Spotlight on Native designers

This weekend’s fashion events placed a well-deserved spotlight on Native designers, whose work is gaining increasing recognition both locally and internationally. These designers are not only redefining fashion aesthetics but also challenging long-held stereotypes by presenting collections that are deeply rooted in their cultural identities. Their creations blend traditional craftsmanship with contemporary design, offering a powerful narrative that speaks to both heritage and innovation.

Among the standout talents was Jamie Okuma, a Luiseño and Shoshone-Bannock designer known for her intricate beadwork and bold silhouettes. Her latest collection featured hand-beaded garments that took hundreds of hours to complete, each piece telling a story of resilience and cultural pride. Okuma’s work exemplifies how fashion can serve as a living archive of Indigenous knowledge and artistry.

Also making waves was Indigenous Australian designer Grace Lillian Lee, whose work bridges the gap between traditional Torres Strait Islander weaving techniques and modern fashion. Her pieces, often sculptural and vibrant, celebrate the strength and beauty of Indigenous women. Lee’s participation in the event highlighted the global reach of Indigenous fashion and the shared experiences of First Nations peoples across continents.

These designers are not only creating garments—they are reclaiming narratives. Their presence on the runway sends a clear message: Indigenous fashion is not a trend, but a thriving, evolving expression of identity and creativity. The fashion shows provided a platform for these artists to be seen and heard on their own terms, allowing their work to speak volumes about the communities they represent.

As the audience applauded each collection, it became evident that these designers are reshaping the fashion landscape. Their work is a testament to the power of self-representation and the importance of cultural continuity in the face of modernity. For Australian viewers, the inclusion of both local and international Indigenous designers offered a unique opportunity to witness the diversity and depth of Native fashion from around the world.

Cultural heritage on the runway

As models stepped onto the runway, the garments they wore became more than just fashion statements—they were embodiments of cultural heritage, woven with stories, symbols, and ancestral knowledge. Each piece reflected a deep connection to land, language, and lineage, transforming the catwalk into a space of cultural affirmation and storytelling. From the intricate beadwork of North American tribes to the woven patterns of Torres Strait Islander traditions, the runway became a living canvas of Indigenous identity.

Designers drew inspiration from ceremonial regalia, traditional motifs, and natural elements, reinterpreting them through a contemporary lens. For instance, several collections incorporated ochre tones, native flora patterns, and hand-dyed fabrics using traditional methods passed down through generations. These elements were not used as mere decoration but as intentional expressions of cultural continuity and pride.

One particularly moving moment came when a group of models walked barefoot, wearing garments inspired by their community’s Dreamtime stories. The silence in the room was palpable, as the audience recognised the reverence and significance of what was being shared. This was not just fashion—it was a cultural performance, a reclaiming of space and narrative in an industry that has historically marginalised Indigenous voices.

Incorporating language into the designs was another powerful feature. Some garments bore words in Indigenous languages, stitched or printed across fabric, asserting the survival and resilience of these languages in the face of colonisation. For many in the audience, especially those from Indigenous communities, seeing their language represented in such a public and celebrated way was deeply affirming.

Accessories also played a vital role in showcasing cultural heritage. Feathered headdresses, shell necklaces, and woven bags were not just stylistic choices but carried cultural significance, often handmade by community artisans. These collaborations between designers and traditional makers highlighted the importance of community involvement and the intergenerational transmission of knowledge.

For Australian audiences, the presence of Aboriginal and Torres Strait Islander designs alongside those from Native American and First Nations Canadian creators offered a powerful reminder of the shared experiences of colonisation, resistance, and cultural resurgence. The runway became a space of solidarity, where Indigenous peoples from across the globe celebrated their unique identities while recognising their collective strength.

Empowering Indigenous voices through fashion

Fashion, in the hands of Indigenous designers, becomes a tool for empowerment—both personal and collective. This weekend’s shows demonstrated how clothing can be a medium for reclaiming voice, asserting sovereignty, and fostering pride in cultural identity. For many of the designers and models involved, participation in these events was not just about showcasing talent, but about standing in their truth and being seen on their own terms.

Emerging designers spoke of how fashion has given them a platform to challenge stereotypes and rewrite narratives that have long been imposed upon their communities. By creating garments that reflect their lived experiences and cultural knowledge, they are actively resisting erasure and asserting their place within the broader fashion industry. This act of self-representation is particularly powerful in an industry that has historically appropriated Indigenous aesthetics without proper recognition or respect.

Workshops and panel discussions held alongside the runway shows provided further opportunities for Indigenous creatives to share their stories and connect with audiences. These sessions delved into the challenges faced by Indigenous designers, such as access to funding, representation in mainstream media, and the need for culturally safe spaces within the fashion world. By voicing these concerns publicly, designers are not only advocating for themselves but also paving the way for future generations of Indigenous talent.

