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Fashion relates to social and cultural context of an environment. According to Matika, "Elements of popular culture become fused when a person's trend is associated with a preference for a genre of music…like music, news or literature, fashion has been fused into everyday lives." Fashion is not only seen as pure aesthetic values; fashion is also a medium for performers to create an overall atmosphere and express their opinions altogether through music video. The latest music video ‘Formation’ by Beyoncé, according to Carlos, "The pop star pays homage to her Creole root.... tracing the roots of the Louisiana cultural nerve center from the post-abolition era to present day, Beyoncé catalogs the evolution of the city's vibrant style and its tumultuous history all at once. Atop a New Orleans police car in a red-and-white Gucci high-collar dress and combat boots, she sits among the ruins of Hurricane Katrina, immediately implanting herself in the biggest national debate on police brutality and race relations in modern day."
Many fashion designers have come under fire over the years for what is known as tokenism. Designer or editors will add one or two members on an underrepresented group to help them appear as inclusive and diverse, and to also help them give the illusion that they have equality. This idea of tokenism helps designers avoid accusations of racism, sexism, body shaming, etc.
Celebrities like Rihanna, Lupita Nyong'o, Zendaya, and Michelle Obama have been a few of the many fashion idols in the black female community. For men, Pharrell Williams, Kanye West, and Ice Cube have also helped define modern day fashion for black men. Today’s fashion scene is not just clothes, but also hair and makeup. Recent trends have included the embracing of natural hair, traditional clothing worn with modern clothing, or traditional patterns used in modern clothing styles. All of these trends come with the long existing and persevering movement of “Black is Beautiful”.
In eastern Indonesia, both the production and use of traditional textiles have been transformed as the production, use and value associated with textiles have changed due to modernization. In the past, women produced the textiles either for home consumption or to trade with others. Today, this has changed as most textiles are not being produced at home. Western goods are considered modern and are valued more than traditional goods, including the sarong, which retain a lingering association with colonialism. Now, sarongs are used only for rituals and ceremonial occasions, whereas western clothes are worn to church or government offices. Civil servants working in urban areas are more likely than peasants to make the distinction between western and traditional clothes. Following Indonesia's independence from the Dutch, people increasingly started buying factory made shirts and sarongs. In textile-producing areas the growing of cotton and production of naturally colored thread became obsolete. Traditional motifs on textiles are no longer considered the property of a certain social class or age group. Wives of government officials are promoting the use of traditional textiles in the form of western garments such as skirts, vests and blouses. This trend is also being followed by the general populace, and whoever can afford to hire a tailor is doing so to stitch traditional ikat textiles into western clothes. Thus, traditional textiles are now fashion goods and are no longer confined to the black, white and brown colour palette but come in array of colours. Traditional textiles are also being used in interior decorations and to make handbags, wallets and other accessories, which are considered fashionable by civil servants and their families. There is also a booming tourist trade in the eastern Indonesian city of Kupang where international as well as domestic tourists are eager to purchase traditionally printed western goods.
The change from anti-fashion to fashion because of the influence of western consumer-driven civilization can be seen in eastern Indonesia. The ikat textiles of the Ngada area of eastern Indonesia are changing because of modernization and development. Traditionally, in the Ngada area there was no idea similar to that of the Western idea of fashion, but anti-fashion in the form of traditional textiles and ways to adorn oneself were widely popular. Textiles in Indonesia have played many roles for the local people. Textiles defined a person's rank and status; certain textiles indicated being part of the ruling class. People expressed their ethnic identity and social hierarchy through textiles. Because some Indonesians bartered ikat textiles for food, the textiles constituted economic goods, and as some textile design motifs had spiritual religious meanings, textiles were also a way to communicate religious messages.