The Indigenous fashion is transforming the fashion industry. Native-owned businesses are growing at a faster rate than non-Indigenous businesses, supported by increased access to capital. The Native American Bank has made loans totaling $128 million to support $250 million in projects in Indian Country. As the worldwide fashion market projects to reach $1.18 trillion by 2029, Indigenous designers are leading reshaping conversations about authenticity, sustainability, and cultural ownership.

The shift is visible everywhere:, During Indigenous Peoples’ Day Weekend, the Indigenous Fashion Collective hosted its first-ever gala in Los Angeles. Dubbed the “Indigenous Met Gala,” the star-studded event — co-chaired by model and activist Quannah Chasinghorse (Hän Gwich’in and Sičangu/Oglala Lakota) and Black Eyed Peas rapper Taboo (Shoshone/Hopi/Mexican) — showcased the new power players in luxury fashion.

This momentum continues building. At Denver International Airport this month, Native Max Magazine organized the first indigenous runway show at an international airport. As travelers hurried to their gates, the event proved Native design belongs everywhere — because it already is.

What makes fashion Indigenous?

Native Americans have shaped much of mainstream culture and fashion through their artistry, craftsmanship and storytelling traditions, influencing everything from textiles to contemporary design. Today, there are countless elements used in designer and fast fashion that originated from Indigenous culture. Some of these fashion trends were incorporated so long ago that we have forgotten they originated from Native culture. There is a strong chance you may have Indigenous influences in your closet. The question remains: Iis it cultural appreciation or cultural appropriation?

As Indigenous fashion gains momentum, its influence spans across multiple facets of the industry. From luxury runways to streetwear, here are eight examples of how Native American design is shaping contemporary fashion:

1. Western Wear

Earlier this year, Polo by Ralph Lauren launched the inaugural Ralph Lauren Artist in Residence Program with Diné (Navajo) designer, Naomi Glasses. Glasses, a seventh generation Navajo textile artist, infuses traditional practices and cultural symbols into her designs. The partnership’s announcement—with its stunning photo campaign, video elements, and accompanying docuseries—reverberated throughout Indian Country. For weeks, my social media feeds buzzed with reposts and celebrations. This wasn’t just another fashion collaboration; it was a watershed moment for Native representation in luxury fashion.

Glasses has released three collections with Ralph Lauren: “Love of the Land,” featuring geometric prints and woolen knitwear; “Color in Motion,” celebrating traditional motifs and hand-picked Native American jewelry; and “Denim Day Dream,” an homage to rodeo culture with Western-influenced designs.

2. Cultural Motifs

In January, at Paris Fashion Week, Pharrell Williams unveiled his second menswear collection for Louis Vuitton. The show was an “Americana” melting pot. The creations with pieces spanning from sparkling Vegas-style suiting to a gangster-style fur coat, along with various western cowboy styles.

For many Native American viewers, the highlight was the pieces created in collaboration with several Native American artisans. Seeing a high luxury brand infuse Indigenous stylings –and collaborate with (not steal from)– Native American artists provided a global platform to tell the world: we’re still here, we’re resilient, acknowledge us. The show could create a ripple effect for future positive change because it’s no secret, politics and fashion have always been connected.

The collaboration marked a significant evolution for Williams, who faced criticism from Native communities in 2014 for wearing a headdress on the cover of Elle UK. The Louis Vuitton show demonstrated a shift from cultural appropriation to cultural collaboration, with Williams working directly with Indigenous artisans rather than borrowing sacred elements.

3. Fringe and traditional elements

Before flappers, hippies and Coachella festival goers Native Americans wore fringe adorned clothing. NBA player Kyrie Irving (Standing Rock Sioux/Black), had nine signature shoe lines with Nike from 2014 until 2022 many of which were inspired by his Native heritage. Through his collaboration with ANTA, he has released several sneakers this year, the “Chief Hélà,” an homage to the traditional name his tribe gave him which means “Little Mountain.” The shoes have a moccasin look, with a tan suede upper and fringe as well as various geometric designs.

4. Natural materials and craftsmanship

Elk tooth (real or screen prints), suede, buckskin, horse hair, abalone shell, turquoise, sheepskin, wool, wampum, silver, silk, and other natural elements define Indigenous fashion.

These traditional materials found new expression at the runway in September during a fashion show celebrating Indigenous Futurism and fashion at The Getty Center in Los Angeles. Organized by fashion curator Amber-Dawn Bear Robe, the show included five leading Indigenous fashion designers: Jason Baerg, Orlando Dugi, Jontay Kahm, Caroline Monnet and Jamie Okuma. They presented their work with a special AR activation by Virgil Ortiz.

“This event redefined the future of fashion by fusing Indigenous knowledge with cutting-edge design, pushing the boundaries of American style,” Bear Robe said. “It was a bold statement of Indigenous innovation, reclaiming and reshaping the fashion world for new generations.”

5. Political statements and activism

Being Indigenous is inherently political. When you belong to a federally recognized Tribe, you are not only culturally a part of that Tribe, but you are a citizen of a sovereign nation. Federally recognized Tribes have a government-to-government relationship with the U.S. government. This is why many of our battles for water rights or land rights are a big deal, because they’re very often infringements on our sovereignty.

Political issues like MMIWG2S+ (Missing and Murdered Indigenous Women, Girls, and Two-Spirit Relatives), Mni Wiconi (the Lakota phrase “Water is Life”) and activism around the Dakota Access Pipeline, support for Palestine, calls for the release of political prisoners like Leonard Peltier, and even slogans as seemingly innocuous as, “You Are On Native Land” are a major part of Indigenous fashion.

