To explore the display of ethnic minority culture in the fashion market better, I seek more help from the perspective of fashion market practitioners. I found three people working in fashion public relations in China and conducted online voice interviews with each of them. They are from three brands with different brand positioning (Charles & Keith, Anine Bing, and Chanel), but two said they are still working in the company and want to keep their names private. So, they will be named interviewees ABC.

Interviewee A:

A believes that actual cultural appropriation refers to the incorrect use of culture and its widespread dissemination. For example, the previous Dior horse-faced skirt incident is the best example (using Chinese elements but not marking them and refusing to apologize when problems are found). A pointed out that when the brand she works for sees Marni and Loewe produce content with Chinese ethnic minority cultural elements, she feels it is intense and touching. Initially, the brand also wanted to have a proposal for Chinese ethnic minority cultural elements, but in the end, it gave up because of too much time and financial costs. Suppose it involves Chinese ethnic minority cultural elements. In that case, it is necessary to find local cultural inheritors, and the person who coordinates it also needs to understand the local culture in particular to take the lead. In addition, brands also need to fulfill their due social responsibilities and cooperate with relevant Chinese governments. She also mentioned at the end that Chinese designdid not fousomething other than nd her brand. When producing the CNY (Chinese New Year) series every year, no Chinese members were involved, which led to many negative reviews of the products. Therefore, if you need to understand the essence of culture, you still have to ask professionals.

Interviewee B:

The background of B’s ​​brand is diverse. Although she has not been exposed to Chinese ethnic minority culture, the brand combines many cultures. B said that the essence of the fashion business needs to be commercialized or quantified. It is difficult for a brand to become significant if it involves niche culture. This can also be reflected in the fact that many brands avoid using some niche culture. B emphasized that ethnic minority culture is rarely exposed to or even unfamiliar in China and said that ethnic minority elements are likely to be ordinary things for the general public. China currently has very few fashion media and fashion brands that speak for ethnic minorities, so many brands dare not predict or bet on whether the use of ethnic minority culture will be successful (capital investment + time to do research). When I mentioned the issue of cultural appreciation to B, B shared something with me that I found very interesting. The photos posted by the brand B works on international social media are all in black and white, including the images posted by the founder herself. However, when it was learned that black and white is taboo in China and represents funerals, B worked to change the pictures provided to the Chinese market to color.

Interviewee C:

The best way to spread culture is to tell everyone the charm and connotation of culture through storytelling. Like the Chinese series made by the brand LOEWE, some influential people in ethnic minority cultures are invited to speak for Chinese culture. C also mentioned that opening lectures, exhibitions, small events, and shooting short videos and documentaries are now the most common means of external communication for luxury goods. C believes that the most memorable cultural communication seen in recent years is the City Guide activities done by Louis Vuitton in Beijing, Shanghai, and Chengdu, China. City Guide also specially introduces some niche but culturally representative activities and places, allowing tourists to experience local life and culture more deeply (for example, LV also uses blogs to tell the audience about the local food characteristics). Many have admired this way of combining international things with local Chinese culture. So cultural appreciation is the most essential part that fashion brands should learn.
These discussions and cases highlight the potential harm of cultural appropriation and the importance of cultural appreciation. Cultural appropriation often stems from ignorance and disrespect, which can lead to cultural misunderstandings and group offenses. In contrast, genuine cultural appreciation is based on deep understanding and respect and can promote communication and understanding between different cultures. As a bridge for global cultural exchange, fashion brands can not only help the world better understand and appreciate Chinese ethnic minority cultures but also strengthen their own brand value and market position through this process. Ultimately, fashion brands can achieve sustainable development in a globalized market through accurate cultural exchange and respect. For any brand that hopes to get involved in cultural elements, understanding and respecting the deeper meaning of the culture they use is a moral requirement and the key to brand success.