Black Is the New Black

Black is the New Black:

How Black-owned Fashion Brands and the Trickle-up Theory Influence the

Luxury Fashion Industry

Niani HARRIS and Imani STARLING-BROWN

Skema Business School

Abstract

Year: 2020 Name: Niani HARRIS and Imani STARLING-BROWN Nationality: American Title: Black is the New Black: How Black-owned Fashion Brands and the Trickle-up Theory Influence the Luxury Fashion Industry Keywords: Black-owned, trickle-up, Black culture, diversity, inclusion, luxury, representation Supervisor: Dr. Emmanuelle RIGAUD (SKEMA) Sponsoring organization and contact person (if applicable): Dr. Delisia MATTHEWS (NC State University)

The purpose of this thesis project is to analyze the evolution of the luxury fashion industry through the influence of Black-owned fashion brands and the trickle-up theory. The project will be conducted through a longitudinal study beginning from the 1980s to the present day that depicts a forty-year evolution, focusing on the influence of Black culture, the development of diversity and inclusion initiatives for established luxury fashion brands, and the emergence of Black-owned luxury fashion brands. By dividing this time frame into specific eras, the study will analyze the particular themes that have ultimately led to the emergence of Black-owned luxury fashion brands. Our methodology will include an analysis of individual interviews, group interviews, case studies, and surveys to provide qualitative and quantitative data that validate our theories.

Preface and Acknowledgements The work presented in this thesis project was completed by Niani HARRIS and Imani STARLING-BROWN in fulfillment of the requirements for the Master of Science in Global Luxury degree at SKEMA Business School in Paris, France.

Niani Completing this thesis project was a difficult yet rewarding experience. I would like to thank my mother, Dr. Stephanie Helms Pickett, who has always been my number one supporter and who provided valuable advice during this process. Thank you to all of the participants that were interviewed. You contributed such transparent and honest insight. Finally, thank you to the countless people who encouraged me and reminded me of how relevant and important this thesis topic is and will be to future generations within the global luxury fashion industry. I hope to continue to positively contribute to our [Black] community.

Imani The topic of this thesis, Black culture within the luxury fashion industry, is very important to me. All of my life, I have loved the fashion industry although, it does not particularly (and historically) love me back, especially as a Black woman. This thesis project serves as a platform that I fully intend to use to make a global impact within the luxury fashion industry while increasing Black representation and diversity. I hope that the conversations, research, and even criticism that arises in response to this thesis will positively contribute to the Black community and our upward mobility for generations to come. I want to dedicate my work to my mom, Norma Starling-Brown, who continuously tells me to PUSH and never silence myself for the benefit or comfort of others.

Table of Contents

Abstract 2

Preface and Acknowledgements 3

Table of Contents 4

Executive Summary 6

List of Tables 9

List of Figures 10

Chapter I 11

Chapter II 16 Introduction 16 Black Culture within the Fashion Industry 16 Importance of Black Representation 18 Identifying Cultural Appropriation 22 Fashion Industry’s Response through Diversity and Inclusion 34 The Future of Black Representation within the Luxury Fashion Industry 45

Chapter III 46 Introduction 46 Qualitative Data 46 Interviews 46 Case Studies 47 Quantitative Data 48 Surveys 48

Chapter IV 49 Qualitative Data 49 Interviews 49 Case Studies 95 Quantitative Data 111 Surveys 111

Chapter V 122

References 138

Appendices 143 Appendix I: Discussion Guide 143

Appendix II: Gucci Copies Dapper Dan 147

Executive Summary

Thesis Objectives: The purpose of this thesis project is to analyze the evolution of the luxury fashion industry through the influence of Black-owned fashion brands and the trickle-up theory, focusing on the development of diversity and inclusion initiatives for established luxury fashion brands, and the emergence of Black-owned luxury fashion brands.

There are four specific objectives: I. To establish a historical reference of Black-owned fashion brands and analyze the influence of Black culture in the luxury fashion industry through the trickle-up theory. II. To analyze the diversity and inclusion initiatives developed for luxury fashion brand management (including internal and external programs, core objectives, collaborations, etc.) in response to the implications of Black culture within the luxury fashion industry. III. To analyze the emergence of Black-owned luxury fashion brands, their positioning, and influence as it relates to creating space and representation for Black culture within the luxury fashion industry. IV. To evaluate the current influence of Black culture in luxury fashion and forecast its impact on the progression of diversity and inclusion within the luxury fashion industry.

Methodology: Our methodology will include an analysis of individual interviews, group interviews, case studies, and surveys to provide qualitative and quantitative data that validate our theories. The interviews and case studies will feature participants who have worked within or have a direct relation to the luxury fashion industry, and can identify the influence of Black culture, specifically as it relates to brand management (diversity and inclusion initiatives). The survey provided us with a foundational understanding of how the general public considers the influence of Black culture within luxury fashion.

The analyses of this data will include resources in the context of our thesis topic, from academic literature, articles from credible fashion publications, and real-time news, to support the underlying influence of Black culture and its implication.

Results: Objective I Our interviews, survey responses, and supporting tables and figures each provide historical references of Black-owned fashion brands and designers, as well as the luxury fashion industry’s adaptation of trends and styles generated by the Black community (see Figures 1.1-1.4) through the trickle-up effect. Historically, Black-owned fashion brands were unable to sustain their success; therefore, if luxury fashion brands plan to continue deriving styles and trends from the Black community through the trickle-up effect, they must prioritize Black representation.

Objective II Our results have indicated that the recent diversity and inclusion (D&I) development, i.e. D&I departments, D&I initiatives, and D&I chief/leader appointments, within luxury fashion, have been a direct response to the exploitation of Black culture within the luxury fashion industry. Data from our survey, interviews, Table 2.1, and our entire List of Figures all contributed to this conclusion. This data also revealed that recent D&I development is not yet satisfactory, however, has the potential to create sustainable change, if properly implemented into practices that affect the entire business.

Objective III In the past ten years, there has been a surge of Black-owned brands and designers entering the luxury fashion industry. While there is no definite cause for the emergence of Black-owned luxury fashion brands and designers, the trend is very evident and depicted in Table 2.2. In addition to luxury brands, there has also been an influx of contemporary Black-owned fashion brands and designers. Both luxury and contemporary, or "almost luxury,"

Black-owned brands and designers have the objective to create space and representation for Black culture within the luxury fashion industry without relying on the resources, partnerships, or inclusivity of established luxury brands.

Objective IV It was determined that Black culture has contributed to the recent conversations surrounding racism within fashion, as well as the resulting actionable plans made by various fashion brands, companies, publications, etc. Regarding the development of diversity and inclusion, in particular, our survey and several accompanying sources showed that Black people within fashion have been given the opportunity to voice their concerns and to encourage those in power to incite change. This continued opportunity will ensure the success of established and emerging Black-owned luxury fashion brands.

List of Tables Table 2.1 39 Table 5.1 124 Table 5.2 131 Table 5.3 134

List of Figures Figure 1.1 12 Figure 1.2 13 Figure 1.3 14 Figure 1.4 15 Figure 2.1 24 Figure 2.2 25 Figure 2.3 26 Figure 2.4 27 Figure 2.5 28 Figure 2.6 29 Figure 2.7 30 Figure 2.8 30 Figure 2.9 31 Figure 2.10 32 Figure 2.11 33 Figure 2.12 34 Figure 4.1 112 Figure 4.2 113 Figure 4.3 114 Figure 4.4 115 Figure 4.5 116 Figure 4.6 117

Figure 4.7 118 Figure 4.8 119 Figure 4.9 120 Figure 4.10 121

Chapter I Introduction

Throughout history, the luxury fashion industry has ostracized the Black community. Due to the luxury fashion industry's blatant disinterest in designing for Black rappers, celebrities, and other Black consumers, in the 1980s, black fashion designers began creating their own brands to appropriately capture the essence of their culture, and outfit their community. By the 1990s, many trends that Black-owned brands and their community popularized started to appear in the collections of mainstream luxury fashion brands. It was clear that the luxury fashion industry was benefiting from the trickle-up effect, which is a theory that describes how trends begin in "the streets" or lower classes then flow up to the upper ones, i.e., luxury consumers. Despite being at the forefront of fashion trends throughout the late 20th century, and now, Black-owned brands and designers are continuously pigeonholed by the fashion industry. Specifically, the luxury fashion industry labels the designs and styles that Black-owned brands and designers create as "urban" or "streetwear." The luxury fashion industry created a negative connotation of Black culture in fashion, which inherently means there was no space for Black-owned brands and designers in the closets of luxury consumers, department stores, magazine covers, and red carpets. Ironically, the stigma did not stop luxury fashion brands from misappropriating fashion trends from the Black community and producing what is now a multibillion-dollar industry that leverages Black culture but excludes Black-owned brands and designers. Today, the influence that Black-owned fashion brands and designers, and the trickle-up theory have on the evolution of the luxury fashion industry is too apparent to ignore. Many people within the fashion industry are exposing the exclusion and simultaneous appropriation of Black culture, resulting in the development of diversity and inclusion initiatives for established luxury fashion brands, and the emergence of Black-owned luxury fashion brands. Both these shifts in the luxury fashion industry intend to create the opportunity for more representation of Black culture. The questions then become, what is the current influence of Black culture in

luxury fashion, and how will it impact the progression of diversity and inclusion within the luxury fashion industry?

The figures below are examples of the influence of Black culture on luxury fashion throughout history:

Figure 1.1

Dapper Dan’s mink jacket with Louis Vuitton Alessandro Michele’s fur-paneled bomber monogram sleeves, made for the Olympic jacket with Gucci logo sleeves made for gold medalist Diane Dixon, in 1989. Gucci’s Cruise collection, in 2017.

Retrieved July 5, 2020, from Retrieved July 5, 2020, from https://www.thecut.com/2017/05/dapper-dan-coat- https://www.nytimes.com/2017/05/31/fashion/guc diane-dixon-olympic-athlete.html ci-dapper-dan-jacket.html

Figure 1.2

Run-D.M.C., an American rap group, Fendi’s Reversible Blue 'Forever Fendi' notoriously wore and popularized bucket hats Bucket Hat as fashion accessories in the 1980s.

Retrieved July 5, 2020, from Retrieved July 5, 2020, from https://www.oprahmag.com/entertainment/a30644 https://www.ssense.com/en-us/men/product/fendi/ 382/run-dmc-facts/ reversible-blue-forever-fendi-bucket-hat/4503081

Figure 1.3

Baby Phat velour tracksuit, which launched in Juicy Couture velour tracksuit released in 1999, two years before Juicy Couture 2001. introduced its own.

Retrieved July 5, 2020, from Retrieved July 5, 2020, from https://www.crfashionbook.com/fashion/a3233920 https://www.popsugar.com/fashion/photo-gallery/ 2/baby-phat-kimora-lee-simmons-streetwear/ 47033580/image/47033584/Pictures-Paris-Hilton- Wearing-Tracksuits

Figure 1.4

Beyoncé wearing square-shape ombre lenses, Dior Women's Stellaire Oversized Square also known as gradient sunglasses, in 2000. Sunglasses

Retrieved July 5, 2020, from Retrieved July 5, 2020, from https://www.essence.com/fashion/2000s-fashion-tr https://www.bloomingdales.com/shop/product/dio ends-made-popular-by-black-culture/#525651 r-womens-stellaire-oversized-square-sunglasses

Chapter II Literature Review

Introduction Fashion and culture go hand in hand. For many decades, Black culture has trickled-up into mainstream society and provided a source of inspiration for the fashion industry. Although fashion brands continue to profit off the trends that began in Black communities or were idealized by Black-owned brands and designers, there is a lack of Black representation within these fashion brands; and this a form of exploitation. Today, many consumers and brand managers are identifying the long-standing exploitation and declaring a call to action that fashion brands must answer. This evolution particularly impacts the luxury fashion industry because luxury brands are the tastemakers; therefore, there is a higher expectation for these brands to create opportunities for more Black representation. Despite this expectation, many Black fashion designers are taking the future of Black culture in fashion into their own hands, which is apparent through the emergence of Black-owned luxury fashion brands. In other words, Black is the new Black. This study will analyze the evolution of the luxury fashion industry through the influence of Black-owned fashion brands and the trickle-up theory, focusing on the development of diversity and inclusion initiatives for established luxury fashion brands, and the emergence of Black-owned luxury fashion brands. This literature review will discuss the underlying influence of Black culture and its implications on the luxury fashion industry, including diversity and inclusion, the importance of Black representation, cultural appropriation, and Black culture within the fashion industry.

Black Culture within the Fashion Industry In the late 20th century and early 21st century, Black culture was well represented and recognized. There were several relevant Black-owned fashion brands and designers within the fashion industry. Their presence highlighted the trends and styles associated with their lived experiences and they provided an accurate depiction of Black culture. Many of these brands

influenced the fashion industry, challenging industry norms, and creating new aesthetics that were praised by masses. They were trendsetters and catered to a consumer that was often considered as an outcast to mainstream fashion. One specific brand, Hood By Air (HBA) is exemplary of the rise and decline of Black fashion brands. In his article, Hughes (2019) recounts the creation, hiatus, and revamp of the Black-owned fashion brand. By following a detailed timeline, beginning in 2006 to the present, the author shares the brand’s creation, barrier-breaking milestones, and its influence on the global fashion industry. The brand’s creator, Shayne Oliver, has contributed to the increased visibility and recognition of Black queer designers within luxury fashion and has challenged the norms and barriers created by said industry, influencing luxury brands like Gucci and Balenciaga. HBA created a blueprint for other Black-owned fashion brands and Black designers like Virgil Abloh, who is now the artistic director for Louis Vuitton’s menswear and CEO of Off-White. Hood By Air proves that Black culture is relevant and in demand. Today, similar to HBA, many Black-owned fashion brands and their key affiliates have either lost recognition and representation or have become entirely obsolete. However, even in their absence, their influence can be observed in current trends within the fashion industry, especially as it pertains to luxury fashion. This adaptation of the elements and styles created by Black-owned brands has been interpreted by larger, sought-after fashion brands. The results being insensitive, tasteless, and misrepresentative collections that exploit the themes associated with past Black-owned brands that were once shunned by the mainstream. After various cycles of evolution, fashion is still in an unprogressive state. With call-out culture constantly exposing luxury brands’ exploitation of styles directly associated with Black culture, people are calling for change. Lloyd (2017) sheds light on recent trends in luxury fashion that appropriate these themes. Brands like Marc Jacobs incorporate trends and characteristics of Black culture into their collections, making them appear glamorous and more appealing to mass audiences. While fashion critics praise Jacobs for donning his White models in dreadlocks, Black job applicants are being denied employment because their hair of the same style is considered to be “unprofessional.”

For established luxury brands to appropriately celebrate diversity and display cultural appreciation, they must represent the people belonging to the respective cultures and identities. Elan (2019) calls to question what luxury fashion brands are doing to combat the lack of representation of people of color and how these brands are positively contributing to the overall conversation surrounding the topic. Also, where should representation begin- the office or the runway? In the same article, Elan shares model, Naomi Campbell’s perspective on the solution to the lack of representation of Black people in fashion: It needs to go deeper … We want to see within the actual companies, in the offices, are you going to give diverse staff a seat at the table to advise and be part of the projects that you do? … We need to put diversity behind the desk. There is an apparent need for change within the fashion industry, especially luxury fashion. Like the Black-owned fashion brands that flourished in the past, Black people need the opportunity to control their narratives. The industry has already demonstrated the neglect that results from the attempts to incorporate Black cultural themes without the consultation and inclusion of associated persons. Adesina (2019) reiterates this concern through interviews from Black fashion executives and examples of magazines, runway collections, and other resources that emphasize the lack of control that Black people have of their narrative. The information also showcases how the fashion industry continuously excludes Black people in its decision making. To further expose the industry’s neglect, Adesina (2019) features an interview from The Cut with fashion critic Robin Givhan. Givhan states, “If we don’t consider how the fashion industry is embracing, showing, or including various people, then we risk allowing whole groups to be, if not devalued, then ignored.” As long as the fashion industry continues to adapt the styles and customs created by Black-owned brands and designers, without crediting the originators or including them in all aspects of creation and execution, this problem will continue to exist and worsen.

Importance of Black Representation

Accrediting Black-owned brands and designers will help reduce the exploitation of Black culture within the luxury fashion industry. However, more representation could eliminate the

problem. By increasing Black representation to create space for emerging Black-owned luxury fashion brands and designers, Black people will have the opportunity to control their narrative, ultimately influencing how they are represented in fashion. As of 2018, Black people hold over $1.3 trillion in annual buying power. Yet, the luxury fashion industry continually exploits Black culture. Providing Black representation must be a priority in the luxury fashion industry to not only credit, but engage Black talent, and attract Black consumers. The fashion industry is responsible for providing a platform that amplifies the issues of Black-owned brands and designers, specifically as it relates to their culture and community. Campbell and Gallina (2020) critique the fashion industry's response to the outright brutality and racism toward Black people in America. The article explains how many fashion brands and related organizations are making statements in support of Black people and their opposition to racial injustice; however, their claims are lackluster and fail to propose the necessary changes. Campbell and Gallina describe the fashion industry as a system of racial oppression that historically whitewashes the contributions of Black people. The authors conclude there must be a new order in the fashion industry that dismantles current practices and provides Black people with adequate representation in positions of power to ensure issues that are important to the Black community are instilled within the fashion industry's agenda. To create Black representation in the fashion industry, the barriers to entry need to be equal. It should not be any more or less difficult for Black-owned fashion brands and designers to become a part of the luxury fashion industry than it is for any other creatives. Wilson (2018) discusses many of the challenges Black fashion designers face in the plight to reach equal success as their white counterparts. These challenges include but are not limited to, securing finances and investors, accessing retail opportunities, and representation within established brands. Wilson (2018) also highlights the recent attention the Black design community is receiving within the American fashion industry and the stigma that is associated with identifying or being labeled as a "Black designer." Increased Black representation could shift the perception people have of Black designers by allowing them to have more control over how their identity, culture, or lived experiences are shared through fashion.

Many Black people who work in the fashion industry are attempting to reclaim their narrative by openly discussing the challenges that prevent them from reaching their highest capacity. Wagner (2018) shares the recurring hardships of over 100 Black professionals in the fashion industry who participated in an interview with the editor-in-chief of Teen Vogue, Lindsay Peoples Wagner. Each industry professional varies in age and career; however, several designers within the article commonly expressed how talent is not enough to be successful when factors such as money, bias, and hierarchy create barriers against them. Black people in the fashion industry need unobstructed access and support from people who look like them as well as allies, to provide opportunities that showcase their talent. One of Wagner’s (2018) interviewees, Peju Famojure, stated, “There is a difference between being invited and [being] included.” Black people are struggling to be included in an industry that takes an interest in their culture but does not develop ways to showcase the people who create it. Black people need to see themselves in the industry in which they fight to be a part of, but this is increasingly difficult because in addition to Black-owned brands and designers, other Black professionals in supporting roles within the fashion industry also experience barriers to entry and exclusion. Reid (2020) recounts the history of racism that she experienced in the workplace as the Fashion Director at Bustle Digital Group. Tiffany Reid shares that no matter how hard she works, how many labels she wears, who she knows, and even what country she inhabits, her skin color is the most defining characteristic of them all, and often is the cause of discrimination. In the account of her traumatic experiences as a professional in the fashion industry, she mentions: “The fashion world has a lot of work to do, specifically concerning representation, discrimination, and racism.” Reid (2020) exposes the unprogressive norms of the fashion industry and how challenging it is for Black people to maneuver within those spaces at all levels of power, globally. Despite the challenges that many Black-owned brands, designers, and other professionals within the industry face, there are exceptions. As previously mentioned, Virgil Abloh is an example of a Black designer and owner of a luxury fashion brand, who the fashion industry widely accepts. Dike (2019) presents a case that is contrary to the general conversation regarding Virgil Abloh's appointment to Louis Vuitton. The author compares Abloh's hiring to the election

of former President Barack Obama, while both are significant to Black history, they each reiterate the long-standing, inherent racism in their respective industries, fashion or politics. The author classifies Virgil Abloh's appointment as an exception, not the norm, but it creates an opportunity to amplify the conversation that scrutinizes the fashion industry. In 2020, over 160 years since the first fashion house was created, Virgil Abloh is the first Black person to achieve many accomplishments in fashion, which indicates the lack of Black representation throughout the history of fashion. There needs to be a vast reform in the fashion industry that focuses on increasing Black representation by accepting more Black-owned fashion brands and designers into the market so that designers like Virgil Abloh are not an anomaly. To have a reform that does not impose stigmas or restrictions on Black creatives, each stakeholder within the fashion industry must recognize where and how the problem began. Through an analysis provided by Laura Harris, a Professor in Africana Studies at Pitzer College, the Dike (2019) article examines the systemic racism embedded within the fashion industry supported by elitist and exclusionary practices. Harris presents the concept that the intersection of fashion and race is a one-way street that allows brands to claim diversity and be inspired by Black culture, specifically, without relinquishing any control or power to Black creatives. Harris also identifies the increase of diversity on the runway as tokenism, which creates an illusion of diversity, rather than addressing the internal disparities and unequal power dynamic within the fashion industry. Today, it is not sufficient to proclaim diversity in the fashion industry without implementing initiatives that make Black consumers feel represented. The 2019 Diverse Intelligence Series (DIS) Report by Nielsen (2019) examines Black consumers and their annual $1.3 trillion buying power. It provides information about Black people's primary buying channels, which incorporates technology and traditional platforms. The report also gives context towards the influences of a purchasing decision, primarily family and culture. Each of these factors uniquely impacts Black consumers in comparison to the total U.S. population. The report concludes that brands must develop strategies to make authentic connections with Black consumers that assure their culture is understood and respected, and their expectations are exceeded. Black consumers want to support brands that understand their culture, and non-Black

people cannot accurately provide insight into the Black culture; this is why Black representation is important. In addition to Louis Vuitton and Virgil Abloh, other established luxury fashion brands are beginning to understand the importance of Black representation as it relates to connecting with Black consumers. An article that expounds on the Nielsen (2019) consumer report briefly discusses trends of African-Americans, or Black consumers, including supporting Black-owned businesses, purchasing locally sourced food, and products for self-expression. The emergence of successful Black-owned luxury fashion brands such as Pyer Moss, LaQuan Smith, and Brother Vellies exemplifies how much consumers value Black representation. Black consumers support Black-owned businesses, in particular, because they assure that every business practice from ideation to execution is performed with Black people in mind. While it is necessary to employ Black designers, Black representation is essential at all levels of the luxury fashion industry's hierarchy, including management, marketing, and operations. If established luxury fashion brands cannot adapt to the need for Black representation, consumers will shift to support brands that can.

