Native American fashion is the design and creation of high-fashion clothing and fashion accessories by Native Americans in the United States. This is a part of a larger movement of Indigenous fashion of the Americas.
Indigenous designers frequently incorporate motifs and customary materials into their wearable artworks, providing a basis for creating items for the haute couture and international fashion markets. Their designs may result from techniques such as beadwork, quillwork, leather, and textile arts, such as weaving, twining, and tufting. In some cases, however, they choose not to include any materials associated with Indigenous cultures.
In the United States, under the Indian Arts and Crafts Act of 1990, in order to qualify as Native American designers, artists must be enrolled in a federally recognized tribe, state-recognized tribe, or be certified as a designated tribal artisan by the tribal council.
When Native American designers first broke into the modern fashion industry in the 1940s and 1950s, many adopted a pan-Indian approach. By selecting motifs and iconography easily identified as part of Indigenous culture, they were able to gain acceptance and develop a market share with mainstream buyers. As the field of Native designers in high fashion expanded, individual designers moved away from pan-Indianism, expressing their individual identity, whether or not it was based on their specific tribal heritage. Many have taken Indigenous themes and incorporated them into their works, while others have taken specific garments and updated them to contemporary aesthetics by changing necklines, sleeve lengths, hemlines, and other features.
Controversy has emerged over the misappropriation or inappropriate use of cultural heritage by non-Native designers. Respectful use of imagery by mainstream designers who are not Indigenous can help expand appreciation of Native cultures, but plagiarism of design or malapropos use reinforces negative stereotypes and spurs controversy. Similarly, utilizing artisan craftwork can expand awareness if designers are fairly compensated for their work and given credit for their contributions. Contemporary controversies have spurred both crowd-sourced and legislative action to protect the designs and cultural heritage of Indigenous designers.
History Historical clothing of Native American peoples has been collected and displayed by curators of major museums with a focus on pre-20th century attire. For the most part, these collections failed to take into consideration the shift in clothing trends among Indigenous peoples brought about by assimilation policies or by access to tailoring training and industrially produced textiles. However, Indigenous-focused museums have featured exhibitions of contemporary Native fashion. For example, the National Museum of the American Indian in New York City's 2017 "Native Fashion Now" exhibit featured Project Runway finalist Patricia Michaels and The Museum of Indian Arts and Culture in Santa Fe held exhibits as early as 2007 on Native couture and Institute of American Indian Arts founder Lloyd Kiva New.
While Native peoples have always produced clothing, until the 20th century the garments they made were often for personal, familial, or ceremonial use. However, forced assimilation policies throughout the 19th and early 20th centuries focused on eradicating Native American culture, including religious observance, language, and other traditional practices. Later, policies such as the 1934 Indian Reorganization Act changed the strategy for the education of Native peoples, encouraging them instead to reconnect with their cultures, including the creation of traditional dress.
In 1942, the American anthropologist Frederic H. Douglas, sought to highlight the beauty of Native American fashion by presenting a fashion show featuring garments made by Native Americans between 1830 and 1950. During the same decade, Lloyd Kiva New, a Cherokee who had graduated from the Art Institute of Chicago began touring throughout Europe and the United States with clothing and accessory lines he had designed, using hand-woven and dyed fabrics and leather crafts. In 1945, New opened a studio in Scottsdale, Arizona, with financial backing from Douglas, which initially focused on belts, hats and purses. Influenced by Navajo medicine bags, his purses, decorated with hand-worked metals became a specialty. Recognizing the need to reduce labor costs, he began combining machine work with handcrafting and instituted an apprenticeship program to meet increasing production demands while gearing his designs for the up-scale market.
Gaining coverage from national magazines like Harper's Bazaar and The New Yorker, New began selling his bags at the Elizabeth Arden Salon and Neiman Marcus. Expanding into clothing with a focus on classic cuts and simple designs using quality materials, New incorporated woven Cherokee fabrics, bead- and silver-work into a line of coats and dresses for women and men's suits, capitalizing on the luxury clothing market which emerged after World War II. "Southwestern chic" became a national trend in the early 1950s. In 1951, New was the only Native American designer who participated in the Atlantic City International Fashion Show, winning national recognition. He began to consult with artists and incorporated silk screened fabrics using native motifs, such as Pima basket weaving designs, Hopi pottery patterns, Navajo and Zuni yei elements, drawing from a variety of tribal aesthetics. As with designers who followed him, his sacred symbols and iconography were modified to become secularized.
