Adidas Shoe Sparks A Wider Debate

Adidas's Misstep: A Sandal, a Statement, and the Stand for Cultural Identity

An official expression of regret from a global sportswear brand and its partner designer has sparked a significant debate about cultural heritage. Willy Chavarria, a designer from the US, alongside Adidas, conveyed remorse for a shoe that prompted censure from Mexico's top government leaders. The dispute revolves around a footwear model called the "Oaxaca Slip-On," which critics contend is a direct imitation of traditional footwear from Indigenous groups. This event has highlighted the boundary between appreciation and appropriation, leading to legal warnings and a wider discussion on safeguarding cultural identity in a worldwide marketplace. The consequences were immediate, compelling the brand and the designer to publicly address their creative decisions.

The Shoe at the Centre of the Storm

The item that created the international stir is a product from a collaboration between Willy Chavarria and Adidas Originals. This footwear combines a bulky, modern-style trainer sole with an upper section made of intricately crisscrossed leather straps. The woven appearance is incredibly similar to the classic huaraches sandals, a style perfected over centuries by craftspeople from Indigenous groups in Mexico. Using the name "Oaxaca," a state celebrated for its profound Indigenous heritage and artistry, only intensified the complaints. Commentators noted the contradiction of a product carrying the region's name but being made in China, with no partnership or acknowledgment of the groups who first developed the style.

Image Credit - People

A President’s Rebuke

The issue escalated to Mexico's highest office, drawing a resolute reaction from Claudia Sheinbaum, the nation's president. Speaking at a media briefing, she remarked that major corporations frequently adopt the products, concepts, and creative works of the country's Indigenous populations without authorisation or payment. Sheinbaum declared that her administration is investigating legal avenues to protect the artisans and stop such incidents from happening again. The president’s words emphasised the gravity of the situation, presenting it as an issue of national legacy and economic fairness. Her public disapproval added to the increasing demands for accountability and placed considerable pressure on Adidas to resolve the complaint, later confirming that discussions for restitution had begun.

The Government Demands Action

Following the president's example, other public servants added their voices to the condemnation. The deputy culture minister for Mexico, Marina Nunez, verified that Adidas had made contact with Oaxacan representatives. The point of these conversations was to address making amends to the people whose work was copied. In a powerfully phrased public letter, Salomón Jara Cruz, the Governor of Oaxaca, rebuked the corporation, declaring that "creative inspiration" is not a defense for using cultural elements that are central to a community's identity. He maintained that culture is something to be respected, not sold. This united front from the government demonstrated a fresh resolve to confront international companies and shield Mexico's cultural treasures from unapproved commercialisation.

The Artisans of Villa Hidalgo Yalálag

The particular design at the core of the disagreement comes from the Zapotec people in Villa Hidalgo Yalálag, a town within the state of Oaxaca. For many years, craftspeople in this area have produced huaraches by hand, weaving leather into special patterns that reflect their unique cultural identity. These sandals represent more than just something to wear on your feet; they are a physical manifestation of heritage, craftsmanship, and tradition handed down through generations. The making of genuine huaraches is a careful, lengthy endeavor that is the complete opposite of factory production. For merchants in the area, such as Viridiana Jarquin Garcia, the Adidas footwear is a "cheap copy" that diminishes their skill and endangers their ability to make a living.

The Deep Roots of the Huarache

The huarache sandal's lineage can be traced to the era before Columbus arrived in Mexico. The name itself comes from the Purépecha term "kwarachi." First made with plant materials and deerskin, these sandals were vital for farmworkers traversing difficult landscapes. After the Spanish brought cattle during their colonization, leather took over as the main material. A major change happened in the 1930s when craftspeople started using rubber from old car tires for the soles, an innovative and sustainable method. While styles differ from one region to another, an authentic huarache is characterized by its hand-woven leather top, showcasing the lasting artistry and cultural weight of the footwear.

A Symbol of Identity and Resistance

The huarache carries a deep cultural meaning that goes beyond its functional purpose. For a great number of people, especially in Chicano communities within the United States, wearing these sandals emerged as a potent statement of identity and defiance during the Chicano Movement. Previously seen by some as an indicator of poverty, the sandals were proudly re-adopted as a symbol of Mexican ancestry, a stand against the erasure of their culture. This profound significance adds complexity to the ongoing dispute. The uncredited adoption of the design by a huge international company is viewed not merely as copying, but as watering down a powerful cultural icon, turning hundreds of years of history and identity into a temporary fashion item.