Identifying Cultural Appropriation

Cultural appropriation occurs too commonly in the luxury fashion industry, and it is often a result of the lack of cultural competence. Although many brands receive backlash for misappropriating cultures, most frequently Black culture, cultural exchange, or influence is key to fashion. Fashion is a non-verbal way to communicate history, heritage, and even hierarchy, which all contribute to cultural identity. Additionally, fashion is a cultural zeitgeist. What’s ‘in fashion’ at a given time corresponds with trends in society, politics, and the arts, i.e., culture. To preserve the relationship between fashion and culture, luxury fashion brands need to enforce cultural competency through a code of conduct and values that ensure any manner of cultural exchange or influence is respectful and fair. However, luxury fashion brands cannot develop cultural competency without first having an understanding of cultural appropriation, which Rogers (2006) provides a general framework for in his essay. The essay intends to define and examine appropriation through four different categories: exchange, dominance, exploitation,

and transculturation, and uncovers associated underlying themes. Rogers also discusses the ethical and political implications of transculturation as it relates to cultural appropriation. Through an elaborate process of evaluation, Rogers presents a clear definition of what cultural appropriation is and its impact. He also uses historical events and other literary journals to section the concept into several types, to better analyze it and develop a solid argument for its relevance. This essay serves as a detailed look into the complexities of cultural appropriation. Similarly, a study that Alspaugh (2019) conducted provides a general framework for cultural appropriation but more specifically as it relates to the fashion industry. Focusing on the occurrences of the cultural appropriation of cornrows, as shown in three major U.S. fashion magazines from 2013 to 2018, Alspaugh explores the resulting attitudes and implications. Her study then uses these case studies to determine the impact on both the industry and the exploited Black culture. Analyzing each magazine’s occurrence separately in sequential order, Alspaugh establishes a framing theory. The study depicts the evolution of cultural appropriation in the fashion industry, what initiatives have been taken to rectify the consequences, and how the industry can progress and move forward. From Gucci and their “Balaclava” sweater resembling blackface, to the Louis Vuitton and Raws Edge limited-edition chair with a traditional Mexican pattern, luxury fashion brands provide some of the most controversial and harmful examples of cultural appropriation. The Ilchi (2019) article is a recapitulation of 2019’s biggest controversies in the beauty and fashion industry. Most of these incidents were the result of cultural appropriation and required immediate responses from luxury brand managers and executives to alleviate the backlash. The most important thing to note from all of the examples of cultural appropriation is the power dynamic. If a dominant culture or society is participating in “unacknowledged or inappropriate adoption” of another culture, it is cultural appropriation. Contrarily, cultural appreciation occurs when a person from one culture employs aspects of another while seeking to understand and broaden a perspective. A genuine interest in other cultures is the base of diversity in fashion; therefore, luxury brands should embrace cross-cultural connections and seek to widen their perspective.

Figure 2.1

Photo of the Gucci Fall 2018 runway show featuring a model wearing the wool balaclava mask.

Retrieved July 1, 2020, from https://www.vogue.com/fashion-shows/fall-2018-ready-to-wear/gucci/slideshow/collection#36

Figure 2.2

Photo of Gucci’s apology following the criticism for the wool balaclava jumper.

Retrieved July 1, 2020, from https://twitter.com/gucci/status/1093345744080306176/photo/1

Figure 2.3

Photo of the Marc Jacobs Spring 2017 runway show featuring a model with a dreadlock hairstyle.

Retrieved on July 1, 2020, from https://www.vogue.com/fashion-shows/spring-2017-ready-to-wear/marc-jacobs/slideshow/collec tion#52

Figure 2.4

Photo of Marc Jacobs receiving criticism for styling white models with dreads.

Retrieved on July 1, 2020, from https://www.instagram.com/p/BKZwgoIh8Vj/?taken-by=theshaderoom

Figure 2.5

Screenshot of Marc Jacobs’ personal statement following the criticism for styling white models with dreads.

Retrieved on July 1, 2020, from https://www.instagram.com/p/BKgYwsuBHWE/

Figure 2.6

Photo of the Victoria’s Secret 2012 runway show featuring a model wearing a replica of a Native American headdress.

Retrieved on July 1, 2020, from https://www.teenvogue.com/gallery/victorias-secret-fashion-show-cultural-appropriation

Figure 2.7

Screenshot of an apology Limited Brands sent Native Appropriation following Victoria’s Secret receiving criticism for a model wearing a replica of a Native American headdress.

Retrieved July 1, 2020, from https://www.facebook.com/nativeappropriations/posts/10152241247775237

Figure 2.8

Screenshot of an apology from the Victoria’s Secret model who wore a replica of a Native American headdress.

Retrieved July 1, 2020, from https://twitter.com/karliekloss/status/267723529536036865

Figure 2.9

Photo of the Valentino Spring 2016 runway show featuring a model with a cornrows hairstyle wearing a dress that imitates tribal African motifs.

Retrieved July 1, 2020, from https://www.vogue.com/fashion-shows/spring-2016-ready-to-wear/valentino/slideshow/collectio n#83

Figure 2.10

Screenshot of Valentino referring to the Spring 2016 collection as “Primitive, tribal, spiritual, yet regal.”

Retrieved July 1, 2020, from https://twitter.com/MaisonValentino/status/651388661137846272

Figure 2.11

Screenshot of the “Spirited Away” Vogue March 2017 Editorial Shoot featuring a model portraying aspects of Japanese culture.

Retrieved July 1, 2020, from https://twitter.com/bestkkpics/status/831555434397982720/photo/2

Figure 2.12

Photo of an apology from Karlie Kloss, the model portraying aspects of Japanese culture in the Vogue March 2017 Editorial Shoot.

Retrieved July 1, 2020, from https://twitter.com/karliekloss/status/831778961600417793/photo/1

Fashion Industry’s Response through Diversity and Inclusion

The luxury fashion industry continues to make insensitive and irresponsible mistakes in its attempt to represent Black culture. This negligence has caused both consumers and spectators to question the leadership behind the world’s most coveted brands and to demand that transformation take place regarding current decision making structures. To meet the demands of the angered public, luxury fashion brands have begun to create diversity and inclusion departments and/or hire diversity and inclusion chiefs. Although this solution appears to incite better practices from fashion brands, this response has become more of a trend rather than a thoughtful resolution. Diversity and inclusion (D&I) are not new concepts. For years, various industries have considered their value when creating a balanced and fair work environment. In their journal, Oswick and Noon (2014) follow diversity, equality, and inclusion initiatives over 40 years, beginning in 1970 until 2010. Oswick and Noon uncover the origin of the concepts, noting that they were a response to combat discrimination and under-representation in the workplace. Each

concept has replaced one another in terms of value following the social values of its corresponding year. The study also reveals that although diversity, equality, and inclusion have consistent discourse by management and proclaimed experts, each concept is valued differently. For example, the journal reports: So far the portrayal of inclusion is more in terms of a missed opportunity rather than a business need. Within the practitioner literature, there is an implication that ‘inclusion’ is a superior approach that should replace diversity. This variance could be a contributing factor to luxury fashion’s flawed diversity and inclusion departments. For effective results and communication to take place, D&I chiefs and departments need to be on one accord. Kirton and Greene (2019) highlight this sentiment when they provide context into the roles of diversity and inclusion consultants. Many D&I consultants face similar struggles when communicating the equal value of each concept. In addition to communication barriers, organizational barriers within various companies also exist, hindering consultants from achieving optimum performance. Through various interviews, the authors analyze how consultants and high-level managers perceive D&I initiatives. Interviewees give personal accounts of their experiences as consultants and offer insight into the future of D&I. The article ultimately exposes the undervalue of D&I and proves that these departments are necessary, and the industry should take them seriously. Similar concerns are specific to the luxury fashion industry. Pham (2018) advocates for the need for diversity in fashion executive positions. Pham analyzes fashion’s structural racism from production to consumer and exposes the ambiguity in the industry’s hiring practices that prevent the possibilities for inclusion. She incorporates references from other journalists as well as scholarly studies to examine the development of the fashion industry’s racist foundational structure. With this examination, Pham uncovers the fashion industry’s division of power as it pertains to the Global North and Global South to provide a context of the systemic racism that has led to the problematic forms of representation of people of color. Kent (2019) also sheds light on the fashion industry’s struggle with the representation of people of color. In his article, Kent provides an in-depth look into the fashion industry’s journey with inclusivity. By evaluating several factors such as race, gender, and size, Kent inspects the

industry’s progress and determines which aspects of the industry still need improvement and how both executives and consumers should perform said improvement. By incorporating studies, interviews, and media examples, the article examines how diversity and inclusion have evolved and what factors have led to this evolution. The historical references and graphical data that Kent provides help to determine a clear timeline of progression and regression within the industry. This article aids in the overall analysis of systemic structures that have historically and presently affected diversity and inclusion within the fashion industry. Industry professionals within fashion are also contributing to the conversation surrounding diversity and inclusion. The Council of Fashion Designers of America (2019) held a conference to develop a briefing on diversity and inclusion in the American fashion industry. This briefing analyzes insider and outsider dynamics of identity groups in organizations, how diversity and inclusion are a catalyst for identifying consumers' wants and needs, and the creative and ethical business case that connects to short- and long-term opportunities within the industry. Conversations like these prove that diversity and inclusion is not only a priority for those that are outside of the industry. Even with this effort to continue the conversation, the actions that follow need to be thoughtful and well-intended to avoid being considered as trendy and unimpactful. In response to the Council of Fashion Designers of America’s (CFDA) most recent actions (or lack thereof) in 2020, Fernandez (2020) reports the efforts of Jason Campbell, editor-in-chief of the JC Report, Henrietta Gallina, Universal Standard Creative Director of Brand & Image, and writer Kibwe Chase-Marshall. The collective organized a petition called The Kelly Initiative to the CFDA. The petition demands the organization to begin implementing practices and initiatives that promote the success of current and future Black designers. Named after the late Black designer, Patrick Kelly, who greatly influenced the global luxury fashion industry as the first Black person and first American to be invited into the Chambre Syndicale du Prêt-à-Porter des Couturiers et des Créateurs de Mode (Davis 2019), many Black professionals across multiple areas of the industry are coming together to see that the council incorporates more diversity and inclusion within its practices and staff. Fernandez (2020) recounts the CFDA’s most recent actions after the release of the petition, citing that the council’s Chairman, Tom Ford and President, Stevel Kolb, released a

letter stating the council’s upcoming actions to address the concerns of The Kelly Initiative. Signatories have expressed dissatisfaction with the CFDA’s actions and have since planned to meet with the group and also begin The Kelly List, an annual index that will assist Black professionals within the industry to ensure their continued success. Since diversity and inclusion are increasingly becoming a hot topic within the luxury fashion industry, brands must be cognizant of creating thoughtful practices that incite actual change. Hopkins (2019) highlights the emergence of diversity and inclusion chiefs within several global fashion and beauty brands. Recently, brands such as H&M and Gucci have received major backlash from insensitive campaigns and workplace practices. In response, they have hired diversity and inclusion chiefs in hopes of avoiding these mistakes in the future. Not only are these chiefs expected to monitor and rectify unfavorable practices, but their presence signals to the world that the brands they represent are prioritizing diversity and inclusion. The article calls into question as to whether or not these titles encourage real change. In many instances, diversity and inclusion departments have become more of a trend instead of a true concern. For these chiefs to be effective, they must have direct communication with the brand’s CEO/upper management and also the brand’s consumers. Annie Wu, H&M’s Global Leader for Inclusion and Diversity shares that her access to direct communication with the brand’s CEO proves that H&M takes D&I seriously. In addition to communication, Hopkins also mentions that these roles must have proper support and resources. These elements are all needed to achieve actual change and not just a distraction from PR nightmares. Gucci is another brand that has displayed both carelessness and action to rectify their mistakes. In a press release, Gucci (2019) provides information on the luxury brand’s first four initiatives in a long-term plan created to develop the cultural diversity and awareness of the company. This release highlights each initiative including, a newly created role of Global Director for Diversity and Inclusion and appointing regional directors, the launching of a Multi-Cultural Design Scholarship Program, an internal Diversity and Inclusivity Awareness Program, and an internal Global Exchange Program. Gucci is making an effort to take action and create lasting change.

As mentioned earlier, good leadership is just as essential as the actual initiatives. In addition to creating new programs, Gucci has hired a diversity and inclusion chief. Bobb (2019) discusses the appointment of Renée Tirado, the Global Head of Diversity, Equity, and Inclusion. As a first-time appointment in the 99-year history of the brand's existence, this assignment of responsibility emphasizes the importance of Tirado's employment, who did not previously have experience within the fashion industry. She provides a unique perspective and will report directly to Marco Bizzarri, Gucci's CEO, which is uncommon for similar roles within the industry. In the article, Tirado admits that Gucci only recently became more than an aspirational brand since developing its brand management to be more diverse and inclusive through talent hiring, scholarships, and funding community-based organizations. Tirado explains her intentions to continuously improve current initiatives and enforce new strategies that will support diversity, equity, and inclusion in every department of the brand. Garrett (2019) also spotlights D&I appointments like Renée Tirado. The author analyzes the trend of luxury brand management in companies such as Chanel, Prada, and Burberry, creating or developing diversity and inclusivity initiatives. The author incorporates data from McKinsey & Company to support the notion that companies with more ethnically diverse executive teams are more likely to outperform their competitors. The article also includes data from a report that the Council of Fashion Designers of America (CFDA) and PVH Corp. produced to discuss the state of diversity and inclusion in the fashion industry. Luxury fashion brands are more aware of how their actions affect their consumers now, more than ever. Although their quick action to develop diversity and inclusion roles and implement new practices are appreciated, these actions must be sincere. The luxury fashion industry is known for setting trends, but its effort to resolve diversity and inclusion related issues should be thoughtful and long-standing.

Table 2.1

A list of diversity and inclusion appointments at non-Black luxury fashion brands.

Burberry

Active Diversity & Inclusion Leader? No

Proposed Initiatives 1. “Increasing our understanding a. We will strengthen our understanding of and sensitivity to a range of perspectives to help us live the values we hold and be truly inclusive. We will: i. Introduce additional training for all employees, including senior management ii. Establish employee councils focused on diversity and inclusion iii. Assemble an advisory board of external experts 2. Diversifying the pipeline of talent a. We will evolve our pipeline of talent to ensure we better reflect the world we live in and build a more diverse talent base for the future. We will: i. Strengthen goals to ensure diverse representation in our employee base ii. Expand our creative arts scholarship internationally to support students from diverse backgrounds and provide full-time employment for 50 graduates from the programme over the next five years iii. Extend internationally Burberry Inspire, our in-school arts and culture programme designed to help young people overcome challenging circumstances

and see future opportunity in the creative industries 3. Championing those who help others a. We will add to our support of organisations promoting diversity and inclusion and providing assistance to people in crisis, including the Samaritans, who offer a safe, confidential place to which people can turn”

Source: Burberry. [@burberry]. (2019, February 26). [Instagram]. Retrieved from https://www.instagram.com/p/BuWdYW0AEgP/?u tm_source=ig_embed

Date of Proposed Initiatives February 26, 2019

Capri Holdings Limited (Versace, Jimmy Choo, and Michael Kors) Active Diversity & Inclusion Leader? N

Proposed Initiatives Global Diversity and Inclusion Council

“The aim of our Global D&I Council is not only to ensure that our workplace is one where all employees feel they can contribute to their maximum potential but also to champion the diverse backgrounds of our customers and employees. The Global D&I Council will work closely with senior leadership to ensure alignment of short-and long-term diversity and inclusion goals with the company’s overall business strategy, provide governance and oversight on diversity and inclusion efforts across brands, and promote company-wide communication on progress.”

Source: Capri Holdings Limited. (2020). Corporate Social Responsibility Strategy. Capri Holdings Limited.

Date of Proposed Initiatives January 2020

Chanel

Active Diversity & Inclusion Leader? Y

Title Name Date Appointed

Global Head of Diversity and Inclusion Fiona Pargeter July 2019

Black, Person of Color (POC), or White White?

Giorgio Armani

Active Diversity & Inclusion Leader? N

Proposed Initiatives “...management of diversity and protection of equal opportunities are among the Group's key priorities.”

Source: Giorgio Armani. (2018). The Armani Group and Sustainability. Giorgio Armani. Date of Proposed Initiatives 2018

Gucci

Active Diversity & Inclusion Leader? Y

Title Name Date Appointed

Global Head of Diversity, Equity, and Renée Tirado July 30, 2019 Inclusion

Black, Person of Color (POC), or POC White?

Kering (Gucci, Saint Laurent, Bottega Veneta, Balenciaga, Alexander McQueen, and Brioni) Active Diversity & Inclusion Leader? Y

Title Name Date Appointed

Chief Diversity, Inclusion and Talent Kalpana Bagamane Denzel October 1, 2019 Officer

Black, Person of Color (POC), or POC White?

LVMH (Loewe, Moynat, Louis Vuitton, Berluti, Rimowa, Patou, Loro Piana, Fendi, Celine, Christian Dior, Emilio Pucci, Givenchy, Kenzo, Pink Shirtmaker, Marc Jacobs, Nicholas Kirkwood, and Fenty)

Active Diversity & Inclusion Leader? Y

Title Name Date Appointed

Head of Diversity and Inclusion Hayden Majajas May 2019

Black, Person of Color (POC), or White White?

Prada

Active Diversity & Inclusion Leader? Y

Title Name Date Appointed

Co-Chairs of the Prada Diversity and Ava Duvernay and Theaster February 2019 Inclusion Advisory Council Gates

Black, Person of Color (POC), or Black White?

Ralph Lauren

Active Diversity & Inclusion Leader? Y

Title Name Date Appointed

SVP Global Diversity, Learning & Stuart Jackson April 2017 Organizational Development

Black, Person of Color (POC), or White White?

Proposed Initiatives "[CEO Patrice] Louvet and leaders from regional diversity and inclusion teams at Ralph Lauren — comprising a Diversity & Inclusion Board — will regularly convene to discuss new D&I strategies.”

“Our focus on Diversity and Inclusion is at the heart of our values. We foster a culture of inclusion with a set of principles that run through an employee's entire life at the Company.”

Ralph Lauren created Diversity & Inclusion Teams and Community Groups for employees in 2003.

