Indigenous design enters the fashion spotlight

Indigenous design has increasingly captured the attention of the global fashion industry, with designers like Patricia Michaels leading the charge. Her work, rooted in her Taos Pueblo heritage, exemplifies how traditional knowledge and contemporary aesthetics can coexist powerfully on the runway. From intricate hand-dyed textiles to silhouettes inspired by nature and ceremony, Michaels’ designs challenge conventional fashion narratives and assert the sophistication of Indigenous artistry.

In recent years, major fashion events have begun to feature Indigenous designers more prominently. Michaels’ appearance on Project Runway marked a pivotal moment, not only for her career but for the visibility of Native fashion as a whole. Her success opened doors for other Indigenous creatives, encouraging fashion houses and media outlets to take notice of the depth and diversity within First Nations and Native American design traditions.

This shift is also evident in the growing number of Indigenous-led fashion collectives and showcases. Events such as Indigenous Fashion Week Toronto and the First Nations Fashion + Design platform in Australia have become vital spaces for designers to present their work on their own terms. These platforms allow for the celebration of cultural heritage while pushing the boundaries of contemporary fashion.

Despite this progress, Indigenous designers continue to navigate challenges, including cultural appropriation and underrepresentation in mainstream fashion media. However, the increasing demand for authentic voices and ethically produced garments has created new opportunities for Indigenous creatives to assert control over their narratives and aesthetics.

As Indigenous fashion gains momentum, it is not merely a trend but a movement—one that reclaims space, honours ancestral knowledge, and reshapes the fashion landscape with integrity and innovation.

Celebrating cultural identity through fashion

For Patricia Michaels and many Indigenous designers, fashion is more than an artistic expression—it is a living embodiment of cultural identity. Each garment tells a story, often rooted in ancestral teachings, land-based knowledge, and community values. Michaels’ designs, for instance, frequently incorporate motifs inspired by the natural world, such as feathers, rivers, and desert landscapes, all of which hold deep spiritual and cultural significance within her Taos Pueblo heritage.

Through her work, Michaels challenges the fashion industry to move beyond superficial representations of Indigenous culture. Rather than relying on stereotypes or tokenistic elements, she emphasizes the importance of authenticity and respect. Her garments are not costumes; they are contemporary expressions of living cultures, crafted with intention and reverence. This approach resonates with many First Nations designers in Australia, who similarly draw from their Country, Dreaming stories, and kinship systems to inform their creative processes.

Fashion becomes a powerful medium for cultural affirmation, especially for younger generations seeking to reconnect with their heritage. By wearing designs that reflect their identity, Indigenous people assert pride in who they are and where they come from. This visibility is crucial in countering centuries of marginalisation and misrepresentation. It also fosters a sense of belonging and empowerment, both within Indigenous communities and in broader society.

Moreover, the act of creating and wearing culturally grounded fashion serves as a form of resistance. It resists the erasure of Indigenous knowledge systems, languages, and aesthetics. It resists the commodification of culture by asserting control over how stories are told and shared. For many designers, including Michaels, this is a deeply personal mission—one that honours their ancestors while paving the way for future generations.

In Australia, designers such as Grace Lillian Lee and Lyn-Al Young echo these sentiments, using fashion to celebrate their cultural roots and challenge colonial narratives. Their work, like Michaels’, is not only visually striking but also rich with meaning, inviting audiences to engage with Indigenous perspectives on beauty, identity, and resilience.

As Indigenous fashion continues to evolve, it remains grounded in the values of community, storytelling, and cultural continuity. Each piece is a testament to the strength and creativity of Indigenous peoples, and a reminder that fashion can be a powerful tool for cultural celebration and self-determination.

Building community and sustaining momentum

Patricia Michaels emphasises that the rise of Indigenous fashion is not solely about individual success—it is about uplifting entire communities. For her, collaboration and mentorship are essential to sustaining the momentum of this movement. By sharing knowledge, resources, and opportunities, established designers can help nurture the next generation of Indigenous creatives. This ethos of collective growth is echoed across Indigenous fashion circles, where community is not just a backdrop but a driving force.

In Australia, this spirit is embodied by initiatives like the First Nations Fashion + Design (FNFD) organisation, which provides platforms for emerging designers, models, and stylists to develop their skills and gain exposure. These programs are not only about showcasing talent but also about building infrastructure that supports long-term careers. Workshops, residencies, and industry partnerships help bridge the gap between grassroots creativity and commercial viability, ensuring that Indigenous fashion is not a fleeting trend but a sustainable industry.

