Recently, while browsing a thrift store, I came across a top labeled as “Tribal Print” from a well-known brand. This piece, like many others, featured a pattern reminiscent of indigenous art, specifically drawing inspiration from cultures native to the Americas and Africa. This phenomenon extends to other cultures as well, including Indian, Polynesian, and Asian influences, though often under different labels – think henna designs, puka shell necklaces, or Chinese character tattoos.
In the case of my thrifted top, the pattern bore a striking resemblance to Navajo designs.
These kinds of patterns are easily found, replicated across various fashion items and marketed widely. However, patterns like these are deeply rooted in cultural contexts. They are not arbitrary designs but are connected to the history, beliefs, and values of specific communities. Representations of these patterns in mainstream fashion often obscure, or worse, contribute to the oppression of the very cultures they borrow from.
The Origins of “Tribal Print”: More Than Just a Pattern
The term “tribal print” is a broad and often misleading label. It’s crucial to recognize that these patterns are not generic or simply aesthetically pleasing designs. Many originate from specific indigenous cultures and carry significant cultural weight. Take, for example, Navajo weaving. These intricate patterns are not mere decorations; they are integral to Navajo identity and spirituality, with designs passed down through generations, each telling a story and holding deep meaning.
Examining authentic examples of indigenous textiles reveals the depth and artistry behind these patterns.
When we see these patterns replicated on mass-produced clothing labeled “tribal print,” we often lose sight of their origins and the rich cultural heritage they represent. It’s essential to understand that these designs are tied to the lives, beliefs, and histories of real people.
Cultural Appropriation Explained: When “Inspiration” Becomes Harmful
This brings us to the critical concept of cultural appropriation. Cultural appropriation occurs when someone from a dominant culture adopts elements of a minority culture without understanding or respecting their original context and meaning. In the realm of fashion, using “tribal prints” by non-indigenous designers and brands often falls under this category.
The issue with cultural appropriation is not simply about borrowing or being “inspired.” It’s about power dynamics. When a dominant culture takes elements from a marginalized culture, it often happens without permission, recognition, or compensation. Furthermore, it can commodify and trivialize cultural symbols, stripping them of their sacred or historical significance. This can be particularly damaging to communities that have already faced historical oppression and cultural erasure.
Examples of “Tribal Print” Appropriation in Fashion
The fashion industry is rife with examples of cultural appropriation, and “tribal prints” are a recurring motif. High fashion brands and fast fashion retailers alike have been criticized for using indigenous patterns without proper understanding or acknowledgment.
These examples highlight a recurring issue: the use of indigenous designs as mere trends, often without any collaboration with or benefit to the originating communities. In some cases, designers have even directly copied indigenous artists without attribution, as seen in the example of Bethany Yellowtail, a Northern Cheyenne/Crow artist whose designs were blatantly imitated by a major fashion brand.
While some may argue that fashion is inherently about borrowing and reinterpreting, the crucial difference lies in the power dynamic. When dominant cultures borrow from marginalized cultures, it becomes a one-sided conversation, often erasing the voices and contributions of the original creators.
The Impact of “Tribal Print” on Indigenous Communities
The widespread use of appropriated “tribal prints” has several negative impacts on indigenous communities. Firstly, it obscures the authentic cultural expressions of these communities. When mass-produced items are labeled “tribal,” it can create a generic and inaccurate understanding of diverse indigenous cultures, diminishing their unique identities.
Secondly, it can perpetuate harmful stereotypes. “Tribal” is often used as a catch-all term, lumping together vastly different cultures and reducing them to exoticized or primitive tropes.
Finally, and perhaps most importantly, it deprives indigenous designers and businesses of economic opportunities. When major brands profit from indigenous designs without any return to the originating communities, it undermines the livelihoods of indigenous artists and entrepreneurs who are working to preserve and promote their cultural heritage authentically.
Moving Forward: Towards Cultural Appreciation and Ethical Fashion
The conversation around “tribal prints” doesn’t have to end in simply avoiding them altogether. Instead, it can be a starting point for engaging with fashion in a more ethical and culturally sensitive way. The key is to shift from appropriation to appreciation, and to support indigenous communities directly.
One crucial step is to actively seek out and support indigenous designers and brands. Many talented indigenous artists are creating contemporary fashion that draws inspiration from their traditions in respectful and innovative ways. Brands like Bethany Yellowtail’s B. Yellowtail, Beyond Buckskin, and 8th Generation are excellent examples of businesses that prioritize cultural integrity and community benefit.
By choosing to support these designers, consumers can contribute to a more equitable and respectful fashion industry. Furthermore, educating oneself about the origins and meanings of cultural patterns can foster a deeper appreciation for diverse cultures and help to dismantle harmful stereotypes.
Conclusion
The term “tribal print,” while seemingly innocuous, carries a complex history of cultural appropriation. Understanding the origins of these patterns and the impact of their misappropriation is crucial for fostering a more ethical approach to fashion. By choosing to be informed consumers, supporting indigenous designers, and engaging with cultural appreciation rather than appropriation, we can move towards a fashion landscape that values cultural heritage and respects the creativity and contributions of all communities.