Source: Butler-Young, S. (2019, June 12). How Ralph Lauren Just Vowed to Tackle Two of Fashion’s Biggest Issues. Retrieved from Footwear News: https://footwearnews.com/2019/business/features/r alph-lauren-sustainable-fashion-diversity-inclusion -1202790773/

Ralph Lauren. (n.d.). Ralph Lauren Careers. Retrieved from https://careers.ralphlauren.com/CareersCorporate/D iversityAndInclusion

Binkley, C. (2019, April 30). Fashion’s Lack of Diversity Has Real Costs. Retrieved from Vogue Business: https://www.voguebusiness.com/companies/fashio n-diversity-councils-innovation-revenue

Date of Proposed Initiatives 2020

Salvatore Ferragamo

Active Diversity & Inclusion Leader? N

Proposed Initiatives “The policy aims to support multiculturalism, which is considered essential to develop innovative and distinctive elements that can increase the Brand’s competitiveness and promote equality and equal opportunities, fighting all types of discrimination, and condemning any form of harassment.”

Source: Salvatore Ferragamo Group. (2020). 2019 Sustainability Report. Milan: Deloitte. Date of Proposed Initiatives 2019

Tapestry (Coach, Kate Spade, and Stuart Weitzman) Active Diversity & Inclusion Leader? N

Proposed Initiatives “[Former] CEO, Victor Luis, signed the CEO

Action for Diversity & Inclusion pledge to reaffirm the company's commitment toward advancing inclusion and diversity in the workplace.”

Source: Tapestry. (2019). Corporate Responsibility Report Our Social Fabric. Tapestry. Date of Proposed Initiatives 2018

The Future of Black Representation within the Luxury Fashion Industry

The decline and reemergence of Black-owned fashion brands communicate the need for more representation of Black people within the luxury fashion industry. Without the resolution of the current inequality, inconsideration and thoughtfulness will continue to persist, further dividing the fashion community. The development of diversity and inclusion departments is a sound initial step to addressing the issue, but it will not suffice as the ultimate solution. For meaningful change to take place and for an accurate representation to be communicated, luxury fashion brands must incorporate Black people in all aspects of creation and execution. Although the emergence of new Black-owned luxury brands provides the industry with an authentic account of Black culture, it should not be the responsibility of these brands to evoke change. Black-owned brands and designers created the styles that many luxury fashion brands adopted as their own through cultural appropriation; however, Black-owned brands and designers did not create the misrepresentation that currently exists. To rectify their wrongdoings, luxury fashion brands must take accountability for their actions and truly embrace diversity and inclusion for longer than the length of a capsule collection.

Chapter III Methodology

Introduction

While acquiring information for our Literature Review, we discovered a lack of peer-reviewed academic evidence that supported our theories. In order to fill this gap and explore all possible outlets, we decided to take a mixed-methods approach (Creswell 2003). By collecting both qualitative data: in-depth individual interviews, group interviews, and case studies, along with quantitative data, such as surveys, we intended to identify the validity and relevance of our proposed theories, to ultimately serve as supportive material to our scholarly sources. We also hoped to obtain data that could unveil important information worth considering in our final implications and conclusions.

Qualitative Data

I. Interviews

Since luxury fashion is an exclusive and niche industry, we followed a purposeful (selective) sampling method (Creswell 2003) in order to provide ourselves with a range of perspectives from highly qualified persons who have relevant experience. Being that our topic is specific, this method was most effective as it pertains to the necessity of the information needed. All participants are professionals who either work in luxury fashion or have a direct connection to luxury fashion, i.e., past occupation and/or conducted related academic research. The professionals’ industries range from design, marketing, consulting, fashion publication, and more. We organized the data gathered from participants by two categories: professionals within or having relation to luxury fashion brands (non-Black-owned) and professionals within or having relation to Black-owned luxury fashion brands. We developed a standardized approach to ensure consistency in our questioning and obtain necessary insight to support our theories. With the utility of a discussion guide (see Appendix I), the questions were organized by themes closely related to the theories of our thesis project.

Participants were contacted using various online and offline platforms including: email, LinkedIn, Instagram, and personal referrals. Information regarding our thesis purpose and objectives were shared with participants in original communication. We offered participants multiple options of contact, e.g., phone and video chat, in order to conduct the interview. Once in agreement of compliance, we sent a copy of predetermined questions to provide them the opportunity to ask for clarity or express any concerns. Upon the beginning of the interview administration, we provided participants with the option to decide how they would best prefer for the responses to be recorded, e.g., voice recording, video recording, and/or written transcription. All of the interviews we completed with the assistance of a recording device were transcribed by Rev transcription service in order to allow easeful data analysis.

II. Case Studies During the time that we began collecting data, several global events, including police brutality against Black Americans and resulting Black Lives Matter protests globally, took place. As a result, many professionals, consumers and enthusiasts took part in public conversations to analyze the current and future state of fashion as it pertains to racism and diversity and inclusion. Most of these public conversations were held via hosts’ public Instagram accounts or via virtual presentations held on the hosts’ website, e.g., Washington Post Live. Since the information exchanged during these conversations was relevant and supportive of our thesis project, we conducted case studies (Creswell 2003). The purpose of these case studies was to gain insight, first-hand, from professionals who occupied the luxury fashion industry and/or who had a direct connection to it, e.g., fashion magazine editors. Similar to the interview methodology, we followed a purposeful (selective) sampling method (Creswell 2003) in order to acquire data from highly qualified persons who have relevant experience. Using this method from the lens of a case study allowed us to gain access to people to whom we might not otherwise have access due to factors such as scheduling and status. Case studies were recorded via voice recording and/or video recording. The recordings were transcribed by Rev transcription service.

Quantitative Data

I. Surveys Although the data collected from our interviews and case studies provided informative material, reflecting the perspectives of luxury fashion professionals, we desired to explore how the theories of our topic were considered by the general public. Initially, we created a brief pilot survey (Hassan 2006) to get a pulse on general familiarity with how individuals considered luxury fashion as it relates to Black culture. Survey questions were all open-ended, except one that included a demographics question that asked whether or not the participant considered themselves to be a luxury fashion consumer. The survey yielded over 200 responses and informed the creation of a second survey of which was used to acquire the data utilized in this thesis project. We created the survey through Qualtrics survey software. We followed a random sampling approach (Creswell 2003) in order to distribute the survey to a sample of a large population. Distribution took place on our individual, public social media platforms, i.e., LinkedIn and Instagram, as well as Listserv email blasts. The length of the survey administration was approximately two weeks. Our final survey (Creswell 2003) was a more detailed questionnaire composed of various personality and demographics questions that we randomly distributed to reach individuals from both within and outside of our network (Creswell 2003). Survey questions coincided with the theories of our thesis project, which allowed us to understand how luxury fashion consumers and spectators have possibly supported and/or contributed to the past and current state of luxury fashion. The personality questions incorporated Likert-scale (Joshi 2015) answer selections. The demographics questions used multiple-choice answer selections along with few open-ended answer selections for answers that may have required more detail, e.g., race. We also created this survey through Qualtrics software. Distribution took place on our individual, public social media platforms, i.e., LinkedIn and Instagram, as well as Listserv email blasts. The length of the survey administration was approximately two weeks.

Chapter IV Results

Qualitative Data

I. Interviews

As mentioned in the Methodology section, we sought out qualified individuals who we thought could best provide insight on our proposed theories. These participants are all connected to the luxury fashion industry and occupy a wide range of positions within fashion and/or diversity and inclusion. The interviews that took place closely followed the outline of the discussion guide (see Appendix I).

Part One: Establishing the Historical Presence of Black-owned Brands 1. Can you name any Black-owned fashion brands and/or designers from the past that have a recognizable influence on current fashion brands, especially as it pertains to luxury?

When asked to identify past Black-owned fashion brands that have recognizable influence on current luxury fashion brands, the participants listed the following: Apple Bottom, Baby Phat, Casely Hayford, Cross Colours, Dapper Dan, Fubu, Karl Kani, Patrick Kelly, Rocawear, Willie Smith, and Andre Walker. Dapper Dan, in particular, was mentioned by more than half of the participants throughout the interview, regarding his past and present influence within the luxury fashion industry. Several of the participants struggled to identify specific brands/designers, but were able to confirm that themes from Black-owned fashion brands trickled-up into luxury fashion. Sarah Nesbit (2020), one third of The Protected Kollective, a management consulting firm dedicated to bringing brand protection education, brand strategy, and business development education, to budding minority entrepreneurs within creative industries related to luxury (2020), was amongst the few that could identify common trends/styles that originated from Black-owned fashion brands that influenced luxury fashion. Nesbit shared:

That’s just one of the realities. That knowing that there are so many Black designers who were ghost designing or, um, designing under their [luxury fashion brands] names, but, you know, the, the, the, the face [creative director] of the brand, um, took over, you know, the face of them [Black designers].

Ghost designers, envision, create and manifest style statements for the brand (P, 2017). They are responsible for elevating a brand but don’t receive any credit. Today, it is common for luxury fashion brands to have large creative teams, consisting of several designers, but like Nesbit (2020) mentioned, the design team remains in the shadow of the creative director.

Another participant to whom will be referred as Jane M.* (2020), is a representative from a Black-owned luxury fashion brand. Jane M. (2020) also mentioned ghost designing when trying to identify the influence of Black-owned fashion brands. Jane M. (2020) said:

The low key thing to recognize is that a lot of the designers who started to remain were actually more so like, seamstresses, or people who were for lack of a better term, like, ghost designers. Not exactly sure of their names per se, but just knowing the influence of like, something as simple as, you know, like, Black church culture. Or, um, even like African culture.

Both interviewees were cognizant of the influence of Black-owned fashion brands, even if they weren’t able to list specific brands. Jane M. (2020), particularly, was able to determine a larger theme that contributed to the overall historical influence of Black-owned fashion brands: the influence of Black culture. When discussing the influence of Black culture, Jane M. (2020) mentioned:

So I would definitely say that we see that [Black] culture kind of playing out in what a lot of mainstream or white-owned luxury brands call resort style. Almost like they [white-owned luxury fashion brands] recognize that it's [designs from Black designers] luxury and they still use those designs to this day.

But it's almost kind of like, well, “Let's call it your resort because it has to be exotic”. It can't just be somebody's everyday clothing, if that makes sense. It's almost like calling, that calling our [Black] fashion exotic in that way kind of makes it acceptable to them [white-owned luxury fashion brands].

The responses indicate that there is a global recognition of what is considered to be Black culture and how it is interpreted within luxury fashion. The African diaspora, defined by Dictionary.com, is any group that has been dispersed outside its traditional homeland, especially involuntarily, as Africans during the trans-Atlantic slave trade (n.d.), hosts a plethora of traditions and customs. Even with that said, many core themes exist within all related groups. Influence has historically been drawn from everyday fashion, ritual fashion, specialty fashion, etc., collectively representing the culture of Black people. Dr. Natalie Nixon (2020), President and Creativity Strategist at Figure 8 Thinking, former Associate Professor and Founding Director of the Strategic Design MBA program at Thomas Jefferson University (formally Philadelphia University), specifically spoke about the historical influence that exists within the United States of America. Nixon (2020) shared:

So it's so interesting that just in terms of broader context, Black fashion designers have actually been the, um, paved the way to, um, to, to lead American fashion into kind of uncharted territory. But then we fast forward to the role of hip hop. Um, we started out as, you know, as, as street culture, street style. Um, that, that had huge impact on Tommy Hilfiger. It had a huge impact on Ralph Lauren. And now that we're just to the first bit of the 21st century where street fashion, is streetwear, is this is hybrid, um, of kind of skateboard fashion and, and, and hip hop culture. So I just think that we have all of these, these names and these undercurrent, um, the influence of Black designers, um, either overtly as in the case of Patrick Kelly or in a very kind of stealth way that have significantly influenced fashion.

Katie Casano (2020), Fashion Design Professor at Thomas Jefferson University, independent fashion designer, and former corporate fashion designer, also discussed the influence of American Black culture in luxury fashion. Casano said:

And that's [push towards streetwear fashion] been happening since the nineties when streetwear, really early eighties, since it really started, I would say. And then, um, kind of it's going ever, it's been going ever since, but I feel like it's had like a resurgence in the last, like 10 years outside of like the urban consumer.

Although specific brands weren’t mentioned in their commentary regarding the influence of American Black culture, both participants were able to uncover the various trends that are commonly associated with American Black culture that ultimately influenced the luxury fashion industry. Black-owned fashion brands have provided inspiration for several luxury fashion brands, yet those Black-owned fashion brands rarely received credit or admiration for their contributions (see Figure 1.1 and 1.3). The trends/styles that originated from Black culture had a high level of desirability by luxury fashion, but weren’t as successful or as well received being showcased through Black-owned fashion brands.

2. Why do you think luxury brands have had success making the trends/styles created by Black-owned brands/designers more acceptable and more mainstream than the brands who created them?

In addition to identifying the historical influence of Black-owned fashion brands, interviewees were also able to determine why that influence contributed to the success of luxury fashion as opposed to the success of Black-owned fashion brands. The responses varied, however, they all shared the common theme of institutional (systemic) racism, defined by Solid Ground as the systematic distribution of resources, power and opportunity in our society to the benefit of people who are white and the exclusion of people of color (2015).

Sarah Nesbit (2020) attributed the lack of success of past Black-owned fashion brands to institutional racism, stating:

I think it's a systematic thing. Um, it goes down, you know, it goes down to who is, is, is, um, in charge of the money in America. Who is handling the media? Who is handling the markets? It's not the faces that look like you and I. And so that, that trickles down into the, the ability for a Black brand to be, you know, accepted and, um, prosper within, you know, pop culture.

Nesbit’s (2020) insight displays foundational barriers that exist within the fashion industry, hindering Black designers from succeeding at the level of their white peers. Lynette Nylander (2020), Writer, Editor, and Creative Consultant for various fashion publications, also highlighted the hardships that Black designers commonly face that could have contributed to the lack of success of past Black-owned fashion brands. Nylander (2020) stated:

Black creatives don’t always have the support and infancy to be able to grow and get education, funding, business advice, be seen, be recognized...It’s more difficult for Blacks to thrive...Their [Black creatives] ideas are co-opted by someone else.

Having to navigate the complexities of institutional racism can be very difficult, especially when one belongs to a marginalized group. It can be even more disheartening when a marginalized group obtains access to the luxury fashion space, and their designs are attributed to someone else. The Social Media Director of a luxury fashion brand, also known as Anne S.* (2020), shared their observation regarding the co-opting of Black designers’ ideas. Anne S. (2020) mentioned:

A lot of Black creativity is not accepted until it is done by a “white-owned” luxury brand or flaunted by a “white” influencer or celebrity.

I think the answer lies in internal racism. Blackness is typically not seen in a positive light but in a negative light.

A similar observation was made by Kayla Turgeon (2020), one third of The Protected Kollective. Turgeon shared:

They're [luxury fashion brands] more so focused on like, entertaining our [Black] culture. I feel like that's what it is like. Literally that's, I agree. Like, it's just, they want to be in the, in the know on our culture. Like, they don't want to deal with anything else.

Black culture is viewed as insignificant until a luxury fashion brand exploits it. The ease with which luxury fashion has claimed the trends/styles associated with Black culture as their own is a large reason why those luxury fashion brands have had more success capitalizing off of Black culture than the people who belong to it. The industry understands the authority of Black culture, but only wishes to control and “package” it in a way that is most palatable for a white consumer. Katie Casano (2020) expressed a varying perspective when determining why luxury fashion brands were more successful, proposing that past Black-owned fashion brands may have had a different target consumer. Casano (2020) shared:

Now I think that a fundamental reason that luxury brands now are probably successful taking kind of like, they're more able to sell things that were not able to be sold by the Black people, like the Black-owned brands. And I think that a lot of the people that were starting Black-owned brands in the eighties or nineties, they first started out by making stuff, I think that they were trying to sell specifically to their [Black] community.

Casano (2020) called into question of who the consumer was for the Black-owned brands. Were past Black-owned fashion brands less successful because they targeted a consumer market that was solely reflective of their community? If so, did this market not have enough buying power to compete with large, white-owned luxury fashion brands? Casano (2020) also attributed logistical barriers, mentioning:

So I think one is a logistics reason. So I think that when a lot of these, um, like streetwear companies were starting in the eighties and nineties, that was happening when people were really starting to offshore things to other countries. But it wasn't exclusive.

So I think that in the eighties or nineties, it was a lot easier to start a small label. So I think that a lot of those Black brands started small and then some of them got quite big.

But, um, I think that back then, any small brand, whether it was owned by a Black person or white person or Asian, I think that they had a lot of competition. And it's just gotten increasingly difficult every year to be a small brand because of, you know, you're competing against people that have a lot more money than you.

You're also back in the nineties. You could still do small production orders in New York and LA. And you can now, but it's not as easy.

So I feel like if, if people are small designers back then, probably after, let's say they start in the late eighties. And then after 10 years, you know, they might be like, “Well, this is hard. We can't, can't sell things for the price point that we want to sell and make it in America anymore. But we can't make it in China because we can't hit the minimums”.

During the time when many Black-owned fashion brands were emerging, starting a business was difficult for all entrepreneurs. Securing manufacturing, retailers, etc. were common obstacles that budding companies were tasked to face. Adding racial barriers to that equation made things even more difficult for those Black-owned fashion brands, especially when attaining success meant spending more money.

Jane M. (2020) spoke about the struggle of accessing people who could assist with funding as a reason behind past Black-owned fashion brands’ lack of success.

They shared, “I think because they [luxury fashion brands] have more access to people. I think, not even access. They have more, there's more accessibility to those in a higher income bracket”. Being able to connect with individuals who have access to funding is crucial to the success of any new business, especially if that business is Black-owned. Having connections to people who could help with funding, especially in the early stages of business, could’ve assisted those past brands in eliminating some of the barriers that were in place, preventing them from succeeding as well as the luxury brands that capitalized off of their influence. The responses from Part One, ultimately exposed the various inequalities that existed earlier in the eighties/nineties, that affected the trajectory of past Black-owned fashion brands. Although their influence has remained, the opportunity to achieve equal success could never exist within an industry that follows practices and systems that pigeonhole Black designers, and sustains a negative narrative about them, creating the perception that Black-owned fashion is unsalable. The obstacles that Black-owned fashion brands faced in the past have left a legacy of hardship that still continues today, reflecting in the development of diversity and inclusion departments (D&I). Through D&I creation, Black-owned fashion brands within luxury will be able to thrive and achieve success in the same way as white-owned luxury fashion brands have done so in the past, and continue to do so presently.

Part Two: The Impact of the Development of Diversity and Inclusion (D&I) Departments/Chiefs 1. The “adaptation” of the trends/styles created by Black-owned brands/designers often lead to insensitive, tasteless, and misrepresentative collections. Do you think this is the reason that many luxury fashion brands have acquired D&I departments/chiefs?

With the recent appointment of diversity and inclusion chiefs, and development of diversity and inclusion departments, we thought it would be useful to understand how luxury fashion industry professionals felt these new changes were affecting the luxury fashion industry, especially as it pertains to the misrepresentation of Black culture. The participants unanimously felt that the recent D&I changes are direct responses to luxury fashion brands’ insensitive content/product regarding the exploitation of Black culture. A trend exists within the industry, revealing that once an insensitive act is made, luxury fashion brands then decide to either create a new D&I department or hire a new D&I chief, in an attempt to rectify the situation. Sarah Nesbit (2020) referenced this pattern in her insight on the topic, mentioning, “They're [D&I departments] created after something horrible happens”. Several interviewees used the term “band aid” to describe luxury fashion brands’ responses, inferring that their responses are insincere. In in effort to provide context into the larger conversation surrounding misrepresentation, Nesbit (2020) said:

Their [luxury fashion brands] only focus was the white buyer. And they wanted to, wanted to keep it [the luxury fashion industry] niche. And they wanted to keep it, uh, exclusive.

Um, and by it becoming so exclusive within the realms of their executives and, um, and others. And throughout the trickle down effect within every level of the organization, insensitive stuff is produced because they don't have that [culturally diverse] perspective.

By not having a diverse team, mistakes related to cultural diversity are likely to occur. Trying to prevent future occurrences through the development or D&I departments and the appointment of D&I chiefs is a good initial action, however, the motive behind the action must relate to a desire for sustainable change instead of a rushed, superficial solution.

2. Do you think luxury fashion brands are more concerned with pushing a diversity and inclusion narrative than actually practicing it?

Expounding upon the previous question, the participants felt that the insincerity of luxury fashion brands stems from their lack of concern for the Black community. Many of the D&I related actions only occurred after an insensitive act was made, implying that D&I wasn’t a priority prior to the incident. Asha Hope (2020), Director of Diversity and Inclusion Talent Strategy at Macy’s, doesn’t believe that luxury fashion brands are sincerely concerned about diversity and inclusion. Hope (2020) shared:

Um, so I think you know the answer to this. But no, I don't think that's their [luxury fashion brands] first priority. I think their first priority is, um, con uh, keeping the consumer that they have.

