Decolonising Fashion: Who Really Belongs?

This week’s exploration into colonialism in fashion has been both eye-opening and deeply unsettling. The question of who fashion is for, or who it serves, seems simple at first, but the deeper I dig, the more I realise how entrenched the industry is in Western ideals, power structures, and exclusionary practices.

Fashion, in its modern form, was built on a foundation of imperial control—dictating beauty standards, creative visions, and even economic power. As I reflect on my own experiences in the industry, I see how the system has been designed to favour Western aesthetics while marginalising the craftsmanship, traditions, and labour of artisans in the Global South.

A First-Hand Perspective from Developing Countries

Having spent years working in factories, sourcing textiles, and navigating the supply chains, I have seen firsthand how colonial legacies still dictate who holds power, who profits, and who is considered ‘fashionable.’ The reality is that entire cultures and industries in Asia, Africa, and South America are expected to serve the Western market but are rarely celebrated as equals.

At the same time, these regions bear the brunt of fast fashion’s exploitative nature—low wages, environmental destruction, and a lack of recognition for their innovation and craftsmanship. The people who create fashion are often invisible in the industry they sustain.

Learning to Challenge the System

At Falmouth University, the commitment to decolonisation, equity, and inclusion is at the heart of our learning. We are encouraged to critically assess the deep-rooted racial and cultural hierarchies within fashion and consider what it means to truly belong in this industry.

As I work through this curriculum, I ask myself:

• What if we truly decolonised fashion?

• What if the dominant voices in fashion weren’t Western but rather a diverse, global mix of perspectives?

• What if sustainability included social justice, and we saw people—not just materials—as the foundation of ethical fashion?

Building a Future: Writing the Fourth Chapter of My Speculative Fiction

This week, I took a significant step in envisioning a decolonised fashion future by writing the fourth chapter of my speculative fiction. In this chapter, I explored what the world could look like in 2040 if we successfully dismantled the colonial structures embedded in fashion.

My narrative is deeply rooted in Singapore—its history, its evolution, and its potential to be a leader in regenerative, socially just fashion. I imagined a future where brands no longer operate on extractive models but instead build ethical, locally-driven supply chains that uplift communities rather than exploit them.

Engaging the Community: My Online Workshop on the Future of Fashion

To test and refine my vision, I hosted an online participatory futures workshop as part of my MA Fashion Sustainability curriculum. This was an opportunity to gather broader feedback from my community, using deliberative democratic problem-solving to encourage discussion and reflection.

What I Shared

Participants received:

1. My manifesto – written in Week Two, outlining my values, blueprint, and the key issues I aim to address in the fashion sector.
2. A fictional narrative – envisioning a world in 2040 where our sustainability efforts have succeeded, grounded in Singapore’s locality and history.

Reflective Questions for Participants

Since we could not meet in person, I asked participants to respond in writing or via voice recording to the following reflective prompts:

• What happened to you during the experience?
• How did you feel, and what were your reactions?
• What insights or conclusions can you draw from the experience?
• Are there any actions you may take based on what you learned today?

The goal was to gather diverse perspectives—insights from different age groups, genders, and professional backgrounds—to help me refine my speculative vision.

Moving Forward: A Personal Commitment

This week’s discussions and readings have challenged me to question my own position in the industry—not just as a designer but as someone who has directly participated in the systems that uphold these inequalities.

For me, decolonising fashion isn’t just about acknowledging the problem. It’s about actively changing the way I design, source, create, and engage with fashion. It’s about amplifying the voices of those who have been ignored, celebrating the true diversity of creativity, and ensuring that the future of fashion is one that belongs to everyone—not just the privileged few.

Hosting this workshop gave me valuable feedback on my future vision, and I am committed to continuing these conversations as I refine my speculative fiction and my real-world approach to sustainable fashion.

Thread:Ed: Educational Outreach on Sustainable Fashion and Textiles

If you're interested in learning more about sustainable fashion and textiles, visit my Thread:Ed page, where I explore educational outreach initiatives dedicated to making the industry more ethical and regenerative. Let’s keep the conversation going and weave a better future together!🌿

Wilde Reads: Books For Change

If you're passionate about sustainability and fashion, why not join our Wilde Hippi Book Club? Together, we’ll explore books that inspire change, discuss new ideas, and build a community committed to ethical living. We are currently read The Future We Choose by Christiana Figueres and Tom Rivett-Carnac Let’s turn the page towards a better world! 📚✨

Stay wild, stay free,
Tala 🌿 💚

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