WDD: Reflecting On Indigenous People’s Day And Design
Hello everyone! This WDD is all about reflecting on Indigenous People’s Day — and how as designers and students, we can better ensure equitable and representative design practices.
While some might think of Indigenous People’s Day as just another long weekend, this WDD encourages you to deconstruct the historical and colonial contexts behind the holiday — as well as discover some cool Indigenous designers and educators!
Indigenous Mis/representation in Design and Design Spaces
What’s the first thing that comes to your head when you think of Indigenous design and art? What have we been taught in schools and institutions? What has society normalized and trained us to think?
Traditional Indigenous designs and motifs have been appropriated, misrepresented, and exploited countless times over the past few centuries. There are over 574 Native American tribes in the US — all with incredibly rich and diverse design cultures — but inaccurate portrayals of Indigenous design has led to it’s reduction into single-minded caricatures.
This is pervasive in the media that we consume, as well as all sectors of design, from fashion to product to brand design. Meanwhile, Indigenous and Native American designers have historically been shut out of design spaces.
Sadie Red Wing, a Lakota graphic designer and Indigenous design researcher says:
“When designers use Native American aesthetics in their designed artefacts, without providing reference or research, the history of the Native American demographic is not being documented. Many Native American tribes are needing historical documentation to remain existent on this Earth.
Tribal designers are colonized to think of themselves as artists, and indigenous people never get recognized as inventors, communicators, or problem solvers in the graphic design world. Our voice in the design culture is silent.”
Red Wing’s work pushes for Native Americans “to be classified as designers instead of ‘primitive’ artists.” She continues, “because Native American design is always considered craft, the push for education in Native American design is not enforced.”
Indigenous design is multifaceted, deeply historical, and rooted in tribal identity and cultural practice. Native designs communicate familial and individual histories, traditions, and religious beliefs. This is not to discourage individuals from being interested in Indigenous design, however.
Tips from Sadie to designers:
- Research and education go hand in hand
- Realize that no two Native tribes are alike — they are incredibly diverse and have distinct designs and design histories
- Ask for consent from tribal authority
- Swap out stereotypical icons with traditional symbols
Support Indigenous designers, artists, and creatives!
Below are some fantastic resources to look into, from books to upcoming designers to content creators.
Native Fashion in The City
Set in Denver, CO, Native Fashion in The City is described as “combining Indigenous fashion, art & culture to give you a unique experience.” Designers from Native American tribal communities showcase their annual collections, celebrating Indigenous fashion, design, as well as creatives and models.
Weavers, Collectors, and Changing Markets: The Crane Collection of Navajo Textiles
Weavers, Collectors, and Changing Markets: The Crane Collection of Navajo Textiles by Linda Teller Pete celebrates Navajo weaving and cultural traditions and showcases historical Navajo textiles. “More than one hundred stunning full-color photographs of the textiles in the collection are accompanied by technical information about the materials and techniques used in their creation.”
Additional Indigenous content creators and artists to follow on social media:
💫 That’s all for now! Thanks for reading!💫