Image Credit - Euronews

A Designer's Apology

Willy Chavarria, the American designer involved in the project, offered a sincere apology. He expressed deep regret that the footwear’s design was an appropriation and was not developed through a real and significant collaboration with the community in Oaxaca. Chavarria, who is of Mexican-American descent and frequently draws from his heritage for inspiration, stated his goal was always to celebrate the dynamic cultural and creative heart of Oaxaca. He conceded that his method did not show the proper deference to the Zapotec people of Villa Hidalgo Yalalag, finishing with the thought that affection is not automatic—it is built through deeds. Pictures used for promotion were later deleted from his social media pages.

Adidas Pledges to Make Amends

Facing a wave of public criticism, Adidas also released a formal statement of regret. The German sportswear company stated that it respected the deep cultural history of Mexican Indigenous groups and the value of their handcrafted traditions. In a communication sent to officials in Mexico, the brand affirmed that it "deeply values the cultural wealth" and accepted the legitimacy of the complaints. Adidas promised to enter into a considerate discussion with the Yalálag people to show respect for their legacy. The corporation also asked for a conference with leaders to figure out how to make things right for the harm done to the Indigenous groups, showing a desire to find a solution.

Defining Cultural Appropriation

The debate puts a focus on the intricate matter of cultural appropriation. In simple terms, this happens when a dominant culture adopts the ideas or customs of a different, often marginalized, group in a way that is disrespectful or without acknowledgment. This is especially contentious when it affects a group that has been historically disadvantaged, as their cultural expressions are removed from their original setting and used for commercial profit. The main problem is the lack of understanding, respect, and consent. Regarding the slip-on shoe, critics maintain that using the design without partnership, credit, or payment is a blatant instance of this damaging behavior.

Appreciation Versus Appropriation

The distinction between appreciating a culture and appropriating it comes down to respect, acknowledgment, and teamwork. Appreciation is characterized by a sincere wish to understand and celebrate another culture, frequently with the agreement and involvement of its people. Appropriation, on the other hand, is about taking without consent, usually for individual or corporate advantage, which detaches the cultural practice from its original significance. In the fashion world, this frequently occurs when designers take traditional motifs or styles and market them as their own new creations. The power imbalance is the key issue; appropriation often involves a more powerful culture gaining from the traditions of a less powerful one, which perpetuates long-standing inequalities.

Mexico’s Stand to Protect Its Heritage

This situation is not unique, but Mexico is now in a stronger position to respond. After dealing with many similar conflicts, the nation has strengthened its laws. The government's decisive position in the Adidas affair is supported by new regulations aimed specifically at stopping the unapproved use of its cultural legacy. This change in the law is part of a larger movement, both in Mexico and internationally, to safeguard the shared intellectual property of Indigenous populations. The Mexican government has signaled it will no longer permit what it considers the theft of its most valued traditions and creative works.

A Landmark Law for Indigenous Rights

In January 2022, Mexico passed the Federal Law for the Protection of the Cultural Heritage of Indigenous and Afro-Mexican Peoples and Communities. This groundbreaking law is designed to stop the unauthorized use, exploitation, and selling of cultural wisdom and traditional forms of expression. The law grants these groups collective ownership rights over their cultural legacy, providing them with the legal power to confront corporations. It gives communities the authority to control how elements of their heritage are used by others and makes sure that any such usage is based on a formal contract with equitable payment.

The Challenge of Global Enforcement

Even with Mexico's robust new law, making it effective across different countries is a major hurdle. The law permits penalties, such as taking products off the market and confiscating them, but enforcing these actions against global companies that operate outside of Mexico is complicated. The legal process can be expensive and arduous, particularly when it comes to proving ownership of a design that has been a collective tradition for many generations. The law also mandates a specific consultation process with Indigenous groups, which can be complex due to the variety of languages and governing structures throughout the nation.

