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This paper examines the discourse of consumers as they attempt to define and create consensus on the meaning and significance of cultural appropriation within a fashion context.

Data were collected via consumer comments posted to an article from The Guardian about the banning of headdresses from a large-scale music festival in Canada. Data were analyzed according to protocols for grounded theory.

Four themes emerged from the data: values consensus, ideological control, social and symbolic boundaries and social impact and change. These themes captured consumers' perspectives on the debate of cultural appropriation in fashion.

Cultural appropriation has become an increasingly important topic of interest as consumers share their voices online and demand companies increase their cultural competence.

Few researchers have examined cultural appropriation in fashion and captured the various perspectives of consumers on this phenomenon.

By celebrating tourism destinations through cruise collections, luxury brands open to new influences. They may develop deeper connections with certain geographical areas, but may also challenge the quintessentially national dimension of luxury brand culture. The best example of synergies between a luxury fashion brand and tourism destinations are the Christian Dior cruise collections with Maria Grazia Chiuri at the helm. This chapter is to understand how cruise collections may enhance luxury fashion houses' brand culture through the connections they develop with tourism destinations. Further, the chapter assesses the extent to which destinations can benefit from the exposure provided by luxury fashion brands' cruise collections.

This critical content analysis aims to examine the depiction of oppression in the 2022 Notable Social Studies Trade Books (K-2). From the framework of major types and levels of oppression, this paper sheds light on the rich affordances and problematic representations of oppression.

From the perspectives of an intersectional approach and the framework of oppression, the authors conducted a critical content analysis of the written texts, illustrations and peritexts of the notable books for young readers.

Among the 73 picturebooks, 46 (63%) include representations of oppression in the written texts and/or illustrations. Half of these books depict more than one type of oppression. The most frequently represented oppression is racism, followed by sexism. There are limited depictions of homophobia, transphobia, ableism, ageism, antisemitism and Islamophobia. Nine books (20%) only include the representation of oppression in the peritexts.

This study contributes to anti-oppressive education by offering a theoretical framework of oppression, which emphasizes the interlocking systems of oppression. This framework can help foster a holistic understanding of oppression and dismantle it in a holistic way.

The authors also offer suggestions to help educators curate picturebooks for anti-oppressive social studies education.

This study contributes to anti-oppressive education by offering a theoretical framework of oppression, which emphasizes the interlocking systems of oppression. This framework can help foster a holistic understanding of oppression and dismantle it in a holistic way. The authors also offer suggestions to help educators curate picturebooks for anti-oppressive social studies education.

Ọsẹ dúdú production and sale constitute a major indigenous business among the Yoruba people. Scholars have noted that the business is capable of boosting the socio-economic status of black soap entrepreneurs and of countries. However, ọsẹ dúdú enterprise has some significant threats and problems that are yet to be researched. This chapter examined the challenges of osẹ dúdú entrepreneurs in Southwest Nigeria. Twenty-six interviews were conducted among indigenous black soap producers and sellers in Ogun, Oyo and Lagos States. Data were analysed in themes. Weather, financial, spiritual, copyright and succession challenges, as well as issues such as a large number of sellers, debt, lack of support, pricing and brand competition, were found to be problems faced by black soap entrepreneurs. This chapter concluded that certain controllable and uncontrollable factors were not only capable of limiting the development of osẹ dúdú business but also have adverse implications for the achievement of the sustainable development goals through the indigenous resource. This chapter suggests that osẹ dúdú business actors such as mechanical engineers, local fabricators, financial institutions, and governmental and non-governmental agencies collaborate with black soap entrepreneurs to ameliorate the challenges of the latter. It is only through this alliance that black soap entrepreneurs can contribute to indigenous business development and the achievement of sustainable development goals in Africa.

This paper aims to investigate how and when visual referents in brand visual aesthetics (i.e. colours, shapes, patterns and materials) serve as design applications that enable consumer diasporic identity.

This paper uses an innovative methodology that triangulates 58 in-depth interviews with diasporic consumers, 9 interviews with brand managers and designers and a visual analysis of brands (food retailer, spices and nuts, skincare, hair and cosmetics, ice cream and wine) to provide a view of the phenomenon from multiple perspectives.

This study illustrates how and when particular applications and compositions of product and design referents support diasporic identity for Middle Eastern consumers living outside the Middle East. Specifically, it illustrates how the design applications of harmonising (applying separate ancestral homeland and culture of living product and design referents simultaneously), homaging (departing from the culture of living product and design referents with a subtle tribute to ancestral homeland culture) and heritaging (departing from the ancestral homeland culture product and design referents with slight updates to a culture of living style) can enable diasporic identity in particular social situations.

Although applied to the Middle Eastern diaspora, this research opens up interesting avenues for future research that assesses diasporic consumers’ responses to brands seeking to use visual design to engage with this market. Moreover, future research should explore these design applications in relation to issues of cultural appreciation and appropriation.

The hybrid design compositions identified in this study can provide brand managers with practical tools for navigating the design process when targeting a diasporic segment. The design applications and their consequences are discussed while visually demonstrating how they can be crafted.

While previous research mainly focused on how consumption from the ancestral homeland occurred, to the best of the authors’ knowledge, this study is the first to examine how hybrid design compositions that combine a diaspora’s ancestral homeland culture and their culture of living simultaneously and to varying degrees resonate with diasporic consumers.

Our prior work has identified a trade-off that new entrants face in obtaining favorable market reception, whereby initial entrants suffer from a deficit of legitimacy whereas later entrants suffer from a deficit of authenticity. This research has also proposed that a single mechanism is responsible for this trade-off: the tendency for customers and other stakeholders to assess the entrant's claim to originality based on the visible work that it has done to legitimate the new product or organizational form. This chapter extends and deepens our understanding of such “legitimation work” by showing how it can illuminate cases that seem in the first instance to defy this trade-off. In particular, we focus on two “off-diagonal” cases: (a) when, as in the case of “patent trolls” and fraudulent innovators, early entrants are viewed as inauthentic despite having a credible claim to originality; (b) when late entrants, as in the case of Dell Computers, mechanical watches and baseball ballparks, are viewed as authentic despite obviously not being the originators. We clarify how each off-diagonal case represents an ‘exception that proves the rule’ whereby audiences attribute authenticity on the basis of legitimation work rather than on the order of entry per se. The last case also leads to an opportunity to clarify why “cultural appropriation” can sometimes project authenticity and sometimes inauthenticity, why audiences bother to make inferences about a producer's authenticity on the basis of visible legitimation work, and why legitimacy is a universal goal of early movers whereas authenticity varies in its importance.