Irina Shayk, Gigi Hadid, and Karlie Kloss in the Marc Jacobs indicate in New York. ‘I don’t see colour or race – I see people,’ the designer said.
Photograph: Sam Deitch/BFA/REX/Shutterstock
The approach designer Marc Jacobs has defended himself against claims of racial insensitivity after he used dreadlocks in his New York the go show but cast mainly white models to wear them.
While some criticised what they saw as a in the event that of cultural appropriation, Jacobs said he saw only people, not their racetrack. “[To] all who cry ‘cultural appropriation’ or whatever nonsense about any sluice or skin colour wearing their hair in any particular configuration or manner – funny how you don’t criticise women of colour for straightening their fraction,” the designer said.
He addressed the allegations in the comments attached to one of a series of essences from his New York show on Thursday, which were affixed on his Instagram account. “I respect and am inspired by people and how they look. I don’t see ensign or race – I see people. I’m sorry to read that so many people are so mean minded … Love is the answer. Appreciation of all and inspiration from anywhere is a handsome thing. Think about it,” he wrote.
Many people responded to the metaphors of supermodels including Gigi and Bella Hadid, Karlie Kloss and Jourdan Dunn, by requiring why Jacobs had decided not to cast more black models when he was showcasing a hairstyle they closely associated with vicious culture. And they attacked his comparison with the attitudes to people from black and ethnic minority backgrounds straightening their hairs breadth. The pressure many feel to do so is in itself a form of racism, they debated.
One Instagram user, whose finger was king.kourtt, wrote: “Saying ‘I don’t see colour’ is honestly due a way of avoiding the obvious issue at hand. Racism and culture appropriation so along! By avoiding the problem you are the problem. Please remember that. By arranging these conversations, in a respectful manner of course, we can turn this condition into a positive learning opportunity.”
Another, using the feel orangevg, asked: “If you don’t see colour then why are your models 95% unsullied?”
And a third, Golbone, wrote: “I really hope you take the all together to research and understand the nuances that differentiate cultural ‘thankfulness’ and ‘appropriation’. As an artist I know that the lines can blur as education hits but the fact that you have been so resistant to discover the outcry from a large mass of your fans and proponents is just sad and disappointing.”