On the surface, fashion may appear to be as simple as wearing low rise jeans to match the moment, but does its impact extend beyond the clothes we wear? Can fashion be political? Fashion shapes the way we are perceived, it is fluid, shifting in response to changes in the social zeitgeist — thus it is the perfect vehicle for political resistance. It is so much more than the clothes we wear, from the sporting of the tricolour cockades by French revolutionaries to the subversive use of military style uniforms worn by protesters who opposed the Vietnam war, fashion is and has always been inherently political.
The 1920s was an era of cultural revolution in America; the 19th amendment was ratified in August 1920, guaranteeing women the right to vote, and the shift towards the emancipation of women was reflected in contemporaneous fashion. The ‘flappers’ challenged expectations of traditional femininity and modesty, wearing shorter knee length dresses with androgynous silhouettes and bolder makeup styles. During the 1950s fashion was utilised by American Civil Rights activists as a part of a strategy of respectability politics. In an attempt to challenge racist stereotypes which condemned African Americans as uncivilised, campaigners wore their “Sunday best,” inspired by leaders such as Martin Luther King Jr. This positioned them as the more sympathetic party to the average American when pictured with police officers in military style uniform who were often behaving violently. In more recent history punk emerged as a countercultural movement in response to economic uncertainty and a crisis of unemployment in 1970’s Britain. The subculture was characterised by its distinct fashion which included spiked hair, ripped clothing, and safety pins, utilised as a means of challenging the status quo.
But the interconnectivity of fashion and politics runs deeper than just its use by nonconformist sects. Politics is woven into the fabric of the industry itself through designers who engage in activism; a notable example being Vivienne Westwood. In 2005 her white t-shirts with the words “I AM NOT A TERRORIST, please don’t arrest me” scribbled over a red heart became an iconic symbol of protest against the Blair government’s proposed anti-terror legislation. This would have enabled the government to place suspects without terrorism charges in detention for three months. Westwood’s career was marked by her continuous engagement with the political landscape of the era, and she has often been quoted emphasising fashion as a mechanism for activism.
It is clear the use of fashion in politics has a historical basis, but does it play a role in present day politics? Following Israel’s launch of its military offensive on Gaza in response to the October 7 attacks, protests erupted worldwide spearheaded by organisations such as the Global Alliance for Palestine. Attendees of these protests were often pictured wearing keffiyeh; a traditional Arab headdress of which the black and white version has become synonymous with Palestinians and resistance to the occupation of the Gaza strip by Israeli forces, suggesting fashion remains an important means of political signalling, especially amongst grassroots movements.
However, the digital age has brought about a shift in the way in which the public receives political statements made utilising fashion. United States representative Alexandra Ocasio-Cortez faced backlash after wearing a gown made by Brother Vellies which incorporated the words “Tax the rich” written in red lettering. Critics suggested this fashion choice was hypocritical as the dress was worn whilst attending the Met Gala, one of New York’s most exclusive evenings. Perhaps overexposure to inauthenticity as a consequence of fashion often being utilised in insincere virtue signalling campaigns online has made the public more suspicious of the role of fashion in politics. This calls into question whether fashion can continue to have a meaningful impact on the current political landscape or whether its overuse by celebrities and influencers reduced its effect.
Illustration by Erin Fabbroni @rottenrevived.JPG for The Student
