These indigenous fashion designers are changing the game

After an extended COVID delay, the June 9-12 Indigenous Fashion Arts Festival lit up Toronto and showcased some of the world’s finest Indigenous fashion, textiles and crafts. “What I’m looking forward to the most is the community,” said Dusty LeGrande, designer at Indigenous streetwear brand Mobilize Waskawewin, ahead of the festival. “Cheering for all my cousins ​​- a term of universal endearment – and to see some of the most powerful Indigenous art and clothing creations! Together we are stronger.”

This year, the IAF – under the safe leadership of among others kit Friend Sage Paul – introduced something new. They worked with Apple, which gave attendees iPhone 13 Pros, to create mini-documents to accompany their runway shows. “I chose to highlight my home territory, my family and the process of creating my designs,” said designer Evan Ducharme, who years ago internshipd at Eco Fashion Week in Vancouver and has since had a piece exhibited at the Met Costume Institute in New York . “My favorite shot was taken in 4K of my cousin walking on a frozen lake at sunset – the result was incredibly beautiful and crisp.”

Read on to learn about four Indigenous designers who are transforming the Canadian fashion world.

Evan Ducharme

How would you describe your approach to design?

“This season has been an interesting process to be back in my community after 11 years in the Squamish, Musqueam and Tsleil-Waututh (Vancouver) Territories and has impacted the work in ways I didn’t expect. When I first conceived [the project] Dominion I wanted to be carried away by the storytelling and world building that is possible with fashion, things that have eluded me as the demands of the business have grown. Being at home has helped me to honor the first instincts I had as a young person interested in making clothes and to live them fully with the knowledge I have acquired since then.”

You are such a gifted designer – your pleats, drapes and embroidery are so beautiful. Which designers do you admire the most and why?

“The first ones that come to mind are Madame Grès and Cristobal Balenciaga, both for the craftsmanship and technique and the unique perspective of their work. On a more modern note, I would credit Olivier Theyskens and Christopher John Rogers for their ability to create such wonderful worlds and possibilities with their clothes.”

What were the highlights of working with Devery Jacobs?

“I was fortunate enough to work with Devery on a custom look that they wore to this year’s Independent Spirit Awards. As we live in different cities we worked remotely and met on Zoom for digital consultation and fitting. A highlight would be the conversations we had early on about the importance of creating an orange look and what that means for us personally, a really meaningful process to create a red carpet moment.”

Livia Many Wounds

How would you describe your approach to design?

“My focus is to tell meaningful stories about my ancestors through my designs and bring them to life. My ancestors wrote on buffalo robes – and through symbols they told stories of their achievements as a tribe, milestones, war victories, or directions like a map. My creations – applique, beadwork and digital designs – do the same. They tell my stories, my interpretations of my culture, my people and my family.

Sweetgrass is a medicine that purifies and purifies. I think this has helped my people to be resilient by staying connected to the traditional medicines and practicing with them every day. I think this is something that speaks for itself as the most commonly used medicine by indigenous peoples. It’s just something we use to feel grounded. It’s a connection to Mother Earth.”

What is the connection between creating and healing for you?

“It started when I started sewing again, it was during a difficult time: my mother was battling cancer and I needed something to do while sitting next to her when she was bedridden. During this time I got back into beading, sewing and designing to keep busy. After she died, I continued to create as a therapeutic healing process – it was like healing through the threads of my creations. Eventually my creations took on a life of their own and grew to the point where I started my business. It sparked a passion that was within me: blending traditional with contemporary design, with a focus on formal wear. I love the idea of ​​a traditional piece that is modern with an indigenous flair and reflects my culture.”

The way you play with colors and patterns is so unique and beautiful. What inspires you?

“My culture and the beauty of being First Nations. It’s not just about choosing colors – all colors mean something and have cultural and spiritual significance. Colors and patterns symbolize who I am as an individual and where I come from. The patterns tell stories: Geometric or applied designs, for example, can tell stories of myths and legends. It is also cultural education.

One of my designs is a beautiful green dress where I woven licorice into a belt, hat and earrings. Sweetgrass has helped my people be resilient and strong; and it accompanies you every day. The dress has a bit of deerskin to represent the deer and horsehair to represent the horse because the horses are grazing in the grass in the field. It’s all a tribute to my home, to where I live.”

Janelle Wawia

You are an autodidact. How did you first fall in love with fashion?

“I fell in love with fashion and design from a young age. Designing came later in life but with just as much enthusiasm and a desire to create styles that are unique and connected to the land I call home. I remember staring at magazines, having designs on my wall along with a sketchbook that I often used to develop my own ideas. I’m still so in love with fashion.”

What was the inspiration for your IAF video?

“The inspiration for the video connects to my visions of women connecting to the land, using their senses while being fully embraced and the land worshipped. It also speaks about the connection to the community, to one another and to the relationships that are sacred to us.”

Why is working with fur so important to you?

“It’s part of my upbringing and my lifestyle. For many years, my family and I have respectfully caught and harvested. My connection to the land and animals is indescribable as it runs through my blood. The more I work with fur, the more I want to delve into technical aspects and build on the knowledge shared with me.

I just love working with fur so much and in my video I explored its detail in a whole new way with the macro function, which brought me closer to the land and allowed for depth and clarity. I could see the individual hairs, how they grow differently, the colors. Looking at the skins and beads together, I saw an interplay and connection that I had never seen before in this level of detail.”

Dusty LeGrande

Your children inspired your video. How do they inspire you in life and in your design work?

“Being a father is one of life’s greatest gifts. My kids are so integral to everything I do, how I move and the dreams I have. At this brand, they were the driving force behind the intention to create impactful stories through clothing. A lot of pieces are inspired by the colors of Lego, toys, funky outfits they play with or wear – they see the world through such a pure lens and I’m constantly inspired by their perspective. When I shot my video, I had just started working on my collection.

My children have also designed pieces within the brand themselves. Her most popular piece to date was the Fart Against Racism t-shirt which also featured a poop emoji designed entirely by my 8, 5 and 4 year olds!”

What do you find exciting about streetwear now?

“Streetwear as a voice, as a tool of activism and as loud clothing in general has always been the most exciting piece of street style for me. I see streetwear as present (in the moment), gender free and inspiring very individual expression. The future of streetwear is the future of people, it must become more sustainable through all elements, it must speak to the changing earth and its people, and it must continue to speak out for the development of inclusion and love in all areas.”

I would like to know more about the Next Gen Scholarship you are offering – what inspired you to start this?

“On this design journey, I’ve seen far too many gatekeepers who didn’t want to share their knowledge with me. The intent of this grant was to break down those barriers and support the next generation of creatives. To create a portal that enables the authentic exchange of knowledge, business, design and art practices. To this point, the response from many applicants on Turtle Island has been very positive. I hope to partner further to expand and expand this scholarship so that it can be offered as often as needed.”

Laura deCarufel is the Editor-in-Chief of The Kit, based in Toronto. She writes about women and style. You can reach her via email at [email protected] or follow her on Twitter: @Laura_deCaruffel

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