Author: Dr. Francisca Odundo

Date: June 13, 2025

Fashion & Culture

“Fashion has long been a subject of analysis in sociology, cultural studies, and aesthetics, with scholars such as Roland Barthes, Joanne Entwistle, and Malcolm Barnard examining its function beyond mere adornment (Barthes et al., 2018; Barnard, 1998). Barthes argues that fashion operates as a semiotic system, where clothing is not only a material object but also a communicative tool that conveys cultural codes and personal identity (Gjoni, 2025, p. 3).”

Cultural identity denotes that which is an individual’s personal sense of connection to a specific culture, community or group. It incorporates characteristics, such as their dress customs, fashion accessories, and materials used in fashion garment design and development. Cultural identity is not limited to tangible items. It also goes into the realms of the intangible such as, fashion social values captured by what body parts should or should not be seen by the various publics. Additionally, cultural identity can be realized through semiotics, symbols, events, and rites, and furthermore, used as communication tool to indicate group membership and belonging. These elements together influence how individuals see themselves and others opinions of themselves. The dynamics of fashion cultural identity are not formed by any fixed concepts. Instead, they change and develop as people and communities interact with different cultures and experiences (Mohyeddin, 2024).

Currently, fashion surpasses meagre aesthetic expression. It is a system that mirrors both the individual self and social psychology and structures (Gjoni, 2025). Though fashion may be perceived as a tool for external validation, it must be acknowledged that fashion is foremost a medium for personal affirmation. Fashion can be viewed “as a visual language, … that is deeply embedded in cultural narratives, reinforcing both inclusion and exclusion within social groups. Fashion is about power, status, and resistance (Gjoni, 2025, p. 3).”

The interaction between what is considered traditional dress, cultural identity, and that which is contemporary and fashionable has engaged and produced multifarious options. Dress is constantly evolving and open to new iterations. These iterations, though they may be repetitive, rarely re-appear as they were in their former state. They are subject to experimentation that delivers new versions. The new version may be a re-working of what was before or a new way of combining an item with another (Reilly, 2014; Mohyeddin, 2024; Gronow, 2009).

Change in the realms of garments are also governed specifically by the tenets of fashion and style. Fashion is created and steered by fashion insiders who seek to stop outsiders emulating their style. They endeavour to exclude those they deem as foreign as long as is possible. On the converse, style is created by outsiders who seek to create that which is unique and offers a substitute to what is found in conventional fashion. Those who adhere to being in style, often reject mainstream fashion in an attempt to be segregated from the norm (Espinosa, 2022).

Fashion is considered a fundamental component in the creation of individual and social identity and aesthetics (Gjoni, 2025). Traditional clothing codes which were elevated in importance within the societies in which they were found remained static over time. There are multiple historical illustrations, “such as ancient Chinese civilization, where clothing was strictly coded and immutable (Gjoni, 2025, p. 2).” However, culture is not static, particularly in this current era where rapid globalization is a fact of life. It is constantly altering, shaped by parameters such as human movement, technology, and social shifts. The traditional East African dress has been through several iterations including during the colonial era where it was associated with that which was primitive by the colonialists. Some members of indigenous ethnic community took on this way of thinking due to indoctrination by the colonialists (Aris, 2007). They considered those who persisted in making and wearing traditional dress styles members of a countercultural resistance (Ismail, 2023). Colonial subjugation of traditional dress was partially tied to the colonialists’ economic benefit. They wanted to sell fabric and garments produced in their foreign mills among East Africans (Halls & Martino, 2018). Their actions clearly demonstrated the interplay between creating the notion of subversion to promote commercialization to their advantage.

Globalization changes the direction of cultural growth, resulting in a vibrant interplay in the nexus between that which is tradition and contemporary. It makes it possible for fashion styles and ideas, to flow across borders, significantly shaping societal norms and individual identities worldwide. The widespread influence of global media, international brands, and widespread culture significantly contributes to a trend of cultural uniformity. This is due to the widespread viewing of international movies, and utilisation of social media. This standardization of culture often leads to the weakening of indigenous fashion traditions, as local identities become surpassed by global customs (Mohyeddin, 2024).

Critics argue that this cultural fusion diminishes diversity and supresses indigenous creativity, thereby posing a threat to distinct cultural heritages (Mohyeddin, 2024). As interactions become more prevalent, cultural identities face both challenges and opportunities for development and evolution. Though globalization sometimes fosters greater uniformity in cultures, it also enhances the prospects for local traditions to be revived in a manner that helps them thrive. It is necessary to understand the intricate connection between cultural identity and globalization as well as the importance of how people and communities manage their identities in a world that’s constantly evolving, as cultural identity is not fixed (Mohyeddin, 2024).

As people encounter more diverse cultures and ideas, they often engage in identity negotiation, sometimes leading to hybrid identities that blend elements from various cultures. Cultural fluidity can augment cultural features and boost cross-cultural appreciation. However, it can also give rise to challenges like identity crises or disagreements about what constitutes cultural genuineness. Therefore, it’s vital to grasp and preserve cultural identity while remaining open to outside inspirations. This balance is key for both personal growth and societal congruence (Mohyeddin, 2024).

References

Aris, G. (2007, April). The Power and Politics of Dress in Africa. Penn Humanities Forum on Travel. Pennsylvania, USA.

Espinosa, J. H. (2022). Changes in style and Changes in fashion. MIT Media Lab, 1-7.

Frederick, K. (2020). Draft version of: Twilight of an industry in East Africa: Textile. London: Palgrave Macmillan.

Gjoni, A. (2025). The influence of fashion on identity and aesthetics: A socio-cultural perspective within the framework of sustainable development goal.  Journal of Lifestyle and SDGs Review, 1-18. doi:https://doi.org/10.47172/2965-730X.SDGsReview.v5.n04.pe06116

Gronow, J. (2009). Fads, Fashions and ‘Real’ Innovations: Novelties and Social Change. In F. Trentmann, E. Shove, F. Trentmann, & R. Wilk (Eds.). Time, Consumption and Everyday Life Practice, Materiallty and Culture (pp. 129-142). New York: Berg.

Halls, J., & Martino, A. (2018, September). Cloth, Copyright, and Cultural Exchange: Textile Designs for Export to Africa at The National Archives of the UK. Journal of Design History, 31(3), 236-254. doi:DOI: 10.1093/jdh/epy007

Ismail, H. M. (2023, July). Colonialism and a history of oppression in Africa: Scenes from selected African novels. Research Journal in Advanced Humanities, 4(3), 1-12. doi:https://doi.org/10.58256/rjah.v4i3.1249

Mohyeddin, Z. (2024). Cultural Identity in a Globalized World: Navigating Tradition and Modernity. Frontiers in Humanities and Social Research, 1(3), 1769-1777.

Reilly, A. (2014). Key concepts for the fashion industry. New York: Bloomsbury.

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Xuanzhu, L. (2024). Explore Global Fashion Trends and Cultural Influences. Journal of Education, Humanities and Social Sciences, 46, 1-7.