Celebrating Indigenous fashion on the global stage

Indigenous fashion has steadily gained momentum on international runways, and Patricia Michaels stands at the forefront of this cultural renaissance. As a Native American designer of Taos Pueblo heritage, Michaels has brought traditional motifs, natural materials, and ancestral stories into the spotlight of high fashion. Her work has graced platforms such as Project Runway and New York Fashion Week, where she has challenged mainstream perceptions and introduced audiences to the depth and diversity of Indigenous design.

For Michaels, the global stage is not just a place to showcase garments—it is a space to assert identity, reclaim narratives, and celebrate the resilience of Indigenous communities. Her designs often incorporate hand-painted fabrics, organic textures, and patterns inspired by nature and Pueblo symbolism, creating a visual language that speaks to both heritage and innovation.

Australian audiences, familiar with the rich traditions of Aboriginal and Torres Strait Islander art, may find resonance in Michaels’ approach. Like many Indigenous designers across the world, she uses fashion as a medium to tell stories, preserve culture, and challenge colonial frameworks that have long excluded Native voices from the fashion industry.

As Indigenous fashion continues to gain recognition globally, designers like Michaels are not only redefining style but also reshaping the industry’s understanding of authenticity, sustainability, and cultural respect. Their presence on international runways signals a broader shift toward inclusivity and a deeper appreciation for the cultural wealth that Indigenous communities bring to the world of fashion.

Honoring Native artistry and cultural heritage

Patricia Michaels’ work is deeply rooted in the traditions and teachings of her Taos Pueblo heritage, and she approaches fashion not merely as a commercial enterprise, but as a sacred expression of identity and legacy. Each garment she creates is imbued with meaning, often drawing from ancestral knowledge, spiritual symbolism, and the natural world. Her use of hand-dyed fabrics, traditional weaving techniques, and motifs inspired by Pueblo pottery and landscapes reflects a commitment to honouring her cultural lineage through every stitch and silhouette.

In many Indigenous cultures, including those of Aboriginal and Torres Strait Islander peoples, art and design are not separate from daily life—they are integral to storytelling, ceremony, and community. Michaels’ designs echo this philosophy, treating fashion as a living archive of cultural memory. Her pieces are not only visually striking but also carry the weight of generations, serving as wearable testaments to the strength and beauty of Native traditions.

By foregrounding Indigenous artistry in her collections, Michaels challenges the fashion industry to move beyond tokenism and trend-chasing. She advocates for a deeper engagement with the cultural contexts from which designs emerge, urging designers and consumers alike to respect the origins and significance of Indigenous aesthetics. This perspective resonates strongly in Australia, where Indigenous artists have long fought for recognition of their intellectual and cultural property in the face of appropriation and exploitation.

Through her work, Michaels also highlights the importance of intergenerational knowledge transfer. She often collaborates with family members and community artisans, ensuring that traditional skills are preserved and passed down. This collaborative spirit reinforces the communal nature of Indigenous creativity, where fashion becomes a shared act of cultural preservation and pride.

As the global fashion industry begins to reckon with its colonial past and embrace more inclusive practices, designers like Patricia Michaels offer a powerful model for how fashion can honour heritage while innovating for the future. Her commitment to authenticity and cultural integrity serves as a reminder that true artistry is inseparable from the stories and communities that shape it.

Advocating for recognition and representation in fashion

Patricia Michaels continues to be a vocal advocate for the recognition and representation of Indigenous designers within the broader fashion industry. She underscores the need for systemic change that goes beyond surface-level inclusion, calling for meaningful opportunities for Native creatives to lead, influence, and shape the direction of fashion. For Michaels, representation is not just about visibility—it’s about agency, equity, and the ability to define one’s own narrative within an industry that has historically marginalised Indigenous voices.

In her public talks and interviews, Michaels often points to the lack of Indigenous decision-makers in fashion institutions, from design schools to editorial boards and brand leadership. She argues that true representation requires Indigenous people to be present not only on the runway but also behind the scenes, where key decisions about aesthetics, marketing, and cultural messaging are made. This sentiment echoes the experiences of many Aboriginal and Torres Strait Islander creatives in Australia, who continue to push for greater inclusion and respect within the arts and fashion sectors.

To address these disparities, Michaels supports initiatives that provide mentorship, funding, and platforms for emerging Indigenous designers. She believes that nurturing the next generation of talent is essential to sustaining the momentum of Indigenous fashion and ensuring that it remains rooted in community values. Programs that centre Indigenous knowledge systems and prioritise cultural protocols are especially important, as they help protect against the exploitation and misrepresentation of traditional designs.