So they understand the buying power of the African-American spender. Um, so I think it's a pacifying approach or a, an approach to not have to be concerned with cancel culture.

As the modern luxury fashion consumer becomes more diverse, luxury fashion brands are tasked with appealing to a wider consumer base. Careless actions have larger repercussions and modern consumers are adamant about holding the brands they support accountable.

Jane M. (2020) highlighted this priority shift in their response, stating:

I think also because, um, just to be quite honest. They [luxury fashion brands] weren't, they weren't concerned with us [Black consumers] before. Um, so before, before they, they didn't really have to listen. We weren't their customer. But now things have changed where we are their customer.

Katie Casano (2020) believes that diversity and inclusion is both a trend and a serious intention, depending on the brand. Some luxury fashion brands are committed to learning from their incidents and others will produce surface level change to maintain sales. Casano (2020) expressed:

So I think that some of them [luxury fashion brands] have put someone in that [D&I] role because they truly care about it. Some of them have put someone in that role because they don't want people to perceive that they don't care about it. Or that they are, they're making product that's controversial because they don't want to lose money.

Other people, um, let's say Dolce and Gabbana, who got in major trouble. Um, I don't know if they have a diversity inclusion person there. Um, but I would imagine that if they hire anyone, it'd be more almost as like, not so, to check, not to, um, it's more like to be a gatekeeper.

So people are allowed to develop whatever. And they're just gonna give it a once over maybe. And just make sure it's not, there's nothing wrong with that rather than building it into a part of their process.

It has become increasingly difficult to sustain a luxury fashion brand solely based on aesthetics. Modern consumers also care about ethics and want the brands they support to combine the two.

Natalie Nixon (2020) shared that this expectation isn’t exclusive to luxury fashion. She believes that luxury fashion should think beyond diversity and inclusion, and begin considering equity, defined by Dictionary.com as the quality of being fair or impartial; fairness; impartiality, in order to truly attain balance (n.d.). Nixon (2020) mentioned:

Yeah, but I think that's [D&I emergence] not exclusive to fashion. I think so many sectors, healthcare, financial services.

One, DEI [diversity, equity and inclusion] is being pushed to the forefront because of a real data that shows that by 2053, by 2043, the United States will be a minority majority country, right? The market is shifting. Those are, that's purchasing parity and purchasing power. And if you're smart, you want to make sure that you are tuned to those markets, right? Secondly, you have the horrific, uh, murder of George Floyd. Which was difficult for everyone to see...But now non-black Americans are realizing, you know, just the horror of seeing that video...Um, it's making more companies realize they actually need to address it. Now, in my view, the shift has to, it has to expand beyond diversity and inclusion to equity.

If luxury fashion brands want to seriously consider diversity and inclusion, they should begin truly valuing their consumers and not only their consumers’ money. Having this regard will ultimately prevent further incidents, being that brands won’t consider exploiting the very people who support them. D&I departments/chiefs need full support from the entire brand to reform practices and make actionable change a priority.

3. Do you feel that the acquirement of the new [D&I] chiefs has incited real change within the industry? a. What areas of business, e.g. marketing, design, retail, etc. need to be addressed in order to prevent instances of misrepresentation?

Although several participants questioned the intentions of luxury fashion brands, many agreed that effective change is beginning to occur. Some responses mentioned that luxury fashion brands were headed in the right direction. Jane M. (2020) shared:

I feel though there has been change because of the fact that they [luxury fashion brands] even, simply of the fact that they even have created these [D&I] departments. I view it as change. And the reason being in the past, they would have like, written a letter. Or they would have just had like some runway show, like dedicated a t-shirt.

Similar to Jane M. (2020), Anne S. (2020) agreed that the creation of D&I departments is a good beginning, however, more action needs to be taken, saying, “I do feel that this can lead to real change, BUT this one step is not going to fix it all. There has to be more done on top of this”. Various participants also shared areas of business that need to be addressed in order to incite real change. Asha Hope (2020) stated:

Um, so it's definitely marketing. It’s definitely merchandising. Um, it's, it's definitely 100% advertising and media.

It's also from a procurement perspective, so where you buy. Um, so the purchasing. Um, it's about, you know, so when you think about advertising, you also think about, you know, where your models come from.

So it's really important to have alignment from all aspects of the business.

Natalie Nixon (2020) challenges luxury fashion brands to broaden their perspective of D&I as it pertains to various departments, saying:

Well, I mean, the areas that attract people to the fashion is probably only like, 20% of the business, which is like fashion design. There's the main factory side, the technical design side, which is not as sexy, but it's critical. There's the sourcing side. There's logistics and manufacturing side. There's the technology side.

More fashion is exploring the role of automated reality, is exploring the role of gamification to engage with, um, market, uh, the entire marketing side. Um, merchandising and design tend to be the most popular directions that people are drawn to. But there's so many other, um, behind the scenes areas to actually make the business run. That's important that there's Black representation, um, that, that is you have an equal impact in, um, you know, how a fashion brand is marketed, how it's developed, how it's researched.

Katie Casano (2020) expressed that D&I extends to people as well as business departments, sharing that some companies’ interpretations of diverse people only extend to nationality. She mentioned:

Retail, um, design, yes. So I think in a way, like you could have a, um, a D&I chief that can weigh in on design ideas.

Another thing that you could do is hire diverse people on your design team. And most places I worked at had a diverse team in terms of people being from different countries. Um, and not all being American or, you know what I mean? Having a lot of Asian people. But I don't, most places I worked at, there were very few members of the design team that were Black. It was Asian or white.

No matter the approach, it was understood that intentions are important, however, combatting the insensitive action with improved, thoughtful action is better. Participants, like Sarah Nesbit (2020) want to see implementation, sharing:

You have to implement it in through actionable steps. And I think just, you know, passing down paperwork from, from the top down, isn't going to do it. You have to implement it on the lowest level throughout the highest level.

Luxury fashion brands have laid a foundation for diversity and inclusion, but must now begin the “real” work. Only through action will brands be able to communicate a consistent message to the world, proving that they care as much as their supporters.

4. Are collaborations with Black designers, artists, influencers, etc. an effective way to combat misrepresentation? E.g. Grace Wales Bonner and Mickalene Thomas for Dior Cruise 2020, Dapper Dan and Gucci

Collaborations and partnerships are good ways to share power and increase notoriety. Through this practice, luxury fashion brands can consult with Black creatives about their culture, and incorporate their ideas into the brand in a way that honors and respects the source. Although these partnerships foster a sense of community, they should be strategic and make sense with the DNA of the brand, or else risk the brand being perceived as disingenuous. Numerous brands like Dior and Gucci have forged recent partnerships, intertwining Black culture into their aesthetic. Dior worked with British designer, Grace Wales Bonner, artist, Mickalene Thomas, tailor, Pathé’O, and West African wax printer, Uniwax for Dior Cruise 2020 (2019). Gucci has formed a long term partnership with Dapper Dan, collaborating on a special collection and giving the designer his own atelier (2018). All of our interviewees agreed that collaborations like these are effective in addressing misrepresentation. Specifically, Jane M. (2020) shared:

And so I do think the collaborations are important because they put our [Black] culture on the global scale, in a way that needs like, Eurocentric companies are able to do that maybe we don't always achieve so quickly. We can achieve it, of course, but it just takes us longer.

I think it's still efficient because people are able to see, like, um a white fashion house designer and a Black one showing like, both of their brilliance. Basically allowing people to see that like our work can also be couture as much as it can be streetwear as much as it could be luxury.

Despite most participants agreeing with the effectiveness of collaborations, some questioned the motive, considering financial viability as a major reason for some partnerships. In addition, several participants also questioned the timing, sharing that collaborations shouldn’t be a new phenomenon.

Regarding both sentiments, Shaun Conyers (2020), one third of The Protected Kollective said:

So I love the thought, Like, thank you. Um, however, my thing, like, especially like, when I look at Gucci and Dapper Dan, Dapper Dan has literally been pushing Gucci for a year, like, years, years, years, years, years. Actually, like, Gucci finally gave in and actually created these, this, you know, let Dapper Dan into like, the creative run. And all you see is this Black man repeatedly over and over and over again. And they probably looked at it like, “Okay, he's still making a little buzz right now. How about we bring him in? Let's do a good, let's do a good deed for the community, and bring him in and give him like, an actual, a chance to actually truly create for the brand, and say like, oh, this, this is his capsule creation”. Um, so yeah, I can say I appreciate that, but I don't really know the sincerity because I feel like he should have been at the table. Like, he's been pushing it [Gucci] for years.

Similarly, Natalie Nixon (2020) mentioned:

But what they [luxury fashion brands] realize that it's not enough anymore, for couture just to, just to settle on it, um, conscious of being couture. That's not, that's not convincing enough for people to buy into the brand. They need the currency as someone like Rihanna who is a major influencer, who has incredible sense of style and a unique perspective.

That, the whole tug of war between street and elite, there are more couture houses are realizing they need to, they need the street. You know? They can't just, they can't just tap into the streets for cool hunting and to get tips about style. But they actually need it to be a viable business and to sustain their business. And that's why the, the appointment of Rihanna [as founder of Fenty through LVMH], um, attaining one of the couture houses is such a coop, right?

Collaborations should increase revenue, however, money shouldn’t be the sole driving factor for the collaboration. There should be an equal exchange, such as the Rihanna and LVMH partnership with Fenty. Rihanna, an internationally recognized recording artist, successful entrepreneur and style icon, is able to explore a new industry and leverage the existing LVMH consumer. LVMH, an established and successful conglomerate, is able to diversify its brand and tap into a new consumer market through Rihanna. The pair are engaging in an exchange that benefits them both. Some participants believe that partnerships such as Rihanna and LVMH are important, however, luxury fashion brands should diversify their collaborations, and explore partnerships with less notable, yet equally talented individuals. Regarding diversifying collaborations, Kayla Turgeon (2020) said, “I feel like they [luxury fashion brands] need to think outside of the box more, as far as who they work with, because like, it can't always be the same Black person that the brands are working with”. Sarah Nesbit (2020) also shared this attitude, mentioning:

Like, they [luxury fashion brands] love working with, with Kanye [West]. They love working with a Virgil [Abloh]. They love working with a Dapper Dan. But the thing is there are, so we were saying that there's like, you can go into the, like the, the crux of New York.

There's so many people who are aspiring Yeezy's who are, who are aspiring Dapper Dan's, who are aspiring, um, um, Virgil's who have that creative talent and have that ability. But they're being overlooked because a lot of these brands are only taking the top people who, who have, who have been in the spotlight for years upon years upon years. And even that there's, there's probably a Black or Brown person who was a design assistant slaving away within the same position, getting underpaid for years, trying to, to, to design, you know? That have, has all of this, this creative knowledge and these, these, these, these, um, these, uh, design, uh, designs in their book, but have never been given the opportunity to, um, you know, display anything. I think, you know, they [luxury fashion brands] look within their company. But, um, even that, even further, like Shaun [Conyers] said, they can invest in, uh, in, um, the minds that are in diverse communities around the nation and these in the cities.

Collaborations can be an opportunity for luxury fashion brands to collaborate with Black creatives from around the world, and discover people and cultures that aren’t as well-known. Partnerships like these can help foster the next generation of luxury fashion, and create more space for a diverse range of creatives and others who wouldn’t have normally gotten the exposure to the industry. Ignorance has commonly been the explanation of luxury fashion brands in regards to incidents of misrepresentation. Knowledge is how one can overcome ignorance. Working with the cultures that interest them, learning from the people who belong to the cultures, inviting them to share their experiences and perspectives, etc. is how collaborations can foster the ultimate knowledge exchange. Without this type of partnership and willingness to learn, luxury fashion will continue to make the same mistakes and alienate a large portion of their consumer.

Part Three: The Importance of Black People in Positions of Leadership within Luxury Fashion 1. How important do you feel it is to have people of color (POC) as diversity and inclusion leaders, specifically Black leaders, being that many of the incidents of misrepresentation have directly affected the Black community?

A common theme throughout the interviews in Part Three was the importance of Black leadership and the authority to make impactful decisions in luxury fashion spaces. In the early responses, some participants expressed how representation was needed and that when granted, Black people also needed the proper platform to express themselves. When asked how integral Black leaders in diversity and inclusion departments are, some interviewees indicated that people of color (POC) D&I leaders were the only logical choice. Despite those that disagreed, all of the responses communicated that people with shared experiences as those being addressed through D&I initiatives are most needed in D&I leadership roles. Detailing the need for POC diversity and inclusion leaders, Shaun Conyers (2020) stated:

And no, I don't want to see a person that, that person, a non person of color in those [D&I] positions cause it makes no sense. Um, I, you know, I feel like if you're truly trying to cater to a group, so specifically, um, Black and Brown people, that's who we need to see in those teams.

The participants who felt that POC were best fit for D&I leadership felt that non POC could not speak to the experiences of the people who most needed the assistance provided by diversity and inclusion leadership. As a person of color, that leader would be able to resonate with the needs of the people they are helping and have the ability to highlight their experiences firsthand.

Emphasizing this ability, Anne S. (2020) said:

I strongly feel that you can’t speak on an experience that you know nothing about. So how are you taking a job that should require for you to live certain experiences? I think having a POC in D&I roles is basic common sense.

In support of this perspective, Kayla Turgeon (2020) mentioned:

If the person that isn't in charge of the diversity and inclusion department or program, whatever you name it, if they are not a person of color or a Black person, it's always going to be they're from the outside looking in. Like, they're [non POC] not, they still don't know what's going on.

Similarly, other interviewees spoke about the importance of having leaders with shared experiences as those who could most benefit from D&I leadership. Whether or not those leaders are POC was secondary. In reference to the importance of focussing on experience as opposed to race, Sarah Nesbit (2020) shared:

Um, so, you know, if they [D&I departments] don't have the people who have experienced different things, who have, who know different, you know, who have experienced different events where diversity needs to be implemented, [D&I leaders without different experiences] can't just like, try to teach everybody.

Additionally, Katie Casano (2020) said, “I think that the people on that [D&I] team need to be led and for the most part be made of people from that community”, expressing that regardless of race, people from similar communities can speak to their shared experiences. Asha Hope (2020) provided an personal account of her experience with non POC diversity and inclusion leadership, mentioning:

And when I started doing this [D&I] work, the lady who gave me a chance was a white woman. Um, she was the Vice President of Diversity and Inclusion at Coca Cola. And, you know, the passion that she had for this work has nothing to do with her color. Right?

Um, she grew up in an area where, you know, she, she, she understood what, what being in poverty felt and looked like because she didn't grow up in upper class. So, you know, because she had the background and the passion that she was very effective in her job.

Um, but she no longer does that work for the very reason that you just asked me. She's like, I don't think I'll ever make it to a chief diversity officer role because I'm not Black.

Although it may not be necessary to solely have POC diversity and inclusion leaders in luxury fashion, it is important to appoint leaders who have experience with underrepresented communities. D&I leaders without those direct experiences may be unable to identify the true needs of the people they serve, and therefore, not contribute to the betterment of the industry. Maintaining the existing voices leaves no opportunity for growth. The time has come for luxury fashion to extend itself to more diverse perspectives and truly incite change as it pertains to diversity and inclusion.

2. Is it enough to simply have Black people in higher positions (C-Suite, managerial, leadership, etc.)? a. Does it need to be more strategic or is it simply acceptable because they are Black?

Given the repeated acts of misrepresentation, those with a relation to luxury fashion are questioning those in power. In relation to the conversation surrounding the importance of Black people in diversity and inclusion leadership, the importance of general Black leadership within luxury fashion is also relevant. Matters related to D&I are important, however, why should Black people only be considered for D&I related leadership roles?

Participants agreed that Black people should occupy high leveled positions in all areas of business, but those positions must also come with authority. Assigning a title holds little significance if the person with said title isn’t equipped with the tools and jurisdiction needed to incite change. Lynette Nylander (2020) expressed that it wasn’t sufficient to simply have Black people in higher positions, stating, “POC in higher positions doesn’t mean that everything is changing”. Correspondingly, Anne S. (2020) shared, “No it is not. They [Black people] need to be in the role but also have the authority and support to shift change” instead of simply being a “seat filler”.

Shaun Conyers (2020) mentioned that in addition to high leveled positions, Black people should obtain positions in areas such as human resources (HR). He said:

Um, I think definitely [Black people] have those C-suite seats, um, filled, but there also needs to be seats filled in HR. Like, we need to have it from the top to the bottom, you know what I mean? In every space in between just so the message is consistent.

Often, Black people in many industries are awarded misleading titles that give the perception of authority, when in reality those persons are still performing junior level duties. A high level position should equate to high level authority. This level of thoughtfulness should also be applied to the person being appointed, being that some participants felt that deciding which Black leaders are appointed should be strategic. Jane M. (2020) agreed that Black people should have high leveled positions, however, those persons should be qualified. They shared:

I think that it needs to be Black people who are qualified. Who have shown record of making substantial change wherever they are.

I mean, you have to actually look at who's qualified even if you know them personally. Because it tends to be like, every so often in the industry, there's like a group of loved Black people. And like, they ended up getting all the opportunities. And most of them are qualified, but some of them are not.

Asha Hope (2020) also believes that the hiring of Black people in leadership positions needs to be handled carefully, mentioning:

But I said, I have to say, you know, you have to be connected. Um, and not all people are connected, whether you Black or not. Because let's be honest. It's not all Black people are connected with what happens in Black America.

A practice that Black people are expected to follow when they attain a certain level of success is to ensure the success of their close associates, similar to nepotism, defined by Dictionary.com as patronage bestowed or favoritism shown on the basis of family relationship, as in business and politics (n.d.). Leaders in various industries practice nepotism as a way to control who is allowed access to their industry. Unlike white-owned businesses, there is usually more at stake for Black-owned businesses, and hiring only friends and family can jeopardize a business’ overall success. Black people who occupy white majority spaces, like luxury fashion, are often looked to as the spokesperson for their race. Although unfair, strategy is needed when selecting Black people for leadership roles to ensure that more Black people will be considered for similar positions in the future.

3. Do you think that it is more important for Black designers to begin creating their own lane within luxury fashion instead of trying to fit into current industry standards?

Due to the numerous inequalities that exist for Black designers within the luxury fashion industry, some may feel that it would be more beneficial to create a separate entity of luxury fashion that celebrates Black designers, as opposed to continuing to assimilate into an industry that often exploits the Black community. When asked, the participants all agreed that Black designers should be granted the choice to do either.

Anne S. (2020) expressed the importance of equal treatment in terms of having the authority to make such a decision. They said, “I think we [Black people] should have the choice to do either. I think at the end of the day the idea is that we have the option to choose just like our white counterparts.”

Similarly, Jane M. (2020) shared how white designers have been given the authority to maintain both their personal brands and the involvement in other brands, simultaneously. Jane M. (2020) thinks that Black designers should be allowed the same, mentioning:

Sure. I think we [Black designers] should be given the freedom of the choice. Because white designers, for example, somebody like Marc Jacobs, he's able to work for, I believe it was Louis Vuitton. Marc Jacobs was able to work with Louis Vuitton and also develop Marc Jacobs, his household name, at the same time. So when it comes to us, I often feel like, why do people want to limit us to only have to do one sector? Like, we want a world where yeah, we can have our household names and we can also come and run your household names too, if we, if we choose to.

Natalie Nixon (2020) believes that no matter the choice, Black designers need to operate with precision, and be strategic with whom they partner. She stated:

We have to get really sophisticated about forming strategic partnerships. No one can do anything alone and you have to know your lane. You have to know what you're not good at. You have to forge partnerships which may be outside the United States.

Black designers within luxury fashion should be allowed control over their own narrative. Whether it be related to their own brand or holding a position of influence at a separate luxury fashion brand, having the authority to incite change is necessary to ensure the progression of the Black community within luxury fashion. In order for the luxury fashion industry to prove that they value Black culture aside from the influence it provides, Black representation is crucial at all levels of business, but of course, is greatly welcomed in levels of power. The Black designers have always and will always speak out against misrepresentation, however, they need to be given equal platforms to do so as their white counterparts.

Part Four: Identifying Current Black-owned Luxury Fashion Brands 1. Can you name a few current influential Black-owned brands and designers within luxury fashion and describe their impact?

