b'INDIGENOUS FASHIONDuring one particularly impactful show in Paris, Saloy-EagleSpeaker recalls an emotional moment when she dedi-cated a segment of the runway to honouring MMIWG. It wasnt just about the clothes, she explains. It was about telling the story of our sisters who are no longer with us. The audience was moved, many of them unfamiliar with the MMIWG crisis. I realized then how crucial it is to use these international platforms not only to showcase our designs, but also to raise awareness about the social and political issues our communities face.The global stage presents an oppor-tunity to educate as much as it is to celebrate Indigenous fashion, stresses Saloy-EagleSpeaker. In Europe, people are often disconnected from the real-ities we face in Canada, so I see it as part of my role to share these stories, she says. The feedback Ive received, especially after addressing MMIWG, has been overwhelming. It reminds me of the power fashion has to create awareness and foster change.Paul too emphasizes the educational power of Indigenous fashion, noting that international audiences have limited exposure to the cultural depth behind the designs. Fashion is more than aestheticsits an extension of our stories and our ways of life, she says. When people see our designs on a runway, theyre often intrigued by the beauty, but they dont always under-stand the significance of the materials, the symbols or the methods we use. Melrene Saloy-EagleSpeaker of Native Diva Creations (upper left) and some of her fashion creations Thats where education comes in. We have the responsibility to make sure designers themselves. Weve alwaysgo deeper than surface-level trends,people walk away knowing more than had the talent and the creativity, saysshe says. People want to connect withthey did when they came in.Saloy-EagleSpeaker. Whats changedsomething real, and Indigenous fashion is the opportunity. The world is finallyoffers that authenticity. WORLDWIDE AUDIENCEpaying attention, and were makingAs Indigenous fashion continues to sure they see us on our own terms. TELLING STORIES grow, leaders like Paul, Mitton and Saloy-EagleSpeaker, who has oftenSaloy-EagleSpeaker are preparing Its about control, adds Paul. Forpresented her work on internationaldesigners for the global stage. Pauls so long, our stories have been toldstages, reflects deeply on the respon- work, for instance, supports Indigenous by others. Now, were taking backsibility of educationparticularlydesigners by providing them with controlnot just of our fashion, butwhen showing in Europe. Whenever Iaccess to resources, networking oppor-of how our culture is portrayed andpresent my designs in Europe, I see it astunities and public funding. Were lobbying for fashion to be recog-represented globally. more than just a fashion show, she says.nized as art so designers can apply I feel its my responsibility to educatefor funding, she says. By creating Mitton points to the growing interest inpeople about our history, about thethese opportunities, were ensuring Indigenous design as part of a broaderrealities we face, especially with issuesthat Indigenous fashion isnt just a movement toward equity and inclu- like MMIWG (Missing and Murderedmoment but a sustainable future for sion. Theres a hunger for stories thatIndigenous Women and Girls). our communities.52A CCIB PUBLICATIONFall 2024'