Indigenous Fashion: Stories, Identity, and Sustainability in the Global Landscape
Indigenous fashion is emerging as one of the most interesting and meaningful cultural expressions in recent years. Through the use of traditional materials, ancestral techniques, and designs that tell stories of identity and belonging, Indigenous designers are gaining increasing recognition on the international stage. This is a phenomenon that deserves attention, not only for its aesthetic value but also for the message of respect and sustainability it conveys.
The Centro Studi Italia Canada has been following this topic with great interest, recognizing its cultural and social significance. The participation of Indigenous Fashion Arts (IFA) at WHITE Milano was a valuable opportunity to deepen the dialogue between tradition and innovation, offering a platform for exchange between different cultures.
In this article, Mhari Reid shares her firsthand experience at WHITE Milano, reflecting on her meetings with designers and event organizers. Her analysis highlights the creative strength of Indigenous fashion and its role in fostering an authentic dialogue between the past and the future.
What is the role that I, as a white settler in Canada, can have in speaking about Indigenous artwork as an expression of their culture? This is the primary question I asked myself when I was asked to write a short article about the showcase of Indigenous Fashion Arts (IFA) at the tradeshow WHITE Milano. It was an incredible experience, but I think most importantly in wrestling with this question, I walked away with two key ideas on my mind.
- As white settlers, we still have so much to learn about the Indigenous experience, culture, and art.
- We can’t learn until we listen.
So, while in this article I will share some insights I myself had during the event, I primarily want to use this as an opportunity to learn and listen, and therefore would like to share some passages directly from one of the designers at the showcase, and a curator of Indigenous artwork, who were so kind as to answer some of the questions I had.
The IFA showcase, hosted in collaboration with the Canada Council for the Arts, was held on February 28th in Milan. It featured several designers and one curator of Indigenous artwork and fashion. I had the pleasure of attending on behalf of the Centro Studi Italia-Canada.
Randi Nelson
This event was significant to me in many ways. First, I have just completed my Masters of Sustainable Fashion, meaning I have spent the last 9 months learning about how businesses are retroactively incorporating social and environmental stewardship into their operations, because we are facing a climate crisis and this industry is a key perpetrator.
During the showcase the designers shared some insights into their design process, and it was so clear that the core principle of harmony with nature that is so central to Indigenous cultures does not need to be inserted in the aftermath if it is embedded in the process of design. The approach from these designers was emblematic of the fact that care for and respect of nature cannot be rooted in compliance but instead in reverence.
Relationships with the land have guided Indigenous traditions for centuries, and it is time for the fashion industry to seek guidance from the same source, the earth. It is so important to welcome Indigenous designers into mainstream fashion industry spaces as the industry embarks on, in many ways, its final chance at meeting the needs of the planetary boundaries we face.
Secondly, it highlighted the vital nature of continual learning in fashion. Storytelling, or using personal experiences as inspiration for design, not only makes fashion interesting, but it also is a necessity to learn from those whose experiences differ from our own. And this becomes all the more critical when the stories and experiences are coming from those who have too often not been listened to, not been heard.
As we know, the fashion industry has a lot of work to do to decolonize, as too often major fashion houses or brands have produced collections that appropriate Indigenous culture. Beyond the immediate need to be better, there is an equal if not greater need for the industry to listen and learn.
While yes, if some of this learning can come from Indigenous folks directly that is an incredible privilege, still we must take it upon ourselves to read and learn on our own. That is our responsibility as settlers. (More on this subject in the interviews to follow.) As a non-Indigenous Canadian, who grew up on stolen land and whose education of Indigenous cultures was limited, I have so much learning to do. And as someone who is just beginning her career in the fashion industry, it is my responsibility to keep learning, and not take for granted when Indigenous designers share their knowledge and experiences with me.
Randi Nelson
With that said, I would like to share some pieces of the interview I had with one of the designers at the showcase, Meghan Weeks. She is a Cree/English woman, a member of Sucker Cree First Nations, and the designer behind MDW Jewelry. She kindly shares some of her thoughts with me on the White Milano showcase, her design process, and the need for Indigenous art in the global market:
When did you first start designing jewelry and are there specific materials or techniques that hold particular significance for you?
From a young age I made scoubidou bracelets using plastic thread and throughout my teenage years made jewelry out of beads. I started designing jewelry officially in 2017 after learning basic silversmithing. Sterling silver holds a special place as it is most accessible to everyone and allows me to experiment. I use materials from nature, like claws, teeth and hide which are traditional materials of many Indigenous people of Turtle Island. They all have a spirit and to share these materials is quite special. They are one of a kind and heirloom quality and have been treated with the utmost respect, from harvesting of the animal, to honoring the being’s life through making wearable art. Most of these materials have come to me as gifts. So every aspect has its story and a place from which it came.
I read in your bio that your jewelry is inspired by the humour and influence of your aunties and mother. Creating pieces that reflect your family and personal story must be an incredibly intimate process. What makes it important for you to share your story through your work in this way?
