When art imitates cruelty: Dissecting Zara’s latest shoot
Zara’s latest campaign shows statues draped in white, rocks, rubble and a cardboard cutout resembling the map of Palestine
Unacceptable. Inhumane. Unforgivable.
These are just a few of the diluted expressions that come to mind upon witnessing the concept chosen by Zara, a billion-dollar clothing apparel company, for their latest photoshoot.
The concept is not just unacceptable; it's a visceral punch to the gut, dripping with inhumanity, and repugnance. As Palestinians continue to endure the nightmare of loss for the 64th consecutive day, many choose peaceful avenues like mass protests and vigils to stand in solidarity.
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However, it is clear that not everyone has chosen peaceful and humane methods to express their solidarity.
This morning, as I scrolled through my social feed for the daily war check-in that has become a habit, a single image struck a nerve.
Attempting to portray a sculpting studio in disarray, with broken statues and destroyed art, the photo initially seems innocuous. However, against the backdrop of 64 days of unspeakable cruelty towards Palestinians—bombings, mutilations, beatings, arrests, displacements, and brutal murders—the concept becomes a cruel and unforgivable mockery of human suffering as it reflects a similar image that we are all too familiar with at this stage in the war.
In this context, the model carrying a statue wrapped in white fabric becomes a gut-wrenching reminder of the horrifying images that have flooded our screens since early October.
Zara argued that the central focus of its campaign, titled "The Jacket," is an exercise in concentrated design that aims to demonstrate the versatility of the garment. But the haunting resemblance between the model and countless individuals draped in a similar manner in white shrouds, laid to rest in coffins ranging from adults to the smallest of fetuses, amplifies the cruelty and insensitivity of Zara's chosen concept to an emotionally devastating level.
The campaign also features rocks, rubble, and a cardboard cutout resembling the map of Palestine, says Roya.
In 2021, Zara faced backlash when Vanessa Perilman, head designer of the women's department, targeted Palestinian model Qaher Harhash on Instagram. Vanessa reportedly sent controversial and anti-Palestinian messages in response to Qaher's pro-Palestine posts from occupied East Jerusalem.
"The people in my industry know the truth about Israel and Palestine and I will NEVER stop defending Israel and people like you come and go in the end," Perilman wrote, according to NBC. "Israelis don't teach children to hate nor throw stones at soldiers as your people do."
The incident led to social media users launching hashtags like #BoycottZara and #ZaraMustApologise, as Qaher exposed the 'Islamophobic' conversation with Vanessa Perilman, prompting widespread criticism and calls for accountability, reports Hindustan Times.
Considering the company's history of Islamophobic remarks and sentiments, coupled with its status as a billion-dollar entity equipped with one of the most robust PR teams, can we genuinely dismiss this as a mere coincidence?
Corporate giants have previously shown their support through donations and other humanitarian aids.
Art, often used to also show solidarity with a movement, is a common way of expressing one's emotion when words are no longer sufficient.
But to use the grief of a broken nation, and to use symbolism that represents the death of thousands seems to be a callous dance on the graves of those whose stories remain untold and whose pain echoes through the shattered landscapes of their lives.
Disclaimer: The views and opinions expressed in this article are those of the author and do not necessarily reflect the opinions and views of The Business Standard.