To encourage other Indigenous artists to enter fashion design and safeguard cultural traditions which he feared might be lost, New turned his attention to education in 1959, sponsoring a summer design project, known as the Southwest Indian Arts Project. The experimental project eventually resulted in the founding by New and other artists of the Institute of American Indian Arts (IAIA) in 1962. The purpose of the school was to provide an education that fostered pride in students' Indigenous heritage and featured the development of skills designed to improve their economic opportunities. New taught a printed textiles course focused on dying techniques, and Azalea Thorpe (Scottish) taught weaving. Josephine Myers-Wapp (Comanche) was hired to instruct students in the traditional techniques used to make garments and accessories, laying the groundwork for the aesthetic appreciation of tribal traditions. She taught students to use traditional materials like feathers, leather and shells, and methods including beadwork, ribbonwork and weaving to create garments. By 1965, IAIA was hosting local fashion shows. Within three years, the students had begun showing their works in other venues in Arizona, New Mexico, Texas, and New York. Within ten years, the reputation of the textile design programs at the school had gained international acclaim.
During the 1970s, Native American designers began to make a name for themselves during the Indian and Natural movements, such as Jewel Gilham (Blackfeet) and Remonia Jacobsen (Otoe/Iowa). Gilham catered to working women, designing pantsuits and long dresses made of polyester fabrics with felt insets depicting geometric figures and native motifs. Jacobsen's work featured loose-fitting dresses featuring decorative techniques, such as embroidered ribbonwork in the Otoe and Iowa style, appliqué drawing on Seminole traditions, buckskin leggings patterned on Kiowa designs, as well as influences from Pueblo and Sioux decorative silhouettes. Fueled by the American Indian and Civil Rights Movement, countercultural consumers found appeal in Gilham and Jacobsen's work. Furthermore, their fashion fostered a pan-Indian unity in the quest for political power through self-expression.
1975 to 1990 When Josephine Wapp retired in 1975, Sandy Fife Wilson (Muscogee) took over instruction of her traditional techniques course and offered "Traditional and Contemporary Fashion Design" to include current fashion trends. Fife's students formed the Full Moon Fashions group and began targeting non-native women as prospective buyers for their products. In 1982, when Wendy Ponca (Osage) took over the fashion design courses at the IAIA, she renamed them fiber arts in accordance with other accredited university curricula, offering three levels of instruction. She founded the Waves of the Earth Fashion Group and required her students to participate in the fashion shows of the IAIA, giving them an opportunity to show their creations and discover how to market their works. Ponca changed the direction of Native American fashion by allowing the designers to determine whether their works would include traditional influences and media. She taught them garment design, structural integrity, and color theory, but allowed students to interpret how they used the lessons. Ponca's approach was to ignore demands to make designs fit stereotypical definitions of Indigenous identity. Instead she encouraged creativity and innovation, like utilizing mylar, a space-age material to create designs which reflected the Osage connection with the sky.
The fashion show of the Santa Fe Indian Market, hosted for nearly two decades by fashion expert, Jeri Ah-be-hill (Kiowa), quickly became another venue to showcase the students' work, using the body as a venue to display designs, rather than galleries. Native Uprising, initially called Native Influx was founded in the 1980s as a collaborative association of Indigenous artists, designers, and models, who were alumni of IAIA, with the express purpose of building a contemporary, Native fashion design movement and allowing members to profit from their fashion shows. With New as an advisor and Ponca as the coordinator, the group included many members who made a name for themselves in fashion, for example Marcus Amerman (Choctaw), who acted as the stage director and RoseMary Diaz (Santa Clara Pueblo), who majored in fashion design and creative writing, before turning to writing about fashion.
In 1981, Margaret Wood (Navajo/Seminole) of Arizona, known for fashion design as well as for her quilts, published Native American Fashion: Modern Adaptations of Traditional Designs. The book was the first treatment of contemporary Native American fashion and remains the sole in-depth treatment of the subject. Also in the 1980s, Indigenous designers like Luanne Belcourt (Chippewa-Cree) and Myrtle Raining Bird (Chippewa-Cree) operated their company Sitting Eagles, marketing custom-made garments on their reservation to high-end buyers. Jeanette Ferrara (Isleta Pueblo) opened a design studio known for coats and vests incorporating cotton, wool, and velvet, and Ardina Moore (Quapaw/Osage) founded Buffalo Sun in Oklahoma in 1983. Geraldine Sherman (Lakota) designed for non-native marketer and anthropologist Helene Hagan to produce garments featuring Native American iconography. Hagan marketed them, stressing their spiritual and symbolic meaning.
Healthcare professional and fashion designer, Marjorie Bear Don't Walk (Chippewa-Salish) designed high-end couture for working women and displayed her fashions featuring appliqué techniques at conferences. Shed ran a mail order business, allowing customers to provide her with their preferred materials which she then worked into her designs. In 1984, Selina Curley (Apache-Navajo) founded a design firm, Traditions by Selina, aimed at preserving the traditions of her heritage. Her typical designs are based on the Apache camp dress with a full, ankle-length skirt and long sleeves.