During a recent book tour for “From the Rez to the Runway,” the author showcased a unique approach to fashion by exclusively wearing Indigenous designers. This decision shone a celebratory light on the beauty and diversity of Indigenous fashion with an emphasis on the cultural meanings that live in each piece. The memoir, which chronicles the author’s journey from the Nipissing First Nation to the high fashion scene in New York City, served as a platform to advocate for Indigenous creativity and artistry.
One of the artists represented under this label was Jamie Okuma, for her groundbreaking combination of Indigenous symbols and motifs in modern, wearable forms. In much the same way, Section 35 aims to continue this mix, bringing contemporary style to the profound cultural heritage that is Native fashion. The author in I.Work and FiYin designs, showcasing personal identity and cultural heritage. Another label, Penny Singer, showcased its commitment to incorporating traditional designs into modern attire, further underscoring the rich tapestry of Indigenous fashion.
Lauren Good Day is another big name on this landscape. The new label, like the old one, is instantly recognizable for its bold contemporary designs that honor Indigenous aesthetic traditions. The author was often able to highlight ensembles that included items from this wonderful label. This emphasizes both the versatility and the importance of Indigenous artistry within contemporary fashion.
The author, bedecked in his own beadwork bolo tie, felt right at home. From the beginning, it was designed by their shared cousin, Farrah Lewis, who is an accomplished beadworker. This unique touch made for a wholesome familial attachment to the tour’s garb. It helped them bring a slice of home with them on their quest for adventure.
Highlighting craftsmanship, Joe Big Mountain specializes in porcupine quillwork, creating unique bolo ties and earrings that reflect traditional Indigenous artistry. Long, silver earrings from Keri Ataumbi, celebrated Kiowa jeweler, enhanced the author’s beauty as a maker. Tania Larsson, a Gwich’in artist, is celebrated for her exquisite dentalium shell necklaces, further enriching the tour’s visual narrative with authentic Indigenous craftsmanship.
This considered clothing decision was a fantastic example of how fashion can be both intentional and audacious. It unapologetically brought Indigenous culture to the forefront of the high fashion world. As each piece worn during the tour had their own stories and meanings to share, they beautifully connected to the author’s roots of the Nipissing First Nation.
The beauty of From the Rez to the Runway is that it relates an incredible personal story. It joyfully showcases the dynamic Indigenous fashion world with seriousness and style. The author made the decision to wear Indigenous-made garments on the book tour. This decision sought to promote these designers and their work in a space otherwise dominated by conventional narratives.