Recently, there has been a noticeable increase in Black-owned luxury fashion. New Black-owned luxury fashion brands are emerging, and past Black-owned fashion brands are re-emerging and shifting towards luxury. When asked to identify current Black-owned luxury fashion brands and designers, the participants listed the following: Virgil Abloh, Fe Noel, Hanifa, Anima Iris, Andrea Iyamah, Mateo, Sami Miro, Pyer Moss, Duro Olowu, Heron Preston, Telfar Global, and Tongora. Other brands/designers mentioned were Byron Lars, Public School, Tracy Reese, and Kanye West, however, those brands/designers are either not luxury or aren’t fully Black-owned. Hanifa was a brand that was mentioned twice, noting its innovative incorporation of technology. Sarah Nesbit (2020), mentioned, “Hanifa. I think it's so amazing that she had like, that intersection between tech and fashion”. Anne S. (2020) also highlighted this intersection, stating, “Hanifa I feel is an amazing brand that has taken space in the luxury/digital realm. She has definitely made a heavy impact this past year.”

Shaun Conyers (2020) highlighted Sami Miro due to her brand’s focus on sustainability while still maintaining a luxury aesthetic, saying:

Um, I think really Sami Miro...So she based her whole brand off of reconstructing, thrifted pieces, like, insane. She's all about sustainability. She's all about, um, like the Black creative standpoint and everything...

You hear a lot of people talk about this sustainability, sustainability, but you're [Sami Miro] doing it. Like, you're reconstructing, you know? You're creating and making your own.

Although the participants’ lists were brief, they all were able to identify a new era of Black-owned luxury fashion, often crediting Instagram with informing them about new brands.

2. What information and/or resources do Black-owned luxury fashion brands/designers need in order to succeed within luxury?

Money and network were the most mentioned information/resources that interviewees felt Black-owned luxury fashion brands need in order to succeed. All businesses need adequate funding, especially during the early stages of development. Luxury fashion is often associated with high cost, and those costs aren’t exclusive to consumers. The businesses within luxury fashion also need money to sustain themselves and to compete with other brands. Expounding upon this essential resource, Shaun Conyers (2020) said, “I would definitely say for one, we [Black-owned luxury brands] need the funding. We need the equal funding.” Seconding this sentiment, Katie Casano (2020) shared, “Money. Seriously. That's what you need is money. That's what anybody needs”.

People, like money, are just as important when entering a niche industry such as luxury fashion. Whether it be through partnership, mentorship, or allyship with other brands, having a reliable network that can assist a brand with gaining access to certain opportunities and overall visibility, contributing to their overall success.

Regarding how networks can lead to visibility, Kayla Turgeon mentioned:

I feel like it is that larger network. And those people [the network], like, I feel like, I don't know if it should be celebs or whatever. They should want to step out and try those Black-owned brands [on the red carpet]. And I'm like, that's how they could gain more visibility as well, because not only will you be able to give a Black-owned brand a chance, but they'll be getting their visibility as well.

Likewise, Sarah Nesbit (2020) expressed, “You can't do it all by yourself. And I think that's something that, that, that we, as entrepreneurs need to understand that we don't know it at all.” Knowing the “right” people within the luxury fashion industry is helpful when gaining access to certain spaces and increasing a brand’s visibility, however, knowing people who can provide guidance and advice is just as essential.

Jane M. (2020) spoke about the importance of mentorship, expressing:

So like, the way maybe like, an Anna Wintour would take a Marc Jacobs under the wing. She saw his talent. We need to be given that same opportunity. I think we need the guidance and the resources.

Casano (2020) also valued mentorship and explained how it could lead to funding, saying:

I think the main thing they [Black-owned luxury fashion brands] probably need is a mentor. Um, they probably need a few mentors. They probably need a mentor who is another person of color, who has been through it. And who can tell them stuff, you know? So I just think that someone that can give them advice and introduce them to the right people. And that's how you get money.

But I imagine that it's probably harder for Black people to get loans. I'm assuming. So I feel like it's probably harder for them to start a small business or to start a business.

And I imagine that they need connections. Like, maybe they need, I mean, some of them might need a business partner. You know? Either partner with the factory or someone who believes in them.

It is apparent from the responses that money and network aren’t mutually exclusive, being that one can occasionally lead to the other as well as greater opportunities such as visibility. Aside from the common resources mentioned above, Natalie Nixon (2020) went into great detail regarding the lack of information/resources that have caused past Black-owned luxury fashion brands to not succeed, saying:

Um, it takes so much to get investment dollars backing your line. It takes so much to understand about the supply chain. Um, there's really no manufacturing that's happening anymore in the United States.

So it requires a whole, a lot of capital to first, um, identify the right mills and factories to work with, to check in on production. Um, that there's more than a notion.

So for Black designers, you go into only the understanding of the complexity of how do I get the garment designed and developed. But don't have a true sense of the complexity of the entire supply chain. It's a huge learning curve.

Yeah the cost is prohibitive so that you would either have to be kind of acquired by a larger brand, which means you can lose a certain level of control. You also have certain sales goals and sales targets, which is a lot of pressure. If you decide to be more independent, then you have to price your work at a really, really high in order to even make a profit line.

New businesses, specifically Black-owned luxury fashion brands, aren’t always aware of this type of general business knowledge and are therefore unable to properly prepare for the associated outcomes.

Black designers must first operate as business owners, and as designers secondly. They should equip themselves with the necessary skills and knowledge needed to obtain resources such as funding, and feel empowered to ask for assistance and guidance when they aren’t able to identify what steps to take.

It is understood from the responses that Black-owned luxury fashion brands need the same information/resources that any business needs to succeed. The major difference is the systems put in place and the practices that have been followed that purposely exclude Black designers from luxury fashion.

Until the luxury fashion industry breaks the barriers to entry, Black-owned luxury fashion brands will always struggle to obtain what is needed to be taken seriously within luxury fashion.

Part Five: The Importance of Advocacy for Black Creatives in Luxury Fashion 1. In what ways can Black creatives advocate for D&I and also advocate for themselves so that both are taken seriously?

Advocating for Black creatives in luxury fashion is necessary in order to ensure fairer treatment. As shown in early responses, Black people in creative roles are often exploited and aren’t valued enough to be taken seriously as key players within the industry, presenting some difficulty when one speaks out against misrepresentation.

To overcome this adversity, most of the participants encourage Black creatives to simply continue the conversation regarding the inequalities that they face. Challenging individuals within luxury fashion to consider their complacency will help incite actionable change. Sarah Nesbit (2020) favored this sentiment, especially for individuals in high leveled positions, saying:

And if I, I know that if, um, you know, I, there were a Black person in a C-suite position, um, I want that person to advocate for me and make sure that, uh, I was, you know, being brought up. But I don't think that we see that a lot. So one, advocating for ourselves and two, not being afraid to have those conversations, those difficult conversations. That shouldn't be that difficult because they [white people] should know. Um, and I think that's something that we all need to like, start doing. Having the difficult conversations with our coworkers. Calling on things that we see and things that are wrong, um, so that we can like, implement this, this, this realm of people who are comfortable allowing people who look like me into the space, um, rather than being intimidated.

Kayla Turgeon (2020) also agreed, sharing her own personal experience with having uncomfortable conversations in the workplace. She mentioned:

I feel like I'm the, I am the only Black person on my team and in planning in general. And it is hard when I'm in a group setting with my coworkers to like, advocate or speak up sometimes. And at the end of the day, I don't get uncomfortable because I'm like, if y'all are asking, I'm going to tell you. Like, if my coworkers asking about my hair, how they do it, like, I'm not, I'm not going to get uncomfortable.

Like, you want to know? I'm going to let you know because at the end of the day, even though there's something as small as hair, like, I feel like it's important to just talk about my experience. Because at the end of the day, I'm trying to teach them something to change their perspective or whatever it may be.

By acknowledging that inequalities for Black creatives exist, awareness is created and can ultimately lead to action. Not having related conversations denies the protests of Black creatives and invalidates their experiences. Lynette Nylander (2020) shares how dismissive it is to ignore conversations regarding advocacy, saying:

It’s [not talking about inequalities] a way of making white people feel more comfortable. I’d love to talk about the glamour but those aren’t the cards we’ve been dealt. Let’s talk about it. It’s exhausting. It’s boring. It’s insulting.

Shaun Conyers (2020) spoke about the importance of self empowerment and continuing to move in a manner in which evokes assertiveness, sharing:

I think the best way, I think, I think the best way that I think we [Black people] can probably tackle this, um, it's for one, I think we have to continue to believe in ourselves and I believe in our power. Like, if we're in these positions and we're holding our head a little lower because we feel like the pressure is on or we feel like we're not being, are respected, it's gonna kinda like, come off like, “Okay. You know, I don't really know, like, you know, if he’s [a Black person] really worthy of being in this position”.

It has been determined from early responses that Black people in luxury fashion endure various difficulties that sometimes hinder their success. The pressure to succeed, despite said difficulties, is great. That type of pressure can understandably cause an individual to doubt their abilities and performance, leading those from the outside looking in to also doubt the capabilities of Black people. If Black creatives within luxury fashion want the industry to believe that they are deserving of opportunities, those creatives must also believe in themselves. Asha Hope (2020) believes that initiating conversations regarding advocacy isn’t an issue, but rather tasking luxury fashion brands to follow through with the actions promised in those conversations. She expressed:

And I think that we're [Black people] doing it, a pretty good job advocating for ourselves. I think where we are lacking is the follow through and the follow up. It's the going back 30 days later saying, “Hey, what has been done?” And this is, you know, something that I think that could help us move the agenda forward faster, um, you know, just the follow through and the follow up.

Conversation without action is useless. The conversations surrounding the advocacy from Black creatives within luxury fashion should include actionable plans. Even with that said, the Black creatives who are involved in those conversations should hold the luxury fashion industry accountable, ensuring that promises are being honored. Anne S. (2020) shared that although they believe that conversations are vital, the responsibility shouldn’t fall on the Black creatives. They said:

Speaking up is a great start. Most of the time we [Black creatives] are not even vocalizing ourselves. Forming allies within the workplace to help propel our voices forward. Advocating for infinity groups within the organization. I will say that while these are all great things for Black creatives to do, white people have a greater responsibility to help even the playing field. We cannot do the work all by ourselves.

Seconding this sentiment, Jane M. (2020) expresses that although Black creatives aren’t at fault for the inequalities that they face, Black creatives should still continue to challenge the luxury fashion industry to do better. They shared:

Yeah, I think it’s, I think us [Black creatives] being given the space to request these things, to want to be heard. But then I also think that on our part too, I think it's like a double sided thing. Even though it's not always our fault for this reason, I feel like on our part, we have to have the courage to even ask for it. Even if that means it will take us longer to get somewhere. I think sometimes we're just so excited to be in the room, we forget why, why we're there.

Advocating for oneself, especially as a marginalized group, can present some hindrance, however, this reasoning shouldn’t deter Black creatives from speaking up and speaking out against the inequalities that they face. Black creatives should feel empowered to encourage both themselves and others from their community, presenting new perspectives for the luxury fashion industry to consider. Although Black creatives are simply casualties of an industry that needs further progression, having difficult conversations and encouraging awareness is a step in the right direction.

2. In what ways can non Black allies advocate for Black creatives and amplify the presence of Black-owned brands and designers within luxury fashion?

Those who aren’t people of color (POC), as well as some people of color who don’t face the same inequalities as Black people, are just as integral in the advocacy of Black creatives in luxury fashion. Several interviewees suggested that non Black allies use their platforms and privilege to highlight Black creatives. Tools like social media and simply word of mouth are all ways that non Black allies can help introduce Black creatives to audiences and spaces to which they wouldn’t normally have access. Katie Casano (2020) shared several suggestions, including highlighting Black creatives on non Black individuals’ platforms:

Well I think the first way [to advocate for Black creatives] is showcasing their work. What they [luxury fashion brands] could do is they could, you know, like you said, they could have collaborations. Clearly. They could hold accountable retailers. So I think I would try to use my platform to educate or, or like, let other people know. I don't want to say educate. Let other people know about these [Black-owned] brands. Um, I also would be trying to hire them [Black creatives]. You know, um, making connections for them. Introducing them to people that are important that could help them. You know, like financial people, backers, things like that.

Asha Hope (2020) brought forth a useful practice that she has seen non Black, high leveled executives in luxury fashion practice, mentioning:

Um, so I think, you know, one of the best ways that I've, I've seen here lately is um, to step, stepping back and giving room to um, the, the Black luxury designer. Um, and this is like several, um, profile leaders that I've seen that have given Black business owners their Instagram um, for a day. Or their, their Twitter for a day. Or removing themselves from a board of directors where it's predominantly white already, um, and saying, “Hey, I need to be replaced by a person of color”.

So I think allyship is action. It's not just support and advocacy if it's about, um, taking a stand and giving space for the, uh, the African American or other Black founder and leader.

Encouraging opportunities for Black creatives to exist in the same way as non Black creatives is a simple yet effective way to use one’s privilege in a way that benefits everyone. Lack of access has been a recurring theme throughout the interviews and applies in multiple areas as it pertains to the inequalities that Black-owned luxury fashion brands face. Granting Black creatives access to resources, people, places, etc. by associating them with a non Black luxury fashion professional’s name/business encourages equal opportunities, equal visibility, and ultimately, equity for everyone throughout the luxury fashion industry.

Part Six: Determining the Roles of Various Industries within Luxury Fashion In order to gain specialized knowledge, we asked closing questions related to each participant’s individual roles within the luxury fashion industry. This insight provided us with a range of perspectives that helped to inform our overall implications.

*Questions for fashion journalists* *No response was given for Question 2: In what ways can they [magazines, publications] contribute to change?

1. What are magazines’ roles in D&I?

Magazines and other fashion publications play an important role in how luxury fashion is perceived, what brands are deemed noteworthy, and ultimately how luxury fashion should be considered by the public. As a fashion journalist, Lynette Nylander (2020) shared what she believes the responsibilities of fashion magazines are:

They [fashion magazines] are the go between designer and consumer. They put it into context. They give you an opportunity to see how the clothes fit into your life. They are the selling point and give you the ability to dream. If you never see yourself in the magazine, language, context of story, you are in-avertedly told that you aren’t that fashion or that world isn’t for you. You aren’t celebrated.

Regarding addressing the misrepresentation of Black culture within luxury fashion and the resulting inequalities that exist for Black-owned luxury fashion brands, fashion magazines are a visual representation of the views and practices of luxury fashion. If Black culture isn’t properly showcased because Black-owned luxury fashion brands don’t have access to the common spaces and resources as white-owned luxury fashion brands, magazines will reflect this and inform consumers and spectators that Black-owned luxury fashion doesn’t hold as much value as that of white-owned luxury fashion brands. It is important to communicate a consistent message throughout the luxury fashion industry that extends beyond design to media, like fashion publications.

2. In terms of communication, what specific language can be used or discontinued in order to end the misrepresentation of Black culture? a. Should words like “urban”, “street” and “hip hop” no longer be used to describe Black culture?

Journalists use specific language to communicate a particular narrative. When referring to Black culture, there are certain words that are commonly used such as “urban”, “street”, and “hip hop”. Although this language is sometimes relevant, magazines and other publications use it to categorize anyone and anything related to Black culture. This reduces a long history of traditions and customs to a single word, commonly in a demeaning manner. Unsure about whether or not this type of language should be discontinued, Lynette Nylander (2020) believes that journalists should use clear and straightforward language, leaving little room for misinterpretation.

She mentioned, “I am a truth seeker. Things that are clearly communicated as they are, soothes me. Honesty and telling of what it is is important”. Specific wording may not be the most concerning issue, however, the context in which that language is used should be. Similar to the popular saying, “It’s not what you say, it’s how you say it”, the language that fashion publications decide to use must accurately represent the subjects being referenced. Black culture encompasses more than a single label can depict. It should receive the same amount of respect and reverence as any other group within fashion.

*Questions for professionals in fashion support services*

1. In what ways can you and others in academic spaces educate emerging fashion designers on the importance of diversity and inclusion?

School is where emerging fashion designers can learn the necessary skills to perfect their craft. It can be a time where a designer determines how they wish to be perceived and what type of work they want to produce. Leaders in academic spaces are responsible for preparing emerging designers for the fashion industry. They provide them with skills, knowledge, and experience needed to succeed within fashion. As an educator and/or academic mentor, it is important to challenge students to consider diverse perspectives and experiences so that they will be more inclined to welcome diverse ideas and push to include them throughout the fashion industry. Katie Casano (2020) believes that it is necessary to incorporate diversity and inclusion throughout one’s curriculum from the course material to the racial makeup of faculty. She stated:

I just feel like promoting, um, different groups of people. Promoting students to explore, um, inclusivity and different aspects. So you need to incorporate other points of view. Um, so I think, you know, building, um, practices into the curriculum where you're incorporating more viewpoints is very important.

I think trying to have diversity in faculty is important. So just like we were talking about in a company, I think that that's important. Um, or, you know, even if you, let's say you don't have, you don't have enough faculty, like, maybe there is someone that you can talk to. Or talk to different people in the industry and get them to look at your curriculum.

Natalie Nixon (2020) stresses the need for diverse faculty, being that faculty are the stakeholders in the decision making of students’ curriculum. She mentioned:

They [faculty] have to teach it. They have to do it. Um, the problem is that there's, academia remains a very non diverse space in terms of the faculty. And so, um, faculty gets to decide what matters in the curriculum.

So is there faculty who, who realize that, um, you know, the global majority on this earth, the marketplace are Brown and Black people? They understand the shifting demographics in the United States. Do they understand that, um, as I like to say, this quote you can use for me, “The more diverse the input, the more innovative the output”?

Both participants agree that faculty play a significant role in the development of students. In order to teach diversity and inclusion, the people behind the lesson plans must exemplify it. Having diverse faculty can provide emerging designers with diverse perspectives that they can consider throughout their academic careers and continue into their professional ones. They’ll be equipped with a more tolerant mindset and potentially challenge the current norms of the fashion industry.

2. What common misconceptions do your students have about the luxury fashion industry, as it pertains to diversity and inclusion?

Naturally, like any person entering a new industry, some students have preconceived notions about the luxury fashion industry. Being that many students entering college don’t yet have experience within the industries in which they have interest, they develop their perceptions from secondary sources like social media. Katie Casano (2020) detailed an experience she had addressing diversity and inclusion when her students made a customer profile for Anthropologie. She shared:

So, you know, they [my students] were very young and she [a student] was, she was telling me their [the student group] customer profile and she, and it was for Anthropologie. And she said, “Our customer is a 35 year old white woman. A Caucasian woman.”

And she said it like two times and I was like, “Okay, you guys, I'm sorry. You guys have to stop.”

And they're like, “What?”

And I was like, “I have never, ever seen a customer profile before that straight up says it's a Black or a white person.” I was like, “That's not okay.” I was like, “Do you know what color you should care about?

And they're like, “What?”

“Green!”

Anthropologie is a contemporary brand, however, it is more high end than its sister brands, Free People and Urban Outfitters. To young, undergraduate students, Anthropologie may be the closest access to luxury fashion that they have. Associating the brand’s target customer as a “35 year old white woman” reflects students’ unconscious bias. Already, prior to their professional careers, they think that luxury is only for white people and/or that white people are the ideal consumer. Introducing varying perspectives at this stage is crucial to their overall professional development and future within luxury fashion.

3. As it pertains to D&I, what do you hope your students take with them as they enter the professional fashion industry?

Educators want their students to excel and to feel that they have been adequately prepared for their future professional careers. As it pertains to diversity and inclusion, one can only teach so much. Instead, teachers are tasked with informing students on various perspectives and making them aware of the issues surrounding D&I, in hopes of students being able to make their own discernment as to what actions are best.

As an educator, Katie Casano (2020) is most concerned about her students’ moral compasses, and hopes that her students maintain sincerity and virtue throughout their professional careers. She said:

It's really important to have integrity. I think that's really important. Um, in, in a design sense, period. You know? Don't, don't sacrifice your integrity.

So I think it's important to have empathy. It's important to have morals and standards. And if you see something that's really not okay, you know, try to change it, if you can. If it's safe for you in that situation to do that. If it's not safe, get out of the situation and tell other people about it.

Integrity is a characteristic that the luxury fashion industry should consider. With it, more brands may reconsider their unhealthy practices and beliefs, and in turn, consider the perspectives of others, prompting true diversity and inclusion.

4. And are there any like specific [D&I] initiatives that you can suggest that luxury brands consider?

The conversation regarding diversity and inclusion is fairly new for many luxury fashion brands. Due to this reason, as brands begin to develop D&I initiatives, there still may be areas left unexplored. Asha Hope (2020) provided her professional recommendation on what luxury fashion brands should consider implementing, saying:

Um, I think one of the top things that initiatives that they should consider is just the representation, um, at, at senior leadership levels. Um, individuals that have influence, um, as well as a seat at the table to make decisions, autonomy to make decisions.

So just paci, again, pacifying the situation by hiring, um, individuals at lower, I'll say, um, frontline first level type of roles is not, it's not good enough.

