Those of us old enough to remember can recall a time when the concept of luxury was antiquated, out of touch and quite frankly, out of reach. This was not by accident, but by design. The perception of elitism and exclusivity was devised to help elevate the segment, because as we all know, the rarer something is the more valuable it is.

However, over time many luxury brands have made the strategically savvy move to open up the once seemingly unattainable world of luxury to the rest of the world. And this has been done to great effect.

More than for status and opulence for opulence sake, the luxury industry has been and continues to embrace influences outside of its own. There has been a growing trend of luxury synergising with other cultures and subcultures to create products and experiences that better resonate with wider audiences.

Unfortunately, this does not always work.

Done poorly, luxury brands can significantly damage their reputation when adopting other cultures. Much worse than being called out for being contrived and disingenuous, the brand can be accused of cultural appropriation.

There are a host of notable examples of luxury brands that have completely missed the mark and offended not just their target audiences, but entire countries, races of people and even religions.

This is exactly what happened with Gucci and their ‘Indy Full Turban’, in which their clothing accessory – “inspired” by the Sikh religious garment – managed to offend millions of Sikhs around the world.

They may not have meant to cause offence, but luxury brand from the more secular West commercialising religious attire that is sacred to a people’s beliefs can be seen as disrespectful. Not to mention, that not one person from that community was featured in the catwalk; Gucci not only took a sacred part of Sikh culture without approval, they did not credit nor compensate them either.

This showed complete lack of cultural sensitivity from the brand. Had Gucci actually consulted a figure from that community, they most likely would have warned them about the implications of borrowing that aspect of Sikh culture.

Another notable example from the Japanese fashion house Commes des Garçons, features a catwalk made up of entirely Caucasian models in cornrow wigs appropriating the popular black hairstyle.

Other than its cultural significance to black people’s identity, unfortunately, in the West, when Black people fashion cornrows, it is perceived negatively. Ergo, the Black community was furious that it was only perceived positive and good enough to be fashioned on a catwalk once Caucasian models adorned fake version of them. This tone deaf move demonstrated that the brand did not consider the nuances of this element of Black culture. And in the same vein and the previous example, not one person from the Black community was consulted or represented in this fashion show.

Both brands issued apologies – as have many others – for their fashion Faux Pas, but it demonstrates how luxury brands are trying to be more relatable to wider audiences, albeit distastefully.

That being said, when luxury brands embrace other cultures correctly, this form of cultural appreciation is received very well. The cultures being appreciated are often proud to be celebrated by such globally recognised brands.

A wonderful example of cultural collaboration done well is Fendi’s upcoming Ramadan Majilis. As part of the Abu Dhabi Department of Culture and Tourism Layali Ramadan campaign, Fendi has tastefully integrated a traditional Arabic seating arrangement in their charming brand experience. This simple yet very effective synergy of cultures will allow attendees from the region to feel seen and appreciated.

This will go down well for a multitude or reasons, but mainly because Fendi is collaborating with a local institution that is rooted in Arabic culture, that can properly guide them. Also, Fendi are choosing an aspect of the culture that is the least touchy, and executing it tastefully. They are ensuring that the experience is cultivated by the culture, for the culture.

Other tasteful examples of cultural appreciation include Burberry’s mesmeric brand activation in China, and Louis Vuitton’s streetwear collaborations. Burberry brought a typical rainy old day in London to Shanghai for a stunning celebration of the launch of their high-tech flagship store.

Not only did they elegantly tap into a non-contentious trope of London culture, they managed to turn a negative trope into a beautifully executed piece of art. There were no trigger points in the aspects of London life that they chose to tell their brand story.

LV on the other hand, made the shrewd move to incorporate streetwear into their repertoire, and stamped their credibility in this endeavour by appointing their late creative director – Virgil Abloh. His understanding and connection to urban culture not only allowed them to do streetwear properly, but honourably too.

Having someone from the urban culture scene meant that they not only represented that culture fairly, but gave credit to the community they were inspired by. True luxury collaboration with culture helps ensure that there are more cultural appreciations than appropriations.

Luxury brands will and should continue to align luxury with culture, but they should involve the people within the culture to synergise in manner that is respectful, impactful and honoring of the culture it comes from. As this article has clearly highlighted, there is a fine line between appropriation and appreciation, and luxury brands need to be mindful of which side their new lines are fashioned.