credit and compensation, or the misuse of TCEs in derogatory, inappropriate, or ignorant ways should be understood as cultural misappropriation, irrespective of the cultural and geographical context where this occurs, and irrespective whether the applicable law in that jurisdiction incriminates or not such practices. Why do I say this? Because this is not just an issue about what fashion designers can or cannot do, should or should not do. This is an issue of cultural continuity and survival, biocultural diversity, and respect of human rights. Both the fashion system and the intellectual property law system are built on eurocentrism, and allowing them to continue operating on this premise will further sustain a culture of otherness and systemic discrimination in many forms: direct discrimination, indirect discrimination, and positive discrimination. In today’s socio-cultural context, when cultural sensitivity, protection and promotion of cultural diversity, and cultural diplomacy are paramount to designing a future of well-being for all, it is essential to challenge desuet definitions, concepts, practices, and tools that the fashion and the legal systems operate on, and design new ones in partnership with indigenous peoples, ethnic groups, and local communities who have, for far too long, suffered from systemic discrimination and exclusion. The way forward is to go beyond criticizing the system and offer alternative solutions: models, concepts and tools that can be discussed, tested, and improved. This case study presents the Oma Traditional Textile Design Database©, a cross-disciplinary solution designed as a response to the fashion company Max Mara using a textile design of the Oma ethnic group of Nanam Village in Laos without consent, credit, and compensation. This solution, modeled on the 3Cs’ Rule: Consent. Credit. Compensation© Framework by the Cultural Intellectual Property Rights Initiative®, is meant to be a best practice model for systems change in the fashion industry and the intellectual property law system, which are both built on a colonial right of access to, and use of, Cultural Fashion expressions without benefit sharing and without contemplating the question of consent, all in the name of the principle of the “common patrimony of mankind”. The model challenges the understanding of the notion of “public domain” and draws attention to the value of traditional textile knowledge for re-designing a fair, equitable, and sustainable fashion system." @default.
• W4380201429 created "2023-06-11" @default.
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• W4380201429 date "2023-01-01" @default.
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• W4380201429 title "Cultural Fashion a Matter of Human Rights. Cultural Misappropriation as a Human Rights Violation. What is Wrong with the Fashion and Legal Systems and How Can We Make It Right? The Oma Ethnic Group of Nanam Village in Laos Have an Answer" @default.
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• W4380201429 doi "https://doi.org/10.1007/978-981-99-0349-8_6" @default.
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