Similar to early responses regarding the importance of the representation of Black people in high level positions, Hope (2020) believes that hiring is the top area that needs to be addressed. By putting qualified Black professionals in more positions of influence and power, they can assist in the advocacy for diversity and inclusion.

Marginalized groups, such as Black people, are underrepresented within luxury fashion. Once Black people occupy more spaces, especially spaces where decisions are made, the industry will be challenged to address the existing inequalities.

*Questions for professionals at luxury fashion brands (non Black-owned)* *No response was given for Question 1:How do you find a balance between implementing D&I [in social media] while maintaining the brand’s heritage and DNA?

1. What are some effective ways to implement diversity and inclusion within social media, i.e. captions, content themes, influencer collaborations, etc.?

Like magazines, social media plays a large role in how luxury fashion is perceived. Luxury fashion brands use social media to engage with consumers and grant spectators a view into a fantasy by which access was not previously extended. Luxury fashion brands can craft an entire aesthetic, solely through pictures and videos. With such an influential tool, incorporating diversity and inclusion into luxury fashion brands’ social media can shape the way consumers consider D&I, creating a demand to encourage the industry to do the same. Anne S. (2020) suggests that luxury fashion brands implement D&I into their regular practices, normalizing it so that the consideration of D&I is guaranteed. They stated:

You really need to think about diversity from every aspect. If you put this into regular practice, it really is not that hard. From an influencer standpoint, it is looking at your lists from a photo standpoint. It is easier to see misrepresentation with visuals. Photoshoots. Thinking about everyone on set and in the room. Michael B Jordan speaks to using inclusion riders so that his sets are diverse. This is a great example of taking initiative. But the easiest way to cover diversity in all of these areas is to have diversity on the social media and PR teams.

Prioritizing diversity and inclusion like any other standard followed in social media content planning could prompt luxury fashion brands to also prioritize D&I throughout other areas of business. Doing this could seamlessly embed D&I into the DNA of luxury fashion, ultimately creating a more diverse and inclusive industry that celebrates both diverse brands and diverse consumers.

3. In terms of communication, what specific language can be used or discontinued in order to end the misrepresentation of Black culture? a. Should words like “urban”, “street” and “hip hop” no longer be used to describe Black culture?

Determining appropriate references for Black culture is complex. As previously stated, there are instances where using words like “urban” to describe Black culture are relevant. The concern stems from the created narrative, and whether or not that narrative depicts Black culture in a negative way. Anne S. (2020) believes that Black people in luxury fashion should be allowed the option to choose whether or not to continue such language. The luxury fashion industry, however, should reconsider how it decides to categorize Black designers. Anne S. (2020) said:

I think this [discontinuing the usage words like “urban”] can be debated, but I personally feel what we call ourselves vs. what someone else calls us should be different. If that is how Black culture or a Black person wants to describe it then so be it, BUT that is not a pass for a company to group all Black people together in that way. While one Black person might align with that title another might not. We are all individuals and should be treated as such.

Black culture, like any other, is composed of diverse peoples, customs, and traditions. It isn’t fair to label it with words that often insinuate a negative or belittling narrative. Similar to the conversation presented in previous responses, Black people should have the right to choose how they and their brands are referenced. The choice should not be left to an industry that perpetuates a narrative to convince consumers that luxury fashion is only accessible to certain people, often unreflective of the people belonging to the diverse world in which they live.

*Questions for professionals at luxury fashion brands (Black-owned)*

1. What is the most rewarding thing about being a Black-owned luxury fashion brand? a. What is the most challenging thing?

Despite the difficulties that Black-owned luxury brands face, sustaining a business in a niche industry, like luxury, is a great accomplishment. According to Brian Marshall from BLNDED Media, the Small Business Administration reported that Black people in the United States own about 2.6 million businesses or 9.5 percent of all U.S. businesses compared to white people in the United States who own about 19 million businesses, or 70.9 percent of all U.S. businesses (2019). It is important for Black-owned luxury fashion brands to succeed and to inspire others to follow suit and diversify the luxury fashion industry. Regarding Jane M.’s (2020) most rewarding and most challenging aspects of being a Black-owned luxury fashion brand, they mentioned:

The most rewarding is the fact that we like, we are showing people that it can be done. That you can be a Black-owned brand and have excellent customer service and have quality, and, you know, be thoughtful and all of those great things.

But then I also feel like the most challenging thing is that oftentimes the same people that help you to build the brand are the ones that end up criticizing you when you grow.

As a Black-owned luxury fashion brand, proving to people that one can provide the same level of “luxury” as another fashion brand is rewarding, however, as a minority group within luxury fashion, one may be more inclined to receive criticism. Being a Black-owned luxury fashion brand can feel like one is constantly put under a microscope, having their every move carefully monitored by both consumers and peers.

Given the previous responses, the requirements to attain success are set higher for Black-owned luxury fashion brands, therefore, adding unnecessary pressure. Simply being a Black-owned luxury fashion brand should be an accomplishment, but these brands should also be able to celebrate other milestones outside of solely celebrating their continued existence.

2. Earlier in your career, in what way did the media, i.e. social media, magazines, etc., influence the way you thought about luxury fashion, and the way Black culture was allowed to exist within it? a. To what extent is Black culture represented in your imagery and thoughts of luxury fashion today?

As previously mentioned, media like magazines and social media are great contributors to how luxury fashion is represented. Being that Black culture is sometimes misrepresented within luxury fashion, imagery influences the ways in which Black designers see themselves depicted in the luxury fashion industry. For a Black-owned luxury fashion brand, that imagery may play a determining role in the message that one wants to present. Jane M. (2020) spoke about how social media, in particular, has shaped the way their brand operates and what content they release. They shared:

Yeah, I think the visuals are really what added to that [our idea of Blackness within luxury fashion]. Um, and this is honestly even speaking from ethos point of view, cause it's something she [our founder] discusses a lot. Right?

Social media and the media in general, has kind of just showed us how important it is to really showcase our real bodies in a flattering way.

Like, I know I can speak for [our founder] in the sense of she doesn't touch the images of the models that we work with. She’ll retouch an outfit out for the sake of color, for the sake of maybe a button is missing or whatever. And she said, that's really important to her because real women with curves and hips and butt have a slight gut.

So she feels as though like, Instagram kind of taught her to show that beauty. The original Instagram, um, in a way that's like raw and authentic. And so I think that that is how it informed it by just showing that real life and the fact that people can comment and kind of see themselves in it as well.

Social media influenced this brand to celebrate authenticity and to produce relatable content. This Black-owned luxury fashion brand wants their consumers to resonate with their brand and to see themselves included in all areas, truly exemplifying its value of diversity and inclusion. Operating like this is an example of how luxury fashion brands can infuse D&I into their business in a way that makes sense. Diversity and inclusion have to be more than a department or chief. It should be a lifestyle.

3. In the future, how do you think the global luxury fashion industry will look?

In an industry that doesn’t always value Black culture, Black-owned luxury fashion brands must continue to push past the barriers that attempt to prevent their success. Although the future is unknown, Black-owned luxury fashion brands can continue to develop ways to ensure their longevity and reclaim their narrative within luxury fashion.

Regarding their predictions for the future of Black-owned luxury fashion, Jane M. (2020) said:

I think that Black designers will start being known for, just for their work and not as this like, “Oh, they're black?”.

Um, and I also think that we [Black-owned luxury fashion brands] will begin to honestly, to see the industry improve economically for this reason. Um, simply because more people are able to bring their talents to the table. And you're also like meeting more consumers in this way.

Um, I also feel like on a global standpoint or like a social mission standpoint, where we get conversations like sustainability, we adjust it based on who the designer is. Um, so it's like in the beginning though, [our founder] wasn't really comfortable with sustainability, sustainability conversation because she didn't think it applied to her. But it's because it's always been told as this white designer narrative. Or for a certain background.

So, um, I think that it's really cool how we're able to kind of diversify these conversations from different angles to really make a difference. Like now our voice is being heard too.

Whereas before, I don't think things were purposely left out. I just think that like, if you're not considering something because it's not within your community, it's very few people that would see it from another perspective. You need different perspectives in order for things to progress.

The future of Black-owned luxury fashion is hopeful; however, that hope is partially contingent upon how the luxury fashion industry decides to implement diversity and inclusion throughout its business. Creating new departments and appointing new chiefs are good foundational steps, but more action needs to be taken in order for situations of misrepresentation to cease.

D&I encourages the consideration of different perspectives, ideas, and ways of operation. Black-owned luxury fashion brands are simply charging the luxury fashion industry to be more open minded, and more accepting of marginalized groups that often aren’t initially considered in the conversation surrounding what is and what isn’t luxury fashion.

II. Case Studies Due to the recent events mentioned in the Methodology section, several fashion professionals held public conversations about diversity and inclusion within fashion. They also shared their personal experiences as Black fashion professionals. These professionals included Julee Wilson, Beauty Director of Cosmopolitan Magazine, Lindsay Peoples Wagner, Editor-in-Chief of Teen Vogue, and Kerby Jean-Raymond, Founder and Creative Director of Pyer Moss. The commentary from these conversations correspond with the questions in our discussion guide (see Appendix I).

Part Two: The Impact of the Development of Diversity and Inclusion (D&I) Departments/Chiefs 2. Do you think luxury fashion brands are more concerned with pushing a diversity and inclusion narrative than actually practicing it?

Both consumers and professionals in the luxury fashion industry are questioning the recent surge of diversity and inclusion (D&I) departments/chiefs. In light of the continued conversation surrounding the need for diversity and inclusion, the Black Lives Matter movement, a global organization in the US, UK, and Canada, whose mission is to eradicate white supremacy and build local power to intervene in violence inflicted on Black communities by the state and vigilantes (n.d.), has caused several luxury fashion brands to make public pledges to display their support and intended push for change. Even with those declarations, some feel that those luxury fashion brands’ actions have fallen short and critics are calling for supporters to hold the luxury fashion brands accountable. Lindsay Peoples Wagner (2020b) recognizes the need for accountability and used the term “accountability culture” to describe this current era. Wagner shared:

Because I think that, um, what we're seeing right now is accountability culture. I think a lot of people are really scared, um, uh, really shook as I would say. Um, but I think that really what we're seeing right now is people being held accountable. Um, and if you have a problem with the truths that people are telling, you really need to do some soul searching as to why you have problems with that.

Most recently, modern consumers, particularly, have been very vocal about their dismay for a brand when said brand has committed racist and insensitive acts. Cancel culture, another popular term, allows consumers to deem a brand as “cancelled”, resulting in a loss of support, especially in terms of sales. Since the instances of misrepresentation continue to occur, some question luxury fashion’s motives as it pertains to D&I.

Julee Wilson (2020) shared the ways in which people are beginning to question luxury fashion brands’ practices. In her critique regarding how fashion should consider diversity, she mentioned:

I mean, I think it's just recognizing [the need for diversity], you know? Also, moving away from tokenism. Not being like, moving away from quotas. Like, “Oh, we got our two black people. We're good. Like, check the woke box.” That's not woke.

What's woke is truly diversifying your company and your staff in a way that reflects the world. Two people does not reflect the world that we live in...And I think that the world is starting to get hip to that now. That like, we're watching. Run the numbers.

How many people do you have? How are they supported? Where are they in the organization? Are they in leadership roles? Are people reporting to them? Are they management? Or are you just checking a box and they're in very junior roles? Like that's not gonna work.

Expounding upon this testimonial, Wilson (2020) also mentioned an example of how flawed brands’ consideration of diversity and inclusion is. She said:

There needs to be some diversity in our diversity because let me just tell you. A lot of companies think that you put up one Black girl in an ad or in a, in a story and you're talking to everyone.

Like, just because you put Halle Berry in something like, not all Black women look like Halle Berry. And you can't put Lupita [Nyong’o] in something and think that you're checking the Black box either. Cause not all Black women look like Lupita.

Like, why can't you have, if there's a group of eight models, why can't five to six of them be Black, like, without being like, this is a Black editorial or whatever it is? Like, I think, you know, there just needs to be again, diversity within your diversity.

Luxury fashion brands must take diversity and inclusion seriously in all areas of their business. It isn’t enough to simply make a statement on social media or to include one Black model in a campaign to represent all Black culture. Brands must also take accountability and take action to ensure that they are committed to doing right by the people who help sustain them.

Taking action against inequality should be an ongoing occurrence. There should be obvious, measurable change. Unfortunately, this isn’t commonly the case with many luxury fashion brands. Too often, luxury fashion brands have made public statements against racism in fashion, but no change has come about. Lindsay Peoples Wagner (2020b) called for sustainable change. She and others want to keep track of luxury fashion brands’ progress in their commitment to change. Peoples Wagner (2020b) said:

So I want to see where you [luxury fashion brands] are in six weeks from now to say, “Okay, like where are you? Are you changing the influencers that you've been working with? Or are you, you know, working with different stylists?...Who's creating all the content? Like, who are you hiring?”

Like, all those things. I think that accountability is huge.

Instead, many brands have taken to social media as a means of declaring their alliance and following through with posts featuring past campaigns with Black people, in hopes of proving that they aren’t racist and have always been committed to diversity and inclusion.

Social media posts aren’t enough. Lindsay Peoples Wagner (2020b), alternatively, offered advice on specific actions that luxury fashion brands should consider. She shared:

I think that people should understand that it's more than a follow it's, like, yeah, diversity, diverse, diversifying your feed and following, but also giving people jobs, giving people opportunities, reaching out to people and saying, “Hey, can I connect with you on something, the project that I'm working on? Hey, can I be part of, you know, I want to be part of this movement to actually make changes.”

Like, could we actually have a discussion about that? Don't just click the follow button, interact, engage with people.

As it pertains specifically to the Black Lives Matter movement, a cause that is close to many Black designers, Peoples Wagner (2020a) said:

I think that you [luxury fashion brands] can definitely, you know, you should be donating right now. That those companies, any company, should be donating. Right? Donating right now, whether it's to a large pub [publication], you know? Uh, organization like NAACP.

Or, you know, directly to George, George Floyd's family or Ahmad's, uh, Brianna's, Tony McDade's, like you should be donating.

It’s time to stop making diversity and inclusion buzzwords and to instead transform them into continual action. One can not expect a global industry to sustain itself by implementing short term solutions. Black designers are just as valuable as designers from other racial groups, and the industry to which they belong should reflect this internally and externally.

Part Three: The Importance of Black People in Positions of Leadership within Luxury Fashion

The theme that emerged through the case studies in Part Three is that there are few Black people in positions of power throughout the fashion industry, especially in niche sectors like luxury. Traditionally, those in higher positions have greater influence over a brand. Their decision making ranges from areas related to production, policies, and people, all areas that are relevant to our discussion around diversity and inclusion.

During the #ShareTheMicNow Instagram campaign, various influential Black women were given the opportunity to run the Instagram pages of influential white women. Several of these women belonged to the fashion industry and spoke directly about the inequalities that they and their peers face within the industry.

2. Is it enough to simply have Black people in higher positions (C-Suite, managerial, leadership, etc.)? a. Does it need to be more strategic or is it simply acceptable because they are Black?

Julee Wilson (2020) ran the page of Alice + Olivia which is managed by its CEO and Creative Director, Stacey Bendet.

In a post for the campaign about her experience in fashion and beauty spaces, Wilson (2020) wrote, “Brands aren’t great at hiring Black people - especially in leadership roles”.

This point was emphasized when Wilson (2020) shared her thoughts on the recent appointment of Samira Nasr, Editor-in-Chief of Harper’s Bazaar and the first Black woman and woman of color to hold the title, in an Instagram Live for the same campaign. Wilson (2020) said:

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Um, joke, the first Black like, um, editor-in-chief of a major fashion magazine in the United States? I mean, of course we had Elaine Welteroth off at Teen Vogue, but as far as like not a niche teen magazine or anything like that, a big major fashion pub [publication], like it's insane.

Today, there are still many first Black editor-in-chiefs, creative directors, etc. in fashion, especially within luxury fashion. Nearly two years ago, Virgil Abloh became the first Black artistic director of Louis Vuitton and last year, Rihanna became the first Black person to create an original brand at LVMH.

Since the industry is largely run by white people, the voices of Black people do not receive the same amount of attention as those of white people. This lack of power makes it difficult for Black designers to succeed within the luxury fashion industry, being that few people that look like them are in a position to help change this reality.

Lindsay Peoples Wagner (2020b) expressed the importance of Black leadership when she shared how hard it is to find a qualified mentor in fashion. As a young girl beginning her career, it was difficult for her to find both a Black mentor and a Black woman mentor, showing that this lack of representation extends beyond race to gender.

Like Wilson (2020), Peoples Wagner (2020b) was a participant in the #ShareTheMicNow campaign.

In an Instagram Live for the campaign, when talking about mentorship, she stated, “And also since there's not that many Black women in leadership positions in fashion, um, you can't expect everybody to like, you know, know your name or be your mentor or help you and all that other stuff.”

This statement reaffirms the absence of diverse voices and reiterates the resulting struggles for Black people in fashion. The requirements and expectations regarding what luxury fashion is and should be is solely controlled by a group of people who don’t accurately represent the entire industry.

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If marginalized groups aren’t included, how can fashion professionals, consumers, and spectators expect those conversations regarding diversity and inclusion to take place? Furthermore, how can the expectation regarding the amplification of Black designers within luxury fashion exist as well?

During the few instances that Black people are invited to be a part of the conversation, some feel that their voices hold little value. On this topic, Peoples Wagner (2020b) said:

And I think that a lot of Black people in fashion feel like even when we do get into a space, we're not actually, um, valued. Our voices aren't actually amplified. We don't actually feel like we're encouraged to be there, um, or that we will ever be promoted.

It isn’t enough to simply have Black people obtain high level positions of influence. They need to be given the opportunity to speak and to be heard. Just as white leaders in fashion can determine what designer deserves recognition at what moment, Black leaders in fashion should be able to do so too. Appointing Black people in leadership positions helps leverage the global presence of Black designers, ultimately contributing to their overall success within luxury fashion.

3. Do you think that it is more important for Black designers to begin creating their own lane within luxury fashion instead of trying to fit into current industry standards?

What happens when Black people do obtain those positions of leadership? Should they operate in authenticity or culturally assimilate? Black fashion professionals are still determining which option is best. Since it isn’t enough to be a hard worker or simply to hold a high level position, creating influence can be a complicated process.

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Julee Wilson (2020) struggled with the dilemma of whether or not to assimilate or reject industry norms when she landed her first job as an editorial assistant for Real Simple Magazine. Presently, Wilson (2020) is widely recognized for her natural curls and eclectic style, but it took time and courage for Wilson to show her true aesthetic. Wilson (2020) shared:

I was like, in a cardigan. You know, you're trying to assimilate to try to be accepted in a, you know, in an industry that is very homogeneous.

And it wasn't until I got to the Huffington Post. Um, and I started working for Black Voices that, you know, I felt more comfortable being myself. I felt like I could wear my Afro. I felt like, you know, I could be more unapologetic in my writing about the lack of diversity and inclusion.

Only when Wilson (2020) was in an environment where Black people were celebrated is when she felt comfortable to be herself. It’s as if Wilson (2020) needed permission to be Black. When that permission was finally granted, she felt empowered to address inequalities and to stand up for those who couldn’t. In another virtual event titled, Race in America, Robin Givhan, fashion critic for The Washington Post, spoke with Lindsay Peoples Wagner and Kerby Jean-Raymond about diversity and inclusion in fashion. Lindsay Peoples Wagner (2020a) also identified with the fear of standing in her truth earlier in her career. She said, “Because I think too often, you know, Black people are, you know, told you're going to be blackballed or you're not going to get hired, or you're not going to get a job if you speak up on these things.” The apprehension associated with not conforming and adjusting oneself in a way that makes white people feel comfortable causes many Black people in fashion to remain silent about the daily inequalities they face.

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Even now, as the Beauty Director for Cosmopolitan Magazine, Wilson (2020) occasionally questions her Blackness in the presence of a white majority, mentioning, “I think I feared going to Cosmo and not being able to be as Black as I wanted to be.” Despite her fears, she has already written several articles centered around Black women in beauty and has also styled a cover feature with the actress, tv host, and activist, Keke Palmer. Wilson’s (2020) work proves how influential Black people can be when they go against the grain and follow their own rules.

At the beginning of Kerby Jean-Raymond’s (2020) career as a designer, he expressed how life changing it was for Black designers to get the opportunity to show their work at Barney’s New York, stating, “the best that we got as black designers, getting to Barney’s”.