Community-led fashion events also play a crucial role in maintaining momentum. Runways held on Country, for example, allow designers to present their work in culturally significant settings, surrounded by Elders, family, and community members. These events are more than fashion shows—they are acts of cultural affirmation and intergenerational exchange. They provide safe spaces for Indigenous people to celebrate their identities and reclaim narratives that have long been misrepresented or ignored.

To keep this movement thriving, there is a growing call for systemic change within the broader fashion industry. This includes equitable funding, representation in decision-making roles, and ethical collaborations that respect Indigenous intellectual property. Designers like Michaels advocate for partnerships that are grounded in mutual respect and transparency, rather than extractive practices that exploit Indigenous culture for profit.

Support from non-Indigenous allies is also vital. Consumers, fashion institutions, and media outlets all have a role to play in amplifying Indigenous voices and investing in their success. This means not only buying from Indigenous brands but also engaging with the stories behind the garments, acknowledging the cultural labour involved, and advocating for policies that protect Indigenous rights in the fashion sector.

Ultimately, sustaining the rise of Indigenous fashion requires a collective commitment to community, culture, and continuity. As more designers step into the spotlight, they carry with them the hopes and histories of their people. Their success is not just personal—it is a shared victory that redefines what fashion can be when it is rooted in respect, resilience, and relationship.

Indigenous fashion’s journey to the spotlight

Once relegated to the fringes of the fashion world, Indigenous design is now commanding attention on global runways, and Patricia Michaels has been instrumental in this transformation. A proud member of the Taos Pueblo in New Mexico, Michaels first captured international attention as a finalist on Project Runway Season 11, where her work stood out for its seamless fusion of traditional motifs with contemporary silhouettes.

Her rise reflects a broader shift in the industry—one that is finally recognising the depth, innovation, and cultural richness of Native fashion. For decades, Indigenous designers were overlooked, their artistry often misappropriated or misunderstood. Today, their work is being celebrated not only for its aesthetic value but also for its cultural integrity and storytelling power.

Major fashion weeks in New York and beyond are now featuring collections by Indigenous creatives, and institutions like the Smithsonian and the Santa Fe Indian Market are spotlighting Native fashion as a legitimate and vital part of the industry. This visibility is not just symbolic—it’s reshaping the narrative around who gets to define fashion and where inspiration is drawn from.

“We’ve always been here, creating, innovating, and expressing ourselves through fashion. The world is finally catching up,” says Michaels.

For Australian audiences, this movement resonates deeply. With our own rich tapestry of First Nations cultures, the rise of Indigenous fashion globally invites reflection on how we support and elevate Aboriginal and Torres Strait Islander designers at home. The parallels are powerful—and the potential for cross-cultural collaboration is immense.

Empowering communities through cultural expression

Patricia Michaels’ work is more than fashion—it’s a form of cultural advocacy. Each garment she creates is imbued with the stories, landscapes, and traditions of her Taos Pueblo heritage, offering a wearable narrative that empowers both the wearer and the community it represents. This approach to design is not just about aesthetics; it’s about reclaiming space, asserting identity, and fostering pride in Indigenous heritage through the medium of fashion.

By centring Indigenous voices in her creative process, Michaels challenges the industry’s historical tendency to appropriate rather than collaborate. Her collections are often developed in close consultation with her community, ensuring that the designs honour cultural protocols and reflect lived experiences. This model of ethical design is gaining traction globally, and for Australian designers, it offers a blueprint for how to engage respectfully with First Nations cultures.

Empowerment also comes through visibility. When Indigenous models walk the runway in designs that reflect their culture, it sends a powerful message to younger generations—that their stories matter, that their traditions are beautiful, and that they have a place in the global fashion conversation. Michaels has consistently used her platform to mentor emerging Native designers, advocating for education, access to resources, and opportunities that have historically been denied to Indigenous creatives.

• She launched PM Waterlily, her label, as a space for Indigenous-led storytelling through fashion.
• Her studio in Taos serves as both a creative hub and a training ground for young artists.
• She collaborates with tribal communities to ensure that traditional techniques are preserved and passed on.

For the Australian fashion industry, there’s a clear call to action. Supporting Aboriginal and Torres Strait Islander designers means more than featuring their work—it means investing in their communities, respecting cultural knowledge, and creating platforms that allow for authentic expression. As we’ve seen with Michaels’ journey, when Indigenous creatives are empowered to lead, the results are not only visually stunning but culturally transformative.