Did Barack Obama’s Daughter Malia plagiarise for Nike Commercial? Here’s the proof – Brand Wagon News

Nike is facing renewed scrutiny after independent filmmaker Natalie Jasmine Harris accused the brand of co-opting the visual style and storytelling of her Sundance short film, Grace, in a recent commercial directed by Malia Obama. The spot,  part of the promotional campaign for WNBA star A’ja Wilson’s debut Nike sneaker, the A’One,  has drawn backlash after Harris publicly claimed the ad lifted multiple creative elements from her film, including shot composition, color palette, and a striking scene featuring two young Black girls playing pat-a-cake on a stoop.

“If brands want a certain look, why not hire from the source instead of for name recognition?” Harris posted on X (formerly Twitter), sharing side-by-side comparisons of her film and the commercial. “This hit hard.” Harris said she held back from speaking out due to the involvement of both a globally recognised brand and a high-profile figure like Obama, but ultimately decided the similarities were too significant to ignore. Both filmmakers debuted their work at Sundance 2024, raising the likelihood that Obama was exposed to Grace during the festival.

The allegations are less about direct plagiarism and more about what they represent in the commercial creative space: the tension between independent vision and brand-backed celebrity storytelling. For Nike, the controversy compounds what has already been a bumpy year for the brand’s reputation. Nike came under fire during the 2025 London Marathon for using the phrase “Never again” in its “Winning Isn’t Comfortable” campaign, language widely associated with Holocaust remembrance. The campaign featured slogans like “Never again, until next year” and “Never again, see you next year,” intended to reflect the exhaustion and perseverance of marathon runners. However, the use of the historically charged phrase sparked backlash, prompting Nike to issue an apology. In a statement, the brand clarified that the messaging was never meant to offend and expressed regret, saying, “We did not mean any harm and sincerely apologise for any we caused.”

What actually happened?

The commercial in question was Obama’s directorial debut and was intended to elevate the legacy of Black female athletes through cinematic storytelling. But Harris argues that the execution closely mimics her own vision without credit, and she questions the industry’s reliance on recognisable names over original creators. “It speaks to a larger issue of brands not supporting independent artists,” Harris told Business Insider. “That doesn’t breed innovative films or original storytelling.”

Nike has not yet issued a public response. Malia Obama and A’ja Wilson, who star in the campaign, have also remained silent. Harris’s posts have generated a wide range of reactions online,  some dismissing the similarities as coincidence, others demanding accountability and calling for greater transparency in Nike’s creative partnerships.

For a brand like Nike, which has built its image on empowerment, equity, and cultural relevance, these kinds of accusations carry risk. Consumers,  particularly Gen Z and millennial audiences, expect authenticity, not just in messaging, but in the process. That includes how and from whom creative work is sourced.