Unfortunately, the words ‘luxury resortwear’ and ‘contemporary’ are not words often associated with Indigenous design by many in the mainstream fashion sector, but that is exactly how Shaw describes the aesthetic behind her brand, which focuses on combining modern styles with the talents of First Nations artists, weavers and textile designers.

Last week, Shaw scooped up the major award for the Fashion Design category at the NIFAs, which included a $10,000 prize and a mentorship at Country Road. The fashion retailer was also a major partner with the Darwin Aboriginal Art Fair Foundation (DAAFF), which supports the NIFAs. Shaw also won the community collaboration award with the Bula’bula Art Centre for their Resort 20 collection.

“It’s significant that it’s the first time the NIFAS have happened in Australia and it shows that there’s a great respect for the Indigenous sector, which is being acknowledged as a thriving industry,” says Yatu Widders-Hunt, NIFAs judge and director at Indigenous consultancy, Cox Inall Ridgeway. She is also a descendant of the Anaiwan and Dunghutti peoples from north-western NSW.

“I think Indigenous fashion is like an anchor in the wider Australian fashion industry and it’s a beautiful part of the story. It’s almost taking its rightful place in the story of the broader Australian fashion industry and it’s something we can be proud of. It’s uniquely Australian. It’s a way to bring us together and celebrate the diversity of work that we have across the country.”

Breaking stereotypes

Widders-Hunt launched her own Instagram account (@ausindigenousfashion) two years ago specifically to highlight the work being done by First Nations designers flying under the radar of the mainstream community. Now with a 43,700 following at the time of publication, Widders-Hunt has seen a rising interest in the work, which goes beyond “just a curiosity”.

The international market has already begun working with Aboriginal and Torres Strait Islander designers. In 2018, Noongar artist Peter Framer created two high heel designs with luxury designer brand, Jimmy Choo. Shaw has previously shown at the prestigious Miami Swim Week with her former label, Mayrah Swim and earlier this year, US Vogue profiled Liandra Gaykamangu, designer of Liandra Swimwear, which was the first Indigenous brand to show at the Pacific Runway Show in January.

“I’m excited to see the Australian industry start to embrace and engage with the Indigenous sector. There has been momentum built in the international space for some years around the work we’re doing, so it’s lovely to see the recognition we have at home,” says Widders-Hunt.

Some may consider First Nations designers as an exciting and emerging market, but the reality is that this community is steeped in a long history, featuring traditional skills that are being passed on through the generations.

“It’s not new, it’s ancient. We have an unbroken tradition of fashion design and storytelling that extends 60,000 years and beyond. People may be discovering it now but it’s anchored in ancient traditions and practice,” she says.

And while most Australians are well-acquainted with traditional dot paintings created by remote communities, Indigenous design goes well beyond that.

“The Indigenous fashion landscape is one that I would describe as incredibly dynamic and innovative, immersed in tradition and ancient techniques. The creative practices are varied – from textiles to weavings to body adornment and accessories, ready-to-wear and high fashion couture-style collections, through to more commercial offerings of swim and activewear,” explains Shaw.  

“Some really exciting pieces are being created by artists and designers of all ages and across all areas of Australia, from remote art centres to urban design studios. The landscape is eclectic and diverse, comprising purposeful, meaningful fashion with sustainable practices front and centre.”

Combining two worlds

Like all small business owners, some Indigenous designers face challenges around operating at a greater scale, making it difficult to crack the mainstream market.

“Some Indigenous designers may also work from regional or remote areas, where access to apparel supply chains, creative teams, media etc can be limited, meaning that they may miss out on certain opportunities due to location,” explains Shaw.

“Not to mention delays and expenses associated with postage and freight to such areas outside of the major cities.”

David Jones recently announced a partnership with the DAAFF called the Pathways Program aimed at First Nations fashion designers.

According to the department store, “This initiative is focused on shared learnings through cultural awareness education, interactive workshops and a mentorship program to help support and facilitate the development, aspirations and expressions of Indigenous fashion design talent.”

Country Road’s partnership with DAAFF is part of the brand’s mission to better understand and embrace the First Nations community. Last year, the retailer also began regularly featuring Indigenous models such as Billie-Jean Hamlet and Nathan McGuire in their campaigns.

“As a brand, we feel a deep connection to the land, a pride in our heritage, and a strong desire to create products authentically and responsibly,” says Country Road managing director Elle Roseby. “We feel these values are exemplified by this partnership with DAAFF and we strive to support a future that includes more representation from Indigenous Australian talent.”

Country Road also called on the support of Cox Inall Ridgeway to help them create meaningful connections with the community.

“This has been an intentionally slow and considered process, as we wanted to ensure that any collaboration catered to the needs and wants of Indigenous designers and artists,” says Roseby. “Under the principle of co-design, community voices are at the centre of decision making—therefore our role was to first listen.”

Lessons to be learned

However, there is much that Western cultures and the wider fashion industry could learn from Aboriginal and Torres Strait Islander designers, says Widders-Hunt.

While the traditional fashion industry is often said to be driven by youth and what’s new and next, in First Nations communities, older generations continue to create work and are highly respected.

“[The Indigenous community] respects experience and honours cultural leadership. In a more western model, you have a career, then you retire and you pass your baton to the next generation. But from an Aborignal perspective, we continue to create forever and we’re always contributing. It’s also very collective. We honour the contribution of anyone at any stage of their life,” she says, pointing to NIFA winner and celebrated 68-year-old artist, Bede Tungutaalum, who has exhibited widely across Australia, New Zealand, Canada and the US during his career.

During the ceremony last week, when Tungutaalum was awarded the Special Recognition prize, he said: ‘It’s not just for me, it’s for my people.’

And in the current climate, when many in the fashion industry are now questioning the previous churn-and-burn system and are struggling to engage with consumers, Indigenous design is centred on storytelling and sustainable practices. It certainly gives mainstream brands food for thought.

“Our products and collections carry the stories and traditions of literally thousands of years of knowledge, passed down through generations,” says Shaw.  

“The design process is always considered; there are reasons for the use of a particular colourway, design, pattern or technique and there is story, meaning and purpose encapsulated in everything that we as Indigenous artists and designers do and create.”

This story appeared in the August 2020 issue of Inside Retail Magazine. To receive a print copy, click here.