According to Jean-Raymond (2020), all of the Black-owned luxury fashion brands were housed on the seventh floor. At one point, he and several other Black luxury designers happened to be showcased at the same time. An “influential editor” reviewed the store and made racist and crass remarks, implying that because several Black-owned luxury fashion brands were being showcased, that particular section of the store was distasteful compared to sections that housed non Black-owned luxury fashion brands. A prestigious honor and aspiration of Jean-Raymond’s was diminished by the ignorant commentary of a single editor who had the power to influence how he and his brand, Pyer Moss, would be received by the public.

Occurrences like this have shifted Black people’s perception of the fashion industry and how they should exist within it. Lindsay Peoples Wagner (2020a) recognizes the need for change and offers suggestions, saying:

I mean, I think the whole system of the industry has to change, right? Like I think Kerby would say the same thing.

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I think a lot of things that we traditionally have held up high in the industry need to be moved around. How we talk about what is worthy of being put on the cover. Who is chic enough. Who we give, you know, platforms and resources to. I think we have to rethink all those things in the industry.

Perception greatly influences reality. The actions of the luxury fashion industry must align with their beliefs in order to assure Black designers that they are valued. If Black designers aren’t being welcomed into common spaces and are made to feel that their authenticity is disturbing, it is understandable that they would want to instead create their own lane within fashion and not succumb to the norms of the industry.

Kerby Jean-Raymond (2020) thinks that creating this new pathway is the better option. He mentioned:

You know, all of those things, all of those microaggressions and macroaggressions, um, made it very unsafe for me to be myself. And yeah. So, um, at first it wasn't easy, but at some point, you know, you start realizing that playing that [traditional luxury fashion] game is never going to work, you know?

You're going to, you're going to be forced to speak a way that’s not natural to you. You're going to be forced to like, be a certain way that's not natural for you.

And, um, at some point you gotta give up their game and play with something that’s authentically yours and, and, and, um, and it might take longer, but it's worth it in the end.

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The choice between “fitting in” and standing out is a dilemma that many Black designers have to deal with when deciding on how they want to navigate the luxury fashion industry. It’s a choice that their non Black peers are fortunate enough to avoid because their decision won’t ultimately result in the loss of their business and the disparagement of their reputation. One can never fully assimilate into a culture that wasn’t created with them in mind, however, many Black designers are still trying to make the impossible possible.

Part Four: Identifying Current Black-owned Brands 2. What information and/or resources do Black-owned luxury fashion brands/designers need in order to succeed within luxury?

Insight from the case studies commonly uncovered the need for representation and visibility as a vital tool for Black-owned luxury fashion brands to succeed within luxury. Having the opportunity to see oneself in the same spaces as non Black-owned luxury fashion brands allows Black luxury fashion designers to be considered in the same way. An increase in visibility places Black designers in front of more editors, manufacturers, investors, etc., allowing them access to more necessary information and resources needed for advancement.

This type of visibility is, of course, easier said than done. Despite marketing messaging, the luxury fashion industry isn’t entirely open to inviting new people into their world. It maintains the same list of stakeholders and requires “guests” to prove themselves worthy of consideration.

On this matter, Lindsay Peoples Wagner (2020a) shared:

And specifically in the fashion space, you know, it hasn't fully opened up to us [Black people]. I think it's opened up to us in certain spaces and certain levels that are on the surface, but I don't think that that door is fully yet open.

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The luxury fashion industry welcomes the influence of Black-owned brands but not the actual entity responsible for said influence. There is a common understanding between the Black and white community within fashion, that two different subconscious worlds exist, and that one community controls the barriers to entry of both. Julee Wilson (2020) spoke of this divide when she talked about her goals for her new position at Cosmopolitan Magazine. Wilson (2020) says, “I also want to make sure that women of color who have often been overlooked at mainstream publications can start to be celebrated, at least at Cosmo, while I'm there.” Her desire to amplify the presence of women of color and Black women, specifically, reinforces the fact that such little representation exists. Wilson (2020) understands that by magnifying marginalized groups, emerging Black professionals, such as Black luxury fashion designers, will be afforded more opportunities. In agreement with this sentiment, Lindsay Peoples Wagner (2020a) mentioned, “And I think that that exposure, um, especially as a young Black girl, is everything.” It is imperative that visibility is provided at all stages of one’s career. It’s important for established Black luxury fashion designers to get their deserved recognition, but it’s also equally important that emerging Black luxury fashion designers see the success of the established Black designers of whom they admire, so that they are assured that they belong just as much as the non Black designers of luxury fashion. Ultimately, equal representation leads to equal accessibility to success. Black luxury fashion designers want the opportunity and the platform to showcase their work in the same manner as their non Black peers. Having the necessary representation would allow them to reclaim their narrative and to establish themselves as serious contenders within the luxury fashion industry. Like many Black luxury fashion designers, Kerby Jean-Raymond (2020), wants to feel appreciated in the industry to which he gives so much of himself and his creativity. He wants to help bring forth change and provide other designers with the opportunity to be successful within luxury.

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Jean-Raymond states, “We're all, um, making it so that this space [the fashion industry] loves us back. And it might not love us in our lifetime, but we're going to leave the door open and make it a better place.” The fight to achieve success in the luxury fashion industry is far from over, yet just as worth it. More representation is one tool that will assist in creating lasting success.

Part Five: The Importance of Advocacy for Black People in Luxury Fashion 2. In what ways can Black creatives advocate for D&I and also advocate for themselves so that both are taken seriously?

In regards to the importance of the advocacy for Black people, it was suggested from the case studies that Black people in fashion should speak out against inequalities at all levels of hierarchy. Although this is only one solution, professionals understand the resulting dangers that one may face for being vocal. In the #ShareTheMicNow campaign, Lindsay Peoples Wagner (2020b) shared:

I had a boss who called me the N word, right? But did I go to HR about it? No, because I needed my $9 an hour job. And I didn't want to be the Black girl who then complained to HR about this. Because as I said before, I didn't come from this fashion industry.

I needed the job. I needed them to, you know, just like, think of me as someone that they would want to hire and, you know, give other responsibilities to.

In many industries, it isn’t uncommon for people to fear the repercussions associated with challenging the norm or holding individuals accountable who violate their power. It is unfortunate that people in fashion, particularly Black people, have to face the possibility of said backlash when they just want to exist in the industry in the way that their white counterparts do.

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Julee Wilson (2020) shared a similar experience about dealing with the disrespect associated with being a Black woman in the industry, stating, “Being a Black woman in this industry is not easy and like, that is the understatement of the year. But, um, but it's true. And it's hard to literally list all the microaggressions and macroaggressions that have happened.”

In an industry that claims to celebrate diversity and welcomes the “others” of the world, many of the people who help to sustain it aren’t provided with that same appreciation.

Lindsay Peoples Wagner (2020b) reiterates this sentiment, saying that, “I think get it in your head that you're [Black people] going to have to hustle harder than anyone else in the room...And I'm not saying it's fair, but I'm saying it's a reality.”

It is commonly understood and expected that the barriers that exist for Black people in the industry exceed those of white people, yet Black people still continue to work hard in hopes of achieving equal recognition. Black designers, especially, carry this worth ethic in order to be taken seriously within luxury fashion.

Kerby Jean-Raymond (2020) detailed his experience with not being regarded in the same way as other luxury fashion designers, saying, “If I was making $50,000 evening gowns, they [the luxury fashion industry] would have still called me a streetwear designer.”

His persistence when creating new collections may go unnoticed by mainstream luxury fashion brands, but it continues to serve as a beacon of hope for his peers and the Black designers to come after him.

Luxury fashion prides itself on uniqueness and originality. Brands in this sector produce products that are unlike any other sector within fashion, yet the industry tries to pigeonhole Black-owned luxury fashion brands into streetwear and urban categories. It is an injustice to reduce Black-owned luxury fashion brands to stifling labels, making it more difficult for them to showcase their talents to a global audience. It is also an injustice to punish those who speak out against this unfair treatment. Regarding how difficult it is to simply showcase his culture within his designs, Jean-Raymond (2020) stated:

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Um, there's no, there's no doubt that it [Pyer Moss Spring/Summer 2016 Collection] was, um, well received publicly. Um, I think what happened was, you know, I think, um, at the time this [speaking openly about Black culture] was very new. And speaking about Black lives, um, led people to question my motives and led people to, um, to, uh, label me as a pariah. Or like, you know, not old fashioned. Or that I couldn't be viable, um, commercially.

A lot of stores canceled my orders. Um, people would publicly, um, you praising the work, but privately oppressing the idea...So, you know, um, from the fashion industry, like I said, it was publicly lauded. But privately I was, I was being, um, slowly dismantled, um, from a, from a business standpoint.

His experience, like many other Black luxury fashion designers, reiterates the need for change and the need to continue the conversation surrounding diversity and inclusion.

Thankfully, instances like that don’t discourage all Black fashion professionals from using their voice to incite change. Regarding her commitment to helping Black people in the industry, Peoples Wagner (2020a) mentioned:

There's a ton of microaggressions happening. If I, you know, don't wear designer stuff every day, you know, I don't think these people will ever pay attention to me. I'm not going to get promoted. I'm broke.

Like, and I just think I realized that there wasn't there wasn't going to be a legacy after me. And I've always, really tried to ground myself as being a ladder and helping up those around me and helping another Black person getting, get their foot in the door and get a job.

And I realized that, you know, I definitely had to put my feet to the fire on some more serious issues to get people into the rooms and to be able to get people to have these conversations.

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Lindsay Peoples Wagner’s (2020a) experience, as well as the other participants, proves that the work of creating opportunities for diversity and inclusion to exist can be difficult but necessary.

Although it isn’t solely the responsibility of Black people in fashion to advocate for diversity and inclusion, it is important that we have those conversations and feel empowered to continue to validate the experiences of peers who also feel invisible and overlooked.

Quantitative Data

II. Surveys As discussed in the Methodology, our final survey, Identifying the Intersection of Luxury Fashion and Culture, was distributed to understand how luxury fashion consumers and spectators identify the intersection of luxury fashion and culture, particularly, Black culture. Through a series of personality questions using the Likert-scale (Joshi 2015) for answer selections, and demographics questions using multiple-choice answer selections, we were able to gather data that supported our four research objectives, included in the executive summary. The survey had 210 participants, and it was available for a duration of 3 weeks, June 27-July 18, 2020.

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Identifying the Intersection of Luxury Fashion and Culture Survey Questions: 1. Culture is pivotal to the creation of luxury fashion brands, trends, and styles. a. This statement gauges each participant's opinion on the intersection of luxury fashion and culture. Most participants strongly agree or agree (49.52% and 41.90%, respectively) that culture, “the characteristic features of everyday existence (such as diversions or a way of life) shared by people in a place or time,” is pivotal to the creation of luxury fashion. Source: https://www.merriam-webster.com/dictionary/culture Figure 4.1

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2. Black culture greatly influences luxury brands and designers. a. This statement gauges each participant's opinion on the influence of Black culture on luxury brands and designers. The participants' responses, 78.57% strongly agree or agree (42.86% and 35.71%, respectively), support Objective I, to analyze the influence of Black culture in the luxury fashion industry. Figure 4.2

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3. I am aware of and able to list 5 or more Black-owned luxury fashion brands that exist today. a. This statement determines each participant’s awareness of contemporary Black-owned luxury fashion brands. The participants’ responses depict the need for more representation of Black culture within the future of the luxury fashion industry, as 62.86% were definitely not or probably not (24.76% and 38.10%, respectively) able to list five or more Black-owned luxury fashion brands. Figure 4.3

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4. There is a lack of Black representation throughout the history of luxury fashion. a. This statement gauges each participant's opinion on Black representation throughout the history of luxury fashion, or the lack thereof. The participants' responses support Objective I, to establish a historical reference of Black-owned fashion brands and designers. Most participants strongly agree or agree (52.86% and 35.24%, respectively) there is a lack of Black representation, which upholds our claim that throughout history, the luxury fashion industry has ostracized the Black community. Figure 4.4

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5. Most luxury fashion brands have cultural competence and appropriately represent Black culture. “Cultural competence requires that organizations have a defined set of values and principles, and demonstrate behaviors, attitudes, policies, and structures that enable them to work effectively cross-culturally.” Source: https://npin.cdc.gov/pages/cultural-competence a. This statement gauges each participant’s opinion on the luxury fashion industry’s degree of cultural competence and representation of Black culture. Most participants strongly disagree or disagree (24.76% and 54.76%, respectively) with the statement, which supports our claim that cultural appropriation, specifically of Black culture, occurs commonly in the luxury fashion industry, likely a result of the lack of cultural competence. Figure 4.5

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6. Diversity and Inclusion initiatives within luxury fashion brands reduce the possibility of exploiting Black culture. a. This statement gauges each participant’s opinion on the ability of diversity and inclusion initiatives to reduce the exploitation of Black culture within the luxury fashion industry. The participants’ responses support Objective II, to analyze the diversity and inclusion initiatives developed for luxury fashion brand management. Most participants either agree or are undecided (38.1% and 24.29%, respectively), which depicts the ambiguity of diversity and inclusion initiatives' effectiveness. Figure 4.6

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7. Age a. This is a demographic question to determine the age of respondents. Figure 4.7

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8. Race a. This is a demographic question to determine the race of respondents. Figure 4.8

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9. Income Level a. This is a demographic question to determine the income level of respondents. Figure 4.9

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10. Do you consider yourself to be a luxury fashion consumer? a. This is a market research question to determine whether or not the respondents are luxury fashion consumers. Figure 4.10

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Chapter V Discussion and Implications

Proposed Theories and Conclusion: Objective I: To establish a historical reference of Black-owned fashion brands and analyze the influence of Black culture in the luxury fashion industry through the trickle-up theory.

Our interviews, survey responses, and supporting tables and figures each provide historical references of Black-owned fashion brands and designers, as well as the luxury fashion industry’s adaptation of trends and styles generated by the Black community (see Figure 1.1-1.4) through the trickle-up effect. There is an apparent series of events from brand foundings, trend popularity, and brand or designer obsoletions that depict the influence of Black culture in the luxury fashion industry. The survey results reveal most participants strongly agree or agree (52.86% and 35.24%, respectively) there is a lack of Black representation throughout the history of luxury fashion; however, they also strongly agree or agree (42.86% and 35.71%, respectively) Black culture greatly influences luxury brands and designers. This paradox is core to the misrepresentation of Black culture. Despite the ostracization and lack of upward mobility for Black-owned brands and designers, Black culture continues to influence the luxury fashion industry primarily due to the trickle-up effect. The luxury fashion industry can emulate, or even appropriate, styles and trends from a marginalized community that is continuously silenced and avoid creating a platform or access for Black-owned brands and designers. Throughout history, luxury fashion brands have capitalized on the Black community, while Black-owned brands and designers are unable to maintain their business. Below, Table 5.1 presents a list of Black-owned fashion brands founded in the mid-late 20th century. Many of these brands are now obsolete, went through a period of discontinuance, or the founding designers work freelance or collaboratively with contemporary brands. Based on this historical

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reference, it is apparent the styles and trends the Black community creates are only adequate when luxury fashion brands and mainstream media popularize them. Most participants strongly agree or agree (49.52% and 41.90%, respectively) culture is pivotal to the creation of luxury fashion brands, trends, and styles; therefore, the influence of Black culture in the luxury fashion industry is comprehensible. With that said, it is the lack of Black representation that causes negative implications for the trickle-up effect. The popularity of styles and trends created by the Black community without the presence of Black-owned brands and designers is a form of exploitation. It is unethical to derive inspiration from or emulate the Black community without creating more representation and access to the resources that are necessary to succeed in the luxury fashion industry. Misrepresentation, or the lack thereof, partnered with the exploitation of Black culture, makes the success of Black-owned brands and designers unsustainable, which the history of fashion depicts. Each of the Black-owned brands listed in Table 5.1 was esteemed, and at the height of their success, they made notable impressions on the fashion industry, even impacting how it exists today. The fact that many of these brands do not exist today exemplifies the unsustainability. The adoption of Black culture without the contributions of Black-owned brands and designers revokes the Black community's ability to control how their culture is portrayed in the luxury fashion industry. Historically, Black-owned fashion brands were unable to sustain their success; therefore, if luxury fashion brands plan to continue deriving styles and trends from the Black community through the trickle-up effect, they must prioritize Black representation. Without creating Black representation, history will repeat itself, and Black erasure will continue as luxury fashion brands continue to capitalize on Black culture by making it acceptable to the mainstream media.

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Table 5.1

A list of Black-owned fashion brands founded in the mid-late 20th century.

Brand Founder Year Founded Location Website

1960s *Discontinued Arthur McGee Arthur McGee in the 1980s New York, NY https://arthurmcgee.com/

Stephen Burrows Stephen Burrows 1963 https://stephenburrows.com 1969 Scott Barrie and *Discontinued Barrie Sport, Ltd. Stephen Marks in 1982 New York, NY

1974 Barrie Plus *Discontinued Collection Scott Barrie in 1993 New York, NY 1976 *Discontinued WilliWear Limited Willi Smith in1990 New York, NY

The Jeffrey Banks Signature Menswear http://www.jeffreybanksde Collection Jeffrey Banks 1977 New York, NY sign.com/ Walker Wear April Walker 1988 New York, NY https://walkerwear.com/

Karl Kani Clothing Karl Kani 1989 Los Angeles, CA https://www.karlkani.com/

Carl Jones and Thomas "TJ" Cross Colours Walker 1989 Los Angeles, CA https://crosscolours.com/

Byron Lars Byron Lars 1991 New York, NY XULY.Bët Lamine Kouyaté 1991 Paris, France https://www.xulybet.com/

Daymond John, Keith Perrin, J. Alexander Martin, FUBU and Carl Brown 1992 New York, NY https://fubu.com/

Phat Farm Russell Simmons 1992 New York, NY https://www.phatfarm.com/

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*Discontinued in 2004

Tony Shellman, Evan Davis, Lando Enyce Felix 1996 New York, NY 1996 *Discontinued Patrick Robinson Patrick Robinson in 2002 New York, NY Sean "Diddy" Sean John Combs 1998 New York, NY https://seanjohn.com/

Tracy Reese Tracy Reese 1998 New York, NY 1998 *Discontinued Meoshe Lennox Barnes in 2007 New York, NY Damon "Dame" 1999 Dash and Shawn *Discontinued ROCAWEAR "JAY-Z" Carter in 2007 New York, NY https://www.rocawear.com/

Byron Lars Beauty https://byronlarsbeautymar Mark Byron Lars 2001 New York, NY k.com/

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Objective II: To analyze the diversity and inclusion initiatives developed for luxury fashion brand management (including internal and external programs, core objectives, collaborations, etc.) in response to the implications of Black culture within the luxury fashion industry.

Our results have shown that the recent diversity and inclusion (D&I) development, i.e. D&I departments, D&I initiatives, and D&I chief/leader appointments, within luxury fashion, have been a direct response to the exploitation of Black culture within the luxury fashion industry. As detailed in the discussion of Objective I, our interviews helped us to confirm that past Black-owned fashion brands influenced the luxury fashion industry, ultimately contributing to the trickle-up effect that led to the decline of many Black-owned fashion brands and subsequent heightened success of already established luxury fashion brands. This effect has sustained several luxury fashion brands as they’ve continued to exploit and misrepresent Black culture (see Figures 2.1, 2.3, and 2.9). As a result, both luxury fashion consumers and admirers have expressed their dismay of this inappropriate interpretation of Black culture, causing several luxury fashion brands to either create or further develop their diversity and inclusion practices. Participants from our interviews and 51.91% of surveyed participants either strongly agree or agree that diversity and inclusion initiatives within luxury fashion brands reduces the possibility of the exploitation of Black culture (see Figure 4.6). Consequently, it is no surprise that the majority of the major luxury fashion houses have made D&I related missions within the past year (see Table 2.1). Being that many subsidiaries do not have individual diversity and inclusion development (a point to consider when evaluating each brand’s individual approach), we identified eleven luxury fashion holding companies that contain the most globally recognizable fashion houses. From the eleven companies, six of those companies have a diversity and inclusion leader, all of which, except one, were appointed within the past year. These recent appointments are most likely due to recent instances of misrepresentation, such as the ones depicted in the List of Figures, as well as the themes discussed in both the case studies and interviews.

