Jennifer Lawrence and Dior are being accused of ripping off Mexican culture

Jennifer Lawrence and Dior are being accused of ripping off Mexican culture

Jennifer Lawrence and Dior are being accused of ripping off Mexican culture

Jennifer Lawrence and Dior are in the news for all the wrong reasons. Scratch that, for one reason: cultural appropriation. The actress is the new face of the fashion house’s latest collection. So why is that problematic? Dior’s collection is entirely inspired by Mexican culture. To be more specific, the pieces in the line are heavily influenced by escaramuza charra.

To give you some backstory, escaramuza is a Mexican sport, almost like a rodeo, which features a group of women (usually 10 to 16) on horseback. They choreograph dance routines with their horses, which makes for a one-of-a-kind experience. Most consider escaramuza attire a form of art, similar to ballet folklorico, so it’s not surprising that Dior would be enamored by it.

The problem with Lawrence being the face of this specific collection is obvious: She’s not Mexican (or Latina for that matter). This collection directly takes silhouettes, patterns, and designs that are so ingrained in Mexican culture that Lawrence’s casting has struck a chord in the Mexican community. If anything, it’s sad that Dior didn’t cast a Mexican artist (whether an actress, singer, or model) as the face of their new collection.

It’s not like the fashion house hasn’t thought to highlight Mexican women before. Back in May, Dior’s creative director Maria Grazia Chiuri (who is Italian) presented the collection in a respectful way: Remezcla reports that the fashion house flew in an eight-woman team from Mexico who each wore the latest pieces from the collection. As models walked down the runway, they rode in unison. It’s sad that the brand would make an effort to highlight these women during their show but forget about them during the ad campaigns.

In a behind-the-scenes video posted to Instagram, Dior shared Lawrence’s experience shooting the campaign. The actress said:

“One of the main inspirations of this collection is the traditional women riders of Mexico. I’m really excited that this collection is looking at and celebrating these women’s heritage through such a modern lens.”

Many people on social media quickly pointed out the cultural appropriation, and the thoughtlessness of Lawrence’s comments.

Even 2 Dope Queens actress Phoebe Robinson took to Instagram to share her thoughts on the brand’s blatant cultural appropriation:

“#Dior & #JenniferLawrence wanna celebrate traditional Mexican women riders thru a ‘modern lens’…by having a rich white woman named Jennifer be the face of this campaign? And like they couldn’t think of a better landscape to shoot than in California?! “Hmm, I dunno, maybe…like…shoot…in…Mexico…with…a…Mexican…actress like Salma Hayek, Karla Souza, Jessica Alba, Selena Gomez, Eva Longoria, or many others. But I guess they were all unavailable, so you had to go with Jennifer Lawrence.”

It’s true—there are many people Dior could have made the face of the collection. Aside from the actresses Robinson listed, there is also Kate del Castillo (who is pretty much Mexican royalty), Eiza González, and Netflix’s Made in Mexico star and model, Columba Díaz. That’s just scratching the surface. It’s disappointing that despite the inclusive options available, Dior chose someone who is “marketable” rather than to respect the culture they lifted ideas from.

The post Jennifer Lawrence and Dior are being accused of ripping off Mexican culture appeared first on HelloGiggles.



New season of ‘Narcos’ shifts to ‘80s-era Mexican drug cartels

TV producers and writers love their drug cartels, as the Emmy-strewn legacy of “Breaking Bad” and its pale imitators testify. There’s lots of sweaty, roll-around-in-prop-vomit acting, lots more violence than network television will allow and the satisfaction of doing something visceral and relevant after years of churning out procedurals such as “NCIS.” But no one…
Entertainment | New York Post


Diego Luna on Narcos, Mexican Cinema and the Conflict at the Border

The actor and humanitarian takes on a violent chapter of his home country’s history as a notorious drug lord in Narcos: Mexico

Why is now the right time to tell the story of how Mexico’s drug war started?

There’s an urgency to stop this violence in my country. It’s impossible to understand how things got this bad if we don’t look back. This particular time [in the mid-1980s] defines a lot of the relationship between Mexico and the U.S. and is important to understanding what has been done on both sides of the border to get to this mess.

The story centers on the 1985 murder of DEA agent Enrique “Kiki” Camarena, which took place when you were 5 years old. Do you have any memory of seeing it in the news?

It’s been interesting to do this project because I’ve had to go back and remember this time from the perspective of an adult. I learned more about it in the mid-’90s when I was in school and I cared about politics. I was finally waking up.

The show suggests that people wanted to pretend the drug war wasn’t happening, despite rampant killings. Is that still true?

No. Today, the problem is that things have become much more complicated. These characters built a perfect structure that involved every level of power in this country and on the other side of the border. When that structure fell apart, violence got out of control. Now the military is in the streets doing internal security, and that’s very dangerous. It’s clearly a crisis. We’ve been living in a war zone in Mexico.

President Donald Trump’s response to the migrant caravan is dominating headlines. How is the Mexican government handling the situation?

Really poorly. But this is not new–Mexico deports more Central Americans than the States. There are so many humanitarian efforts to help migrants, but as a country, we’re far from taking care of them. We’re the most dangerous part of their travel to the border. And yet we are urging the States to take care of them. Mexico pretends to be a country that cares about the poor. But it’s just show.

You’ve been an outspoken critic of outgoing President Enrique Peña Nieto. Do you have any hopes for President-elect Andrés Manuel López Obrador, a leftist?

A long time ago, I lost hope for the people who work from inside the government. My only hope is in citizens of this country being loud and speaking out. That is something I do celebrate from the past election. I’m not necessarily saying I celebrate the next President, but it’s an impressive turnout and a big majority saying, “We need to change.”

You’ve been courted to run for office but declined. Why?

I love what I do. I love telling stories. I believe it’s a really powerful tool. Cinema has changed my perspective on things that I believe make me a better and richer person, and I still have a lot to explore and to say.

Mexican directors have won four of the past five Best Director Oscars. Is this a new golden age of Mexican cinema?

Of Mexican voices. We’ve got to be careful saying it’s a golden age of Mexican cinema. I go to cinemas in Mexico, and it’s tough to find Mexican films there. The problem with our industry is that it’s a reflection of the country we’re living in. What has happened is that the voices are very sharp and eager to talk. That’s why you see so many Mexican directors doing great films around the world.

You’re in Barry Jenkins’ new film, If Beale Street Could Talk, adapted from James Baldwin’s 1974 novel about a wrongly convicted black man. Why did this story resonate with you?

The story is so relevant today. The day before I saw it in New York, I saw a documentary in Mexico about someone who was in jail because of the wrong reasons, and it felt so connected. If Beale Street Could Talk was based on a book written decades ago. But we don’t seem to understand. We still don’t seem to get it.

This appears in the November 19, 2018 issue of TIME.
Entertainment – TIME


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