Is Fashion History Too Western-Centric?

High fashion, often dubbed as the pinnacle of artistic expression in clothing, has long been associated with a certain level of exclusivity. Historically dominated by European and American designers, luxury fashion has traditionally celebrated Western aesthetics and ideals, frequently sidelining non-Western cultures. This Western-centric bias not only influences what is considered "high fashion" but also shapes global standards of beauty, style, and elegance. The issue runs deep, from the industry’s power structures to its visual language, limiting the creative potential of a truly diverse global fashion landscape.

The fashion capitals—Paris, Milan, London, and New York—have been synonymous with high fashion for over a century. From the late 19th century to the present, European fashion houses like Chanel, Dior, and Gucci have defined the industry’s standards. As the fashion industry expanded globally, these houses became the epitome of luxury, dictating trends and styles worldwide.

The dominance of Western fashion houses has resulted in a globalized fashion system that often treats non-Western influences as mere “exotic” inspiration rather than integral components of a broader fashion narrative. Traditional Asian, African, and Indigenous designs are frequently appropriated rather than appreciated, stripped of their cultural significance, and repackaged as high fashion trends devoid of context.

The distinction between cultural appropriation and appreciation has been a point of contention in fashion. Western designers have long borrowed elements from non-Western cultures, be it Indian saris, Japanese kimonos, or African beadwork. However, these influences are often repurposed without proper acknowledgment of their origins or the people they represent. Instead of giving voice to designers from these cultures, the industry often praises Western designers for their "innovative" use of such elements, perpetuating a one-sided narrative.

For instance, brands like Louis Vuitton and Valentino have, on multiple occasions, incorporated Maasai beading and motifs into their collections without adequately crediting or compensating the communities from which they were borrowed. This pattern of appropriation serves as a stark reminder of how the industry views non-Western cultures—rich sources of inspiration, yet unworthy of full participation in the luxury fashion conversation.

The underrepresentation of non-Western designers in high fashion is a reflection of the industry's gatekeeping mechanisms. Major fashion weeks, luxury brand boards, and leading publications remain overwhelmingly dominated by Western voices. Even when non-Western designers make it to the global stage, they often feel pressured to cater to Western tastes to gain acceptance, diluting the authenticity of their cultural expressions.

The rise of a few prominent non-Western designers, like Guo Pei from China or Manish Arora from India, has been significant, yet these instances are still rare exceptions rather than the norm. The industry’s gatekeepers have historically controlled whose voices get amplified and whose aesthetics are celebrated. As a result, global fashion remains skewed toward Eurocentric ideals, marginalizing the diverse perspectives and traditions from the rest of the world.

The Western-centric bias in fashion extends beyond clothing and accessories to notions of beauty. Eurocentric beauty standards—light skin, sharp features, and certain body types—are still disproportionately celebrated. These standards have a profound impact worldwide, often pressuring non-Western markets to conform to Western ideals in both fashion and beauty industries. The global market’s obsession with these ideals perpetuates systemic bias, limiting the recognition of beauty in its diverse, multicultural forms.

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