Image Credit - NBC News

A Familiar Pattern in Fashion

The Adidas issue fits into a much larger history of cultural appropriation in the worldwide fashion business. For a long time, major companies have been accused of taking creative work from Indigenous populations without their consent. Well-known fashion houses like Carolina Herrera and Louis Vuitton, along with fast-fashion retailers such as Zara and Shein, have all been called out by Mexican authorities for similar actions. These cases frequently involve copying detailed embroidery, motifs, and clothing designs that belong to particular communities. These designs are then mass-manufactured and distributed worldwide, with no financial returns to the original creators.

The Case of Isabel Marant

French designer Isabel Marant has repeatedly been involved in these kinds of conflicts. In 2015, she was accused of lifting the traditional blouse style of the Mixe people from Santa María Tlahuitoltepec, Oaxaca. Initially, Marant asserted that the design was an inspiration. Later, during a legal conflict with another brand, her legal team contended that the design was in the public domain as a traditional motif. More recently, the Mexican government filed another grievance against her for adopting patterns from the Purépecha people of Michoacán, for which she later offered an apology. These situations bring to light the industry's persistent habit of taking "inspiration" without engaging in partnership.

Other Brands Under Scrutiny

The roster of companies accused of taking Mexican designs is long. In 2021, the government of Mexico officially charged Zara with using a motif from the Mixteca people of San Juan Colorado. It also criticized the U.S. company Anthropologie for adopting designs from the Mixe people. The Australian brand Zimmermann was accused of stealing from the Mazatec community for a resort line and later pulled the product from its stores. These frequent occurrences point to a deep-rooted problem where the cultural legacy of Mexican artisans is viewed as a source of free ideas for international designers, which cheapens the craft and the financial security of these communities.

The Human and Economic Cost

For the artisans whose work is imitated, the consequences are both cultural and financial. Handicrafts provide a crucial source of income for about half a million people in Mexico. In regions like Oaxaca, this sector is a major part of the local economy. When a worldwide company manufactures a similar design on a large scale, it not only reduces the value of the original, handmade product but also becomes a direct competitor to the artisans in the market. This makes it more difficult for them to earn a living from their work. It also diminishes the cultural importance of the designs, transforming sacred motifs into passing fashion trends.

A Path Forward Through Collaboration

Specialists and supporters propose that the only moral way to proceed is through sincere partnership. This requires brands to go from just being inspired to forming alliances. Effective partnerships place Indigenous designers and their communities in leadership positions, not merely as artistic sources but as collaborators in sales and revenue sharing. This method guarantees that the community's perspective is respected, its legacy is honored, and its members gain financially from the use of their collective knowledge. The aim is to build a relationship that benefits everyone, honors the origin of the design, and strengthens the community that conceived it.

Models of Respectful Partnership

There is an increasing number of instances of effective and considerate partnerships. The Canadian company Roots teamed up with Nehiyaw designer Justin Jacob Louis, an arrangement facilitated by the Indigenous Fashion Arts group to guarantee equity. Ralph Lauren introduced a line with Naiomi Glasses, a seventh-generation Diné weaver, as its first artist-in-residence, which ensured Indigenous involvement in both the creation and the advertising. In Australia, the Gorman brand has collaborated with creators from the Mangkaja Arts Centre, establishing a standard for licensing deals that ensures artists are paid and fully credited for their contributions, sharing their narratives with a worldwide market.

The Power of Public Accountability

The growth of social media has been essential in making brands responsible when they engage in cultural appropriation. Online watchdog groups and public condemnation can rapidly draw focus to cases of imitated designs, leading to major public relations problems for the companies. This form of digital activism has given a bigger platform to Indigenous groups and their supporters, making it harder for companies to dismiss accusations of theft. The immediate and widespread criticism against Adidas shows this change in influence, where customers and activists can push for prompt replies and apologies, demanding a degree of openness that was not there before.

The Future of Ethical Design

The case involving Adidas and Willy Chavarria acts as a significant lesson for the fashion world. It emphasizes a rising call for moral and conscientious design methods. The direction of fashion is not in appropriating culture but in celebrating it through respectful and fair alliances. As shoppers grow more aware of the histories behind their garments, brands will be under greater pressure to confirm their production lines are not only green but also culturally considerate. This involves funding real partnerships, safeguarding intellectual property, and making sure the groups that contribute their heritage to the world get the acknowledgment and payment they are due.