I am quite introverted and sometimes get very awkward in social spaces which feels like I can be quite unnoticeable. I feel my jewelry allows me to be understood and seen. I can make statement jewelry that is loud and tells a story. It can be quite intimate, but I think it is important to share our story. To show the world that even though we have gone through a lot as Indigenous people, we are here, we are resilient, and we have a lot of joy and laughter to share.
Harmony and respect for the earth are fundamental principles of sustainability and key cornerstones of Indigenous practices. Unfortunately, the fashion industry frequently treats sustainability as a marketing strategy rather than a genuine process of stewardship or a deeply held belief system. How can designers authentically integrate these values into the fashion ecosystem? Additionally, what role do events like the showcase at White Milano play in fostering this shift?
Mindfulness is key, having your work mean something as opposed to the dollar value or the next trend is a great way to integrate these values. I am mindful of the materials I do use and make sure I know where my silver comes from. Silver never loses its value, monetarily or relatability. The material can always be recycled or made into something new. It can be passed down from generations and will only grow with specialness. This also includes traditional materials like hides, beads, etc. When you give the gift of art you are also honoring your ancestors and future ancestors. To be part of events like White Milano, this gives us, Indigenous artists, a platform to show that we are here, we aren’t from the past, we have contemporary ideas and work. We are here to celebrate our culture and we do not tolerate appropriation. We are also paving the way for other Indigenous designers and showing our youth that we are proud, creative and deserve the same stage as mainstream fashion.
I also want to share some of an interview I had with Douma Alwarid, the curator of Indigenous wearable artworks for her business, Unorthodox, from the Yukon. Though not Indigenous herself, Douma’s work and collaboration with designers has offered her a unique perspective. She shares her view on the responsibility of non-Indigenous folks to educate themselves, the fashion industry’s responsibility to decolonize, and what genuine collaboration with Indigenous designers should be within the industry.
I understand a key part of your process of curating and supporting Indigenous artwork is learning and walking alongside the artists. Can you explain this process further and perhaps identify ways in which other non-Indigenous people can be informed by this process?
For me as a non-Indigenous person, it was all about relationship building and earning the trust of the artists. This took time but was vital in order to establish myself as a trustworthy person to work with. Once I developed solid relationships with several top-tier Yukon Indigenous artisans, word spread around the territory and beyond. As long as the discussions were kept respectful and open on both sides, I was open to the teachings that Indigenous folks extended to me. They knew I meant no harm and that I was always willing to discuss whatever was happening, quickly change course, and, in the process, pass on the teachings to other receptive non-Indigenous people.
I never forget that it is an honour and privilege to work within this realm and I feel that whenever possible, non-Indigenous people should be receptive and open to learning. We truly are 'uninvited guests' in Canada. Also, it takes time and energy away from Indigenous folks to educate us about these things and one should never assume that everyone Indigenous will willingly give the time needed nor should they if they don't want to. My advice is to research and learn via the internet, books or culture centres and if by chance someone Indigenous is willing to talk and teach, even better. Always ask questions but be mindful of their time and always thank them for their knowledge and for respectfully trying to help educate non-Indigenous people!
I know you said that one of your key aims is to defend the artistic rights for artisans and ensure fair compensation for their art. Do you think it’s important for Indigenous artists to engage with the global market, and if so, how can those in the fashion ecosystem (designers and consumers) support this in a way that ensures the work is respected and valued while honouring Indigenous cultures?
I think it is so important for the artists to engage with the global market! To quote one of our delegation members, Scott Wabano, it's 'First Fashion'. It's designed and made by Indigenous creatives and is unique and tells the story of the part of the world that they are from.
I wish that more fashion houses understood that there is no such thing as "Native Inspired." It's called appropriation, plain and simple. In many cases, ancient designs or patterns are being blatantly copied and marketed as 'inspired by' with no permission or credit given and certainly no proper financial compensation given. It's shameful and a bad look for the fashion industry.
It is refreshing, however, to see how many major fashion events have embraced the artistry and are making sure that an Indigenous fashion component is always included in these high profile and well-attended gatherings. That said, much work is needed in terms of educating and advocating for fair value and compensation for their designs. Brands can't steal someone else's culture and claim it as their own, or as "inspired by." It's time to decolonize the way Indigenous creatives are treated. If you are blessed enough to have an Indigenous designer agree to collaborate with you, you should be ensuring that you are taking the time to learn about the spiritual and ancestral connection that the designers will have to their art and that it is truly an honour and privilege to have access to that. Always respect the artists and what they have bestowed on you as it is truly a gift.
Randi Nelson
We would like to express our sincere gratitude to Mhari Reid for sharing her valuable insights with us and for her contribution to spreading a more inclusive and aware perspective on global fashion. Her commitment to exploring and telling these stories is an important step toward a deeper and more respectful understanding of Indigenous cultures.