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Even with D&I leaders, these six companies do not have any proposed initiatives or measurable action plans that are readily available on their public websites. This calls into question whether or not diversity and inclusion is truly a priority and if appointing leaders is more of a symbolic approach rather than an approach to create actionable change, similar to the conversations presented in Part Two of the interviews. The ethnicity of the D&I leaders from Table 2.1 may also influence the determination of how seriously luxury fashion brands consider D&I, and how they plan to implement it throughout their business. Half of the D&I leaders are white, two are people of color (POC), and one is Black. As presented in the interviews, having non POC D&I leaders does not classify those leaders as unqualified. Instead, those non POC leaders must have an understanding of the difficulties that marginalized groups experience, in order to use this knowledge to frame how they consider diversity and inclusion in a way that benefits all and incites real change. Little details can be found of the white D&I leaders, regarding their experience with marginalized groups, excluding Hayden Majajas who has past experience directly related to diversity and inclusion (n.d.). Therefore, it is unclear as to how qualified the white D&I leaders are, but does call into question the requirements needed to obtain their positions. The remaining companies that do not have a publicly recognized D&I leader do, however, have proposed initiatives on their public websites. Even with that said, the language used in these statements are vague and do not clearly communicate what measurable action luxury fashion brands plan to take. Several proposals suggest that the companies are committed to “promoting”, “advancing”, or “ensuring” diversity and inclusion, primarily as it pertains to their employees. Details surrounding how these companies plan to implement D&I in other areas, such as design, are unspecified. As discussed in Part Two of the interviews, it is important to address all areas of business when implementing D&I. Luxury fashion companies should consider D&I throughout their entire business model and communicate it clearly and publicly, in order to prevent future instances of misrepresentation.

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Lastly, as mentioned in our interviews, collaborations have proven to be an effective tool to incorporate diversity and inclusion within a brand’s DNA. Even with that said, D&I must be considered when selecting collaborators to ensure that opportunities are being provided to both established Black creatives as well as lesser known ones, allowing luxury fashion brands to explore new perspectives and educate themselves on the complexities of Black culture. A clear influence of Black culture is present within luxury fashion, as displayed through the emergence of D&I development. Recent diversity and inclusion development is not yet satisfactory to all, however, if implemented into practices that affect the entire business, it can incite meaningful, measurable, and sustainable change.

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Objective III: To analyze the emergence of Black-owned luxury fashion brands, their positioning, and influence as it relates to creating space and representation for Black culture within the luxury fashion industry.

In the past ten years, there has been a surge of Black-owned brands and designers entering the luxury fashion industry. Many luxury consumers and spectators accredit the trend to the emergence of new designers like Virgil Abloh or veteran designers like Dapper Dan, who seemingly created a platform for Black creatives to reclaim space in the luxury fashion industry. Others attribute the emergence to the recent social and political calls to action that challenge issues like police brutality and cultural appropriation, which disproportionately impact the Black community and make it difficult to achieve success, especially in primarily non-Black industries, like luxury fashion. While there is no definite cause for the emergence of Black-owned luxury fashion brands and designers, the trend is very evident and depicted in Table 5.2. Although the luxury fashion industry is experiencing an influx of Black-owned brands and designers, most of our survey participants 62.86% were definitely not or probably not (24.76% and 38.10%, respectively) able to list five or more Black-owned luxury fashion brands. This data proves that despite the widespread popularity of Off-White, Virgil Abol’s luxury streetwear brand, and Dapper Dan’s Atelier, they are anomalies. The majority of the Black-owned brands and designers do not get the opportunity to collaborate with, own a sub-brand of, or provide creative direction to established luxury fashion brands. Due to the inaccessibility, emerging Black-owned brands are creating their own lane instead of trying to align with the positioning of established brands that often lack diversity and undervalue the authenticity of Black creatives. The objective to create space and representation for Black culture within the luxury fashion industry without relying on the resources, partnerships, or inclusivity of established brands is imperative to the success of emerging Black-owned brands and designers. Even with the development of diversity and inclusion initiatives, many luxury fashion brands are still falling short on appropriately representing Black culture. Specifically, Dapper Dan's

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re-emergence is the outcome of Gucci, a luxury fashion brand, appropriating the creations of a Black-owned brand and designer. Although Alessandro Michele, Gucci's creative director, claimed to be "paying homage" by imitating Dapper Dan’s mink jacket from 1989 (see Figure 1.1 and Appendix II), Gucci did not acknowledge Dapper Dan as the design originator until after they received backlash. In response, Alessandro Michele created an opportunity for Dapper Dan to collaborate, then open an atelier with Gucci. These types of incidents are likely why the majority of our survey participants strongly disagree or disagree (24.76% and 54.76%, respectively) most luxury fashion brands have cultural competence and appropriately represent Black culture. In addition to luxury Black-owned brands and designers, there has also been a surge of contemporary Black-owned fashion brands (non-luxury) and designers, listed in Table 5.3. Following a similar trend as the Black-owned luxury brands, most of these non-luxury fashion brands have emerged in the past ten years. Although they might not have the particular savior-fare that the industry uses to classify luxury, the emerging contemporary Black-owned fashion brands and designers are creating at a high caliber with a reduced price point for aspirational luxury consumers. The influx of luxury and contemporary, or "almost luxury," Black-owned fashion brands and designers will create even more representation for Black culture in the future of the fashion industry. Furthermore, the variety of Black-owned brands will generate awareness about the diversity of the Black community and overarching African diaspora.

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Table 5.2

A list of emerging Black-owned luxury fashion brands and designers.

Year Brand Founder Founded Location Website

Duro Olowu Duro Olowu 2004 London, UK Telfar Global Telfar Clemens 2005 New York, NY http://www.telfar.net/ 2006, hiatus in 2017, relaunch Hood By Air Shayne Oliver in 2020 New York, NY https://hoodbyair.world/ Martine Rose Martine Rose 2007 London, UK https://martine-rose.com/ Addis Ababa, Lemlem Liya Kebede 2007 Ethiopia https://www.lemlem.com/ Cushnie Carly Cushnie 2008 New York, NY https://www.cushnie.com/ New York, NY & https://lozamaleombho.com Loza Maléombho Loza Maléombho 2009 Côte d’Ivoire /en/ Baltimore, MD https://www.torisoudan.co Tori Soudan Tori Soudan 2009 and Italy m/ Tsemaye Binitie Tsemaye Binitie 2009 Nigeria http://tsemayebinitie.com/ Joe Casely-Hayford and Charlie Casely-Hayford Casely-Hayford 2009 London, UK https://casely-hayford.com/ 2009, restructured in Mateo Matthew Harris 2014 New York, NY https://mateonewyork.com/ Stella Jean Stella Jean 2010-2011 Italy https://www.stellajean.it/ Maki Oh Amaka Osakwe 2010 Lagos, Nigeria https://www.makioh.com/ A. Sauvage Adrien Sauvage 2010 United Kingdom https://asauvage.com/ Ontario, Canada https://www.andreaiyamah. Andrea Iyamah Dumebi Iyamah 2011 and Lagos, Nigeria com/ Fe Noel (formally Brooklyn, New Simply Intricate) Felisha Noel 2012 York, NY https://fenoel.com/ Hanifa Aniga Mvuemba 2012 Maryland/DMV https://hanifa.co/

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Off-White (formally https://www.off---white.co PYREX VISION) Virgil Abloh 2012 Milan, Italy m/en-us London, UK and Cape Town, South https://www.sindisokhumal Sindiso Khumalo Sindiso Khumalo 2012 Africa o.com/ BYCHARI Chari Cuthbert 2012 Los Angeles, CA https://bychari.com/ Kerby Pyer Moss Jean-Raymond 2013 New York, NY https://pyermoss.com/ Brooklyn, New Brother Vellies Aurora James 2013 York, NY https://brothervellies.com/ Long Island City, LaQuan Smith LaQuan Smith 2013 New York, NY https://laquansmith.com/ Fear of God Jerry Lorenzo 2013 Los Angeles, CA https://fearofgod.com/ https://www.kennethize.net KENNETH IZE Kenneth Ize 2013 Lagos, Nigeria / Brett Johnson Brett Johnson 2013 Italy https://brettjohnson.co/ https://www.jeromelamaar. 5:31 Jerome Jerome Lamaar 2013 com/ Grace Wales Wales Bonner Bonner 2014 London, UK https://walesbonner.net/ National Harbor, MD and Addis https://www.zaafcollection. ZAAF Abai Schulze 2014 Ababa, Ethiopia com/ https://www.romeohunte.co Romeo Hunte Romeo Hunte 2014 New York, NY m/ TLZ L'Femme Aazhia Rhy 2015 Los Angeles, CA https://www.tlzlf.com/ Brooklyn, New EDAS Sade Mims 2015 York, NY https://edas.store/ No Sesso Pierre Davis 2015 Los Angeles, CA ALIYA WANEK Aliya Wanek 2015 San Francisco, CA https://aliyawanek.com/ BLOKE Faith Oluwajimi 2015 Lagos, Nigeria Heron Preston (or https://www.heronpreston.c Been Trill) Heron Preston 2016 New York, NY om/en/US

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Christopher John Christopher John Brooklyn, New Rogers Rogers 2016 York, NY Tongoro Sarah Diouf 2016 Dakar, Senegal https://www.tongoro.com/ https://samimirovintage.co Sami Miro Vintage Sami Miro 2016 Los Angeles, CA m/ JADE Swim Brittany Kozerski 2016 Los Angeles, CA https://jadeswim.com/ Tia Adeola (formally Slashed by Tia) Tia Adeola 2016 New York, NY Archie Clay III and https://www.wearbrims.co WearBrims Tajh Crutch 2016 Atlanta, GA m/

Brooklyn, New https://www.vavvoune.com VAVVOUNE Valerie Blaise 2016 York, NY /

Johannesburg, https://www.thebemagugu. THEBE MAGUGU Thebe Magugu 2017 South Africa com/

Prayers and Plans Amaka Ikpeazu 2017 UK https://prayersandplans.co/

Moya Annece and Ashley Cimone Brooklyn, New ASHYA Smith 2017 York, NY http://www.ashya.co/

https://www.francesgreyny. Frances Grey Debbie Lorenzo 2017 New York, NY com/

Abiola Olusola Abiola Olusola 2017 Lagos, Nigeria https://abiolaolusola.com/

Auvere Gina Love 2018 New York, NY https://auvere.com/

Brooklyn, New York, NY and https://www.petitkouraj.co Petit Kouraj Nasrin Jean-Baptiste 2018 Haiti m/

ANIMA IRIS Wilglory Tanjong 2019 Dakar, Senegal https://animairis.com/

NLTHELABEL Nichole Lynel 2019 Los Angeles, CA https://nlthelabel.com/

https://www.modaoperandi. Aliétte Jason Rembert 2019 New York, NY com/aliette-ss20

Mowalola Mowalola Ogunlesi 2019 London, UK https://www.mowalola.com

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Table 5.3

A list of contemporary Black-owned fashion brands (non-luxury) and designers.

Year Brand Founder Founded Location Website Victor Glemaud Victor Glemaud 2006 New York, NY https://www.glemaud.com/ New York, NY https://shop.armando-cabral Armando Cabral Armando Cabral 2008 and Italy .com/ https://www.jibrionline.co JIBRI Jasmine Elder 2009 m 2009, rebranded in Nigeria, Ghana, https://iamisigo.squarespace I.AM.ISIGO Bubu Ogisi 2013 and France .com/ Darlene and Lizzy Brooklyn, New William Okpo Okpo 2010 York, NY https://williamokpo.com/ Teni, Aba and Tiwa Victoria Island, CLAN Sagoe 2011 Lagos, Nigeria https://www.clanrtw.com/ Adebayo https://orangeculture.com.n Orange Culture Oke-Lawal 2011 Lagos, Nigeria g/ New York, NY Post-Imperial Niyi Okuboyejo 2012 and Nigeria https://post-imperial.com/ MAXHOSA BY LADUMA Laduma Ngxokolo 2012 South Africa https://maxhosa.africa/ Hussein Suleiman, Jefferson Osei & Abderrahmane Amsterdam, https://www.dailypaperclot Daily Paper Trabsini 2012 Netherlands hing.com/ DIARRABLU Diarra Bousso 2013 Dakar, Senegal https://diarrablu.com/ https://www.chelseabravo.c Chelsea Bravo Chelsea Bravo 2013 London, UK om/ Studio One Eighty Rosario Dawson New York, NY https://studiooneeightynine. Nine and Abrima Erwiah 2013 and Accra, Ghana com/

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Shekudo Akudo Iheakanwa 2013 Lagos, Nigeria https://www.shekudo.com/ Sisiano Paolo Sisiano 2013 Lagos, Nigeria Phlemuns James Flemons 2013 Los Angeles, CA http://www.phlemuns.com/ Fruché Frank Aghuno 2014 Lagos, Nigeria Onalaja Kanyinsola Onalaja 2014 Lagos, Nigeria https://onalaja.com/ The K Label Karice Leila 2015 London, UK https://theklabel.com/ Nicholas Daley Nicholas Daley 2015 London, UK https://nicholasdaley.net/ A-Cold-Wall Samuel Ross 2015 London, UK https://a-cold-wall.com/ Lagos, Nigeria and Tokyo James Tokyo James 2015 London, England Rich Mnisi Rich Mnisi 2015 South Africa https://www.richmnisi.com/ https://www.spencerbadu.c Spencer Badu Spencer Badu 2015 Toronto, Canada om/ https://www.kennethnichols Kenneth Nicholson Kenneth Nicholson 2016 Los Angeles, CA on.us/ Mmuso Potsane and Johannesburg, MmusoMaxwell Maxwell Boko 2016 South Africa Elle Est Tamika Wilkins 2017 New York, NY http://www.elleest.co/ https://www.biancasaunders Bianca Saunders Bianca Saunders 2017 London, UK .com/ Abidjan, Côte https://kentegentlemen.com Kente Gentlemen Aristide Loua 2017 d'Ivoire / Ola and Cerise https://www.coldlaundrysto Cold Laundry Alabi 2019 London, UK res.com/ Samaria Leah Denim Samaria Leah 2019 Los Angeles, CA https://samarialeah.com/

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Objective IV: To evaluate the current influence of Black culture in luxury fashion and forecast its impact on the progression of diversity and inclusion within the luxury fashion industry.

Black culture has and continues to influence the luxury fashion industry. This has been proven through the responses from our case studies, interviews, and survey, being that 78.57% of participants either strongly agreed or agreed with this statement (see Figure 4.2). Also, recent events like police brutality against global Black communities (as discussed in several sections of this paper) have prompted luxury fashion brands and related fashion professionals to initiate a larger conversation surrounding the inequalities that Black people face within fashion, and fashion brands’ responses to said inequalities. In addition to fashion trends/styles, Black culture has ultimately led to the restructuring of luxury fashion, challenging luxury fashion brands to seriously consider diversity and inclusion and fuse it into brands’ overall foundations. It is no longer acceptable (nor should it have been in the past) to release a surface level statement with D&I related language, in hopes of temporarily satisfying the demands of the public. It is equally unacceptable for luxury fashion brands to exploit and misrepresent Black culture, instead of collaborating with creatives from the Black community and transforming appropriation into appreciation. An industry where Black people are the minority should not be able to capitalize off of a community that still struggles to gain access to the same resources and opportunities as their white peers. If luxury fashion brands do not make the conscious effort to change, their consumers will force them to do so, much like they are doing now. The number of young, luxury fashion consumers continues to increase. Millennial and Generation Z consumers contribute to nearly half of luxury good spending (2019). In the United States, respectively, the mean age of Black Americans is 34, putting them in a category with large buying power (2019), similar to the Nielson report in our literature review. This shift calls for luxury fashion brands to adapt to the needs of these newer consumers and better align with their values.

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A report conducted by Mediaboom revealed that 48% of consumers value authenticity (2019). Consumers want the brands they support to be transparent and honest about their intentions, practices, and beliefs. They want to be able to resonate and connect with brands on a deeper level. As mentioned in the Nielsen report from our literature review, Black consumers value brands that understand and respect their culture (2019). Similarly, 91.42% of our surveyed participants either strongly agreed or agreed that culture is pivotal to the creation of luxury fashion brands, trends, and styles (see Figure 4.1). For this reason, consumers, especially young, Black consumers, are comfortable with vocalizing their concerns about a brand when the brands’ actions don’t resonate with the consumer. By continuing acts that exploit and misrepresent Black culture, luxury fashion will jeopardize the support of their future primary consumer. They will have no choice but to seriously consider diversity and inclusion and to prioritize it as a part of their brand’s identity. Although the timeline of such change is unclear, it is apparent that the buying power of young, Black consumers is increasing, insinuating their growing influence on the decision making within luxury fashion. If not by their own motivation, luxury fashion brands will be inclined to prioritize diversity and inclusion by the very people from which they draw influence, leading to initiatives that will help Black creatives reclaim their power within luxury fashion.

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Appendices Appendix I: Discussion Guide

Brief:

*Before the interview*

Interviewer provides the participant(s) with an overview of the thesis project's purpose and objectives. Interview questions are sent to the participant prior to the interview in order to allow the participant time to prepare, if needed.

*During the interview*

Interviewer greets participant(s) and reviews the thesis project’s purpose and objectives. Participant(s) is asked how they’d prefer the interview to be documented (i.e. voice recording, hand transcription, etc.).

Part One: Establishing the Historical Presence of Black-owned Brands

1. Can you name any Black-owned fashion brands and/or designers from the past that have recognizable influence on current fashion brands, especially as it pertains to luxury? 2. Why do you think [non Black-owned] luxury fashion brands have had success making the trends/styles created by Black-owned brands/designers more acceptable and more mainstream than the brands who created them?

Part Two: The Impact of the Development of Diversity and Inclusion (D&I) Departments/Chiefs

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1. The “adaptation” of the trends/styles created by Black-owned brands/designers often lead to insensitive, tasteless, and misrepresentative collections. Do you think this is the reason that many luxury fashion brands have acquired D&I departments/chiefs? 2. Do you think luxury fashion brands are more concerned with pushing a diversity and inclusion narrative than actually practicing it? 3. Do you feel that the acquirement of the new [D&I] chiefs has incited real change within the industry? a. What areas of business, e.g. marketing, design, retail, etc. need to be addressed in order to prevent instances of misrepresentation? 4. Are collaborations with Black designers, artists, influencers, etc. an effective way to combat misrepresentation? E.g. Grace Wales Bonner and Mickalene Thomas for Dior Cruise 2020, Dapper Dan and Gucci

2. Is it enough to simply have Black people in higher positions (C-Suite, managerial, leadership, etc.)?

a. Does it need to be more strategic or is it simply acceptable because they are Black? 3. Do you think that it is more important for Black designers to begin creating their own lane within luxury fashion instead of trying to fit into current industry standards?

Part Four: Identifying Current Black-owned Luxury Fashion Brands

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1. Can you name a few current influential Black-owned brands and designers within luxury fashion and describe their impact? 2. What information and/or resources do Black-owned luxury fashion brands/designers need in order to succeed within luxury?

Part Five: The Importance of Advocacy for Black People in Luxury Fashion 1. In what ways can Black creatives advocate for D&I and also advocate for themselves so that both are taken seriously?

2. In what ways can non Black allies advocate for Black creatives and amplify the presence of Black owned brands and designers within luxury fashion?

Part Six: Determining the Roles of Various Industries within Luxury Fashion *Boldend questions were unanswered* *Questions for fashion journalists*

1. What are magazines’ roles in D&I?

2. In what ways can they [magazines, publications] contribute to change? 3. In terms of communication, what specific language can be used or discontinued in order to end the misrepresentation of Black culture? a. Should words like “urban”, “street” and “hip hop” no longer be used to describe Black culture?

*Questions for professionals in fashion support services*

1. In what ways can you and others in academic spaces educate emerging fashion designers on the importance of diversity and inclusion? 2. What common misconceptions do your students have about the luxury fashion industry, as it pertains to diversity and inclusion?

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3. As it pertains to D&I, what do you hope your students take with them as they enter the professional fashion industry? 4. And are there any like specific [D&I] initiatives that you can suggest that luxury brands consider?

*Questions for professionals at luxury fashion brands (non Black-owned)*

1. How do you find a balance between implementing D&I [in social media] while maintaining the brand’s heritage and DNA?

2. What are some effective ways to implement diversity and inclusion within social media, i.e. captions, content themes, influencer collaborations, etc.? 3. In terms of communication, what specific language can be used or discontinued in order to end the misrepresentation of Black culture? a. Should words like “urban”, “street” and “hip hop” no longer be used to describe Black culture?

*Questions for professionals at luxury fashion brands (Black-owned)*

1. What is the most rewarding thing about being a Black-owned luxury fashion brand? a. What is the most challenging thing? 2. Earlier in your career, in what way did the media, i.e. social media, magazines, etc., influence the way you thought about luxury fashion, and the way Black culture was allowed to exist within it? a. To what extent is Black culture represented in your imagery and thoughts of luxury fashion today? 3. In the future, how do you think the global luxury fashion industry will look?

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Appendix II: Gucci Copies Dapper Dan

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Source: https://www.nytimes.com/2017/05/31/fashion/gucci-dapper-dan-jacket.html

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