Mentorship and collaboration were recurring themes throughout the weekend. Established designers took time to uplift emerging artists, offering guidance and sharing resources. This spirit of community and mutual support is a hallmark of Indigenous fashion movements, where success is often viewed collectively rather than individually. For many young creatives, seeing someone from their own background succeed in the fashion world is a powerful motivator and a reminder that their stories matter.

Incorporating Indigenous models, stylists, and photographers into the production of the shows further reinforced the importance of Indigenous-led storytelling. These roles are not merely behind-the-scenes—they are integral to how the final vision is shaped and presented. By ensuring that every aspect of the creative process is informed by Indigenous perspectives, the shows maintained authenticity and cultural integrity.

For Australian audiences, the inclusion of Aboriginal and Torres Strait Islander voices in these conversations was especially resonant. The fashion shows served as a reminder that Indigenous empowerment is not confined to one region or nation—it is a global movement rooted in shared histories and aspirations. As Indigenous designers continue to rise, they are not only changing the face of fashion but also challenging the systems that have long excluded them.

Spotlight on Native designers

This weekend’s fashion showcases in the U.S. brought Native designers into the spotlight with a powerful presence that resonated far beyond the runway. Held in Santa Fe, New Mexico, the events coincided with the annual Southwestern Association for Indian Arts (SWAIA) market, drawing attention to Indigenous talent from across North America. The runway was transformed into a platform for storytelling, identity, and unapologetic creativity.

Designers such as Jamie Okuma (Luiseño/Shoshone-Bannock) and Orlando Dugi (Diné) led the charge, presenting collections that fused traditional craftsmanship with contemporary silhouettes. Okuma’s pieces featured intricate beadwork and hand-painted leather, while Dugi’s gowns shimmered with hand-sewn sequins and rich velvet, evoking the desert night sky. Their work not only captivated the audience but also challenged the mainstream fashion narrative by centring Indigenous aesthetics and voices.

Emerging talents like Korina Emmerich (Puyallup) and Skawennati (Mohawk) brought a fresh, avant-garde edge to the shows. Emmerich’s use of bold colour blocking and sustainable textiles reflected both her cultural roots and commitment to climate-conscious design. Skawennati, known for her digital art, debuted garments inspired by cyber-futurism and Indigenous futurity, blending tech and tradition in a way that felt both grounded and visionary.

“We’re not just designers—we’re culture bearers,” said Emmerich backstage. “Every stitch tells a story, every pattern is a memory.”

These designers are not only redefining what Indigenous fashion looks like—they’re reshaping the global fashion conversation. Their work is a reminder that fashion is not just about trends, but about identity, resistance, and pride. For Australian audiences, the parallels with our own First Nations designers are striking, and the momentum of Indigenous fashion globally is one to watch—and celebrate.

Celebrating cultural heritage through fashion

Across both shows, garments became living canvases for cultural storytelling, with each piece echoing ancestral knowledge, community values, and personal histories. Designers leaned into their heritage not as a theme, but as a foundation—woven into every fibre, bead, and silhouette. The result was a visual language that spoke volumes, even in silence.

Orlando Dugi’s collection, for instance, drew heavily from Diné cosmology, with celestial motifs and traditional weaving techniques reimagined in luxe fabrics. His use of indigo-dyed silks and silver embellishments referenced sacred Navajo symbols, creating a dialogue between the spiritual and the sartorial. Jamie Okuma’s work, meanwhile, paid homage to her Luiseño and Shoshone-Bannock lineage through hand-beaded appliqués that mirrored traditional regalia, yet were styled in sharply tailored jackets and modern separates.

What stood out was the intentionality behind every design choice. From the materials—many of which were ethically sourced or handcrafted within Indigenous communities—to the silhouettes that honoured traditional dress while embracing contemporary form, these collections were acts of cultural preservation and innovation. They weren’t just beautiful—they were deeply meaningful.

For Australian fashion insiders, the resonance is immediate. Much like the work of our own First Nations designers—think Grace Lillian Lee or Ngali’s Denni Francisco—these collections challenge the industry to move beyond tokenism and embrace Indigenous fashion as a vital, evolving force. The shows in Santa Fe weren’t about nostalgia; they were about continuity, resilience, and the future of fashion through a cultural lens.

“Fashion is our ceremony,” said one model backstage, draped in a handwoven cape. “It’s how we honour where we come from and where we’re going.”

In a global industry often criticised for cultural appropriation, these shows offered a masterclass in cultural celebration—led by the very communities whose stories are being told. For Australian audiences, it’s a timely reminder of the power of fashion to connect, educate, and empower when it’s rooted in authenticity and respect.