There was a lot of buzz on the red carpet at this year’s Emmy Awards Ceremony when “Rez Dogs” star, D’Pharaoh Woon-A-Tai was photographed with a red handprint covering his mouth. He made history as the first Native American to be nominated for best lead actor in a comedy series. He took the opportunity to draw attention to the MMIW crisis.

“This epidemic [that] has been ignored for far too long and has devastated the lives of countless Indigenous people,” he said. “I’ve been waiting for the right moment to make this statement, and when I received the Emmy nomination, I felt an obligation to use the opportunity to spark these conversations.”

The red handprint has become a powerful symbol of the MMIW movement, previously used by Indigenous activists and artists across social media and red carpet events.

6. Sustainable practices and The Seventh Generation principle

While sustainability has become a fashion industry buzzword, reducing waste to preserve natural resources for future generations to has long been an Indigenous value.

Among many Indigenous people, this reflects a principle called “The Seventh Generation.” The concept is based on a Haudenosaunee (Iroquois) philosophy that what we do today should positively impact the next seven generations into the future. Many Indigenous fashion and beauty brands have made this central to their business model.

The Indigenous principle of sustainability aligns with fashion’s biggest current trend. As luxury brands scramble to meet consumer demand for environmental responsibility – with LVMH pledging net-zero emissions by 2030 and Gucci going fur-free – Indigenous designers have long championed these practices. While the global fashion industry produces 10% of global carbon emissions and 20% of global wastewater, Indigenous approaches to design and production offer solutions.

For example, Nike N7, founded by Sam McCracken (Sioux and Assiniboine), supports the N7 Fund to provide athletic programming to Native American and Aboriginal youth. (The number seven in “N7″ is for “the seventh generation.”) The N7 Collection is made of at least 20% sustainable materials and celebrates Indigenous cultures. This month’s release for Native American Heritage Month celebrates the interconnectedness to nature.

Another example is Indigenous woman-owned beauty brands, Cheekbone Beauty, a certified B-Corporation founded by Jenn Harper. The company’s products are the most eco-ethical: high-quality, clean, vegan and cruelty-free.

The company is transparent about their journey to becoming more sustainable and how they’ve created their eco-ethically-minded business and product inside and out, including using post-consumer recycled packaging, creating a scholarship fund and doubling the number of recipients this year, along with prioritizing diversity within the organization and in advertising and vetting their suppliers.

One of the most recent innovations is their “perfectly imperfect” line, which offers products with minor flaws that don’t meet retail aesthetic standards, like scratches or dents, sold at a lower price. This is sustainable for the environment and our wallets.

7. Traditional beadwork in modern design

Beadwork, a sacred craft in Indigenous cultures,. Has evolved from jewelry, accessories and regalia to become a contemporary fashion statement. From runway collections to streetwear, beaded elements are appearing in unexpected ways.

Major fashion houses are taking notice. This April, Afro-Indigenous beadwork artist, Mikailah Thompson (Nimíipuu/Nez Perce), collaborated with Métis brand, Manitobah Mukluks to design beaded footwear. Her artistry extends beyond wearable pieces to include hanging canvases and wool blanket design, bringing traditional beadwork into new contexts.

Lehi Thunder Voice Eagle (Diné/Navajo and Totonoc), owner of Thunder Voice Hat Co., transforms reclaimed hats with upcycled materials into one-of-a-kind design. Several hats feature beaded hat bands or beadwork along the brim. Each piece showcases both traditional craftsmanship and contemporary style.

8. Pendleton and heritage textiles

Pendleton’s evolution from trading post supplier to luxury collaborator includes partnerships with Hurley, Opening Ceremony, Vans, Levis, Cole Haan, Wrangler, Birdwell, and more. Just this week, through a licensing deal, Pendleton will offer swimwear for the first time.

Since the early 1900s, Pendleton Woolen Mills has had strong connections with Native Americans through the production of high-quality wool trade blankets with patterns and colors that often incorporate traditional tribal motifs. Over the years, these blankets have become highly sought-after items used for special occasions and considered heirlooms by many tribes and Native families. The company has worked with Tribes and Native artists to create new patterns, leading to collaborations that bridge traditional and contemporary design.

Today, Pendleton blankets carry cultural significance beyond fashion – they’re presented at graduations, raffled at powwows, and transformed by Indigenous designers into contemporary pieces. A traditional drummer might wear a Pendleton jacket, while a young designer might reshape a blanket into a runway-ready coat.

What we wear tells the world who we are, where we come from and what we care about.

Indigenous fashion is more than just traditional regalia worn by Native Americans at a cultural ceremony. (Please note the word “regalia.” Do not refer to it as a “costume.”)

Instead of shopping for an Indigenous or Native-inspired item from a fast fashion or non-Native retailer, consider supporting the Indigenous designers and artisans who infuse their culture into their work. Cultural appreciation is supporting them in reclaiming their identity, storytelling and sovereignty through style rather than paying for a cheap imitation.

Amy Stretten (Chickahominy) is a Black Indigenous queer femme journalist, commentator and the creator of cultural fashion platform The Chief of Style. Her intersectional identities are closely connected to her work. She recently completed a fellowship with the Native American Media Alliance’s Native American Unscripted Workshop and was a Constellations Fellow with The Center for Cultural Power. She has been a guest on dozens of TV and podcast shows and her work has been featured on various mainstream and Indigenous news outlets and books, including featured in queer fashion book DapperQ Style: Ungendering Fashion from HarperCollins. You can find her on Instagram at @ChiefofStyle.