Another key aspect of Michaels’ advocacy is her critique of cultural appropriation in fashion. She calls for stronger protections for Indigenous intellectual property and urges brands to engage in ethical collaborations that respect the sovereignty of Indigenous communities. This is a particularly relevant issue in Australia, where Indigenous artists have long battled against the unauthorised use of their designs by commercial entities. Michaels’ stance reinforces the importance of consent, credit, and compensation in any engagement with Indigenous culture.

Her advocacy also extends to education, where she encourages fashion institutions to incorporate Indigenous perspectives into their curricula. By teaching students about the histories, philosophies, and aesthetics of Indigenous cultures, schools can help dismantle the Eurocentric biases that dominate fashion education. This approach not only enriches the learning experience but also fosters a more inclusive and respectful industry culture.

Ultimately, Patricia Michaels envisions a fashion world where Indigenous designers are not just included but celebrated as leaders and innovators. Her work and advocacy serve as a powerful reminder that fashion can be a tool for empowerment, cultural affirmation, and systemic change—when it is guided by respect, collaboration, and a genuine commitment to justice.

Celebrating Indigenous fashion on the global stage

Patricia Michaels, a proud Taos Pueblo designer, has become a powerful voice in elevating Indigenous fashion to international prominence. Her work, which fuses traditional Native American techniques with contemporary silhouettes, has graced runways from New York to Paris, challenging outdated perceptions and redefining what it means to be a modern Indigenous designer.

Her breakout moment came as a finalist on Project Runway Season 11, where she captivated audiences with garments that told stories of her heritage through hand-painted textiles and organic materials. Since then, Michaels has continued to push boundaries, using fashion as a medium to express cultural identity and environmental consciousness.

“When I walk into a room, I want people to see Native fashion as high fashion — not as a costume, but as couture,” says Michaels.

Her designs are not only visually striking but also deeply rooted in the traditions of her community. Each piece is a celebration of Indigenous resilience and creativity, crafted with a reverence for nature and ancestral knowledge. This authenticity has resonated globally, with fashion insiders and collectors alike recognising the value of Indigenous perspectives in shaping the future of design.

• Her collections often feature natural dyes, handwoven fabrics, and motifs inspired by Pueblo symbology.
• She has collaborated with museums and cultural institutions to showcase Native fashion as both art and activism.
• Her presence at major fashion events has opened doors for other Indigenous designers to gain visibility and respect.

For Australian audiences, where First Nations fashion is also gaining momentum, Michaels’ journey offers a compelling parallel. Her success underscores the global appetite for authentic, culturally rich design — and the importance of platforms that elevate Indigenous voices in fashion.

The call for recognition and respect in Native design

Despite the growing visibility of Indigenous fashion, Patricia Michaels is candid about the ongoing challenges Native designers face in gaining the recognition they deserve. She points to a fashion industry that still too often sidelines Indigenous creators, treating their work as trend-driven novelties rather than as enduring contributions to the global design narrative.

“We’re not here to be appropriated or romanticised — we’re here to be respected as innovators, as artists, as professionals,” Michaels asserts.

She calls for a shift in how the industry engages with Native design — not just through seasonal collaborations or token representation, but through long-term investment, mentorship, and inclusion at every level of the fashion ecosystem. For Michaels, respect means crediting Indigenous knowledge systems, compensating artisans fairly, and ensuring that cultural motifs are not misused or diluted for commercial gain.

In Australia, where First Nations designers are similarly advocating for cultural integrity and industry support, Michaels’ message resonates deeply. The parallels are striking: both communities are reclaiming their narratives, pushing back against appropriation, and demanding space on their own terms. Her advocacy highlights the need for structural change — from fashion education to retail — to ensure Indigenous designers are not only seen but celebrated as equals.

• She urges fashion houses to collaborate ethically, with transparency and shared authorship.
• She champions Indigenous-led fashion councils and platforms that prioritise community voices.
• She believes fashion media must do more to spotlight Native talent beyond heritage months or diversity campaigns.

For Australian fashion professionals, Michaels’ stance is a timely reminder that true inclusion goes beyond aesthetics. It requires listening, learning, and reshaping the industry to honour the depth and diversity of Indigenous design traditions — not as a fleeting trend, but as a vital part of fashion’s future.