Fashion and Protest
Words by Emilia Sogaard
Clothing’s ability to act as a signifier suggests that it is an important and effective aspect of protesting. Norman Rea Gallery’s upcoming exhibition “Make Space: Subverting Tradition through Art”, is about art that protests against the status quo, and the nuances of its resistance. In relation to this, I have explored how throughout history, fashion has played a fundamental role in the recognition of different protest groups and in the representation of their aims. From the sans-culottes to the Black Panther Party’s signatory look, the art of protest has evolved to incorporate fashion in many ways.
Marie Riegels Melchoir, a professor in European Ethnology, spoke about fashion being an entry point to seeing economic and political aspects of a society suggesting its ideal ability as a tool for protest, to signify the desire for economic and political change. Historically, we can see the creation of costumes in political resistance movements. In “The Human Condition” Hannah Arendt writes that during the French Revolution the sans-culottes (which translates as ‘without trousers’) symbolised the struggle for equal recognition and distinction by laborers who previously had no place to speak in public. Symbolic clothing not only helps to distinguish and provide mutual recognition but also gives a voice to those who feel silenced. Melchoir explains fashion as showing the formation process of identity, entangled with processes of seeking independence – suggesting that the selection of particular clothes contributes to one’s individual identity as well as a collective identity.
Black Panther Party, 1960’s.
Perhaps the most renowned protest fashion was the Black Panther Party (led by Huey Newton and Bobby Seale), who advocated and fought for black liberation and the promise of self- determination. From their signatory look beginning in the 1960’s in the United States of an afro tucked into a black beret, sunglasses over the eyes, a black leather jacket ornamented with pinback buttons, to the continued inspiration and references made to them during the 21st Century; their style holds resonance with their political message. This look attracted a whole new age group of supporters during the 60s & 70s and in 2020 was mimicked again in haute couture. Marcus Rashford and Adwoa Aboah appeared on the cover of Vogue in black outfits highlighting the lack of racial equality and ever-present racial discrimination.
Marcus Rashford & Adwoa Aboah Lead An Inspiring Army Of Activists On Vogue’s September Cover, BY EDWARD ENNINFUL, August 2020.
Throughout social history the importance of textiles are often overlooked, yet its significance as posed Camille Benda in “Dressing the resistance: the visual language of protest”, highlights that by conforming in dress can even subvert social systems. Originally wearing handmade sewn or knitted clothes would not be subversive at all. But movements throughout the 20th and 21st centuries such as feminist Radical Sewing Circle and Craftivism have proven the power of textiles and fashion as a form of protest.
Kobe Bryant and his Los Angeles Lakers team-mates are the latest NBA players to join the protest against police violence, Guardian, 2014.
With the clothes worn at a protest being a canvas for expression, t-shirts expressing the powerful political messages, have been widely distributed and worn during and after times of protest. This has created a new kind of passive activism. Known as T-shirt activism which ensures that these messages are incorporated into everyday clothing patterns and thus into the conscience of society. These t-shirts also in some cases provide funding for the causes that they support.
The importance of fashion in creating an identity is undeniable, so within a protest where a particular identity is represented the selection of fashion and accessories become extremely significant. In “Fray: Art and Textile Politics”, Julia Bryan-Wilson talks about how textiles make politics ‘material’. This subverts the idea of how clothes are a supplementary addition to the art of protesting and suggests that they have in fact become integral to the protest scene.
Classical Black and White Kufiya, Hibrawi Textile Factory.
The collective choice to wear a certain item of clothing or adhere to a set style weaves a story of resistance of power and highlights solidarity in society. The wearing of a Palestinian keffiyeh, a black and white patterned scarf, has become a symbol of their heritage and a way to express their resistance. Wearing the Keffiyeh respectfully is seen as a gesture of unity and support for the Palestinian cause and culture. They can be bought from textile producers in Palestine which is a way to monetarily support their cause as well. This has been an ongoing way to show support to Palestinians as described by the Hibrawi Textile Factory in Al Khalil as early as 2008, about the scarf being the history and heritage of their country.
In recent protests there have also been the echoes of the Black Panther Party visionary look as well as protestors wearing their traditional dress to show the spirit of resistance and the continued fight for liberation. The power of fashion symbols during protest are reinforced as the media often picks upon them.
Free Palestine protest in London, photography by Nahwand Jaff, Dazed, 2023.
This form of dressing which shows a strong sense of support towards a group of people and also provides some economic aid, highlights how textiles have the power to encourage change and represent solidarity. The threads of our clothing can express support and are a unifying language. The clothes and accessories that we wear have the power to not only express support, but given visibility, they can give confidence to passers-by who are part of the represented community. While protest dressing and T-shirt activism is not enough to enforce institutional or governmental change it shows the unity of people. They can question established codes of communication. This way of dressing is not an empty fashion statement but also a symbol of representation.
