From khakis to pith helmets, certain garments have long symbolized British, French, and Dutch colonialism. The question arises whether their imperialistic history should be considered when worn today. Moreover, what about those academics who are aware of these histories yet choose to embrace colonial aesthetics in their daily lives?
In her book “Melania and Me,” Stephanie Winston Wolkoff discusses Melania Trump’s controversial headwear during her 2018 Kenya visit: “Melania wore a pith helmet reminiscent of European colonialists and claimed the choice upset the ‘liberal media.'” Trump explained her decision: “I googled ‘what to wear on safari,’ saw the outfit, and liked it. So I bought it,” she said, denying any colonial commentary.
After Trump’s Kenyan trip, her fashion was criticized for insensitivity, though some defend it as ignorance. However, what of those who consciously choose colonial style? Western archaeologists in Egypt often favor colonial-era attire, both for fieldwork and leisure. Contrary to assumptions that such fashion belongs to the past, it remains uncontroversial for many today, with some even showcasing their “vintage” preferences on social media.
This includes Dr. Colleen Manassa Darnell, known as the “Vintage Egyptologist.” Dr. Manassa Darnell, who taught at Yale University and now teaches art history in Connecticut, has gained a substantial following online. Her Instagram account, which began in 2017, boasts 153,000 followers, surpassing other Egyptologists like Zahi Hawass, who has 53,000 followers. VE’s YouTube channel, featuring Dr. Manassa Darnell and her husband, Yale Egyptology Professor John Coleman Darnell, has 35,000 subscribers.
VE delivers detailed historical content through a “vintage” lens, merging Egyptology with aesthetics reminiscent of “The Great Gatsby” and “The English Patient.” Their Instagram includes hashtags like #archaeology and #egyptology, though Egyptian workers are scantily featured. Dr. Manassa Darnell explained her love for 1920s fashion as a liberating era for women during an interview with Egypt Today, highlighting women’s increased roles during and after World War I.
Critics within academia, however, view VE’s portrayal as narcissistic and colonial. Yet, public critiques by fellow Egyptologists are rare. While some argue that content matters more than presentation, others believe VE’s romanticized depiction of Egyptology perpetuates colonial imagery. The Darnells’ “vintage cruises” and social media presence emphasize a whitewashed narrative that avoids addressing colonial violence and the complex histories of Egypt.
Despite VE’s popularity, its portrayal of Egyptology remains steeped in Orientalist fantasy. The Darnells’ focus on 1920s fashion overlooks the realities of British rule in Egypt, a time marked by archaeological missions and European tourism. VE’s audience, primarily white and Western, perpetuates nostalgia for colonial imagery. This fascination with colonial aesthetics, intertwined with modern-day socio-political issues, underscores the need for academics to engage more creatively and vocally in public discourse.
