Fashion Rules: Leave the Regalia, It’s Time for Australia!
There exists a large presence of indigenous groups in Australia. As of 2016, the Aboriginal and Torres Strait Islander Australians represented about 3% of the total population [1]. Australia is home to these two cultural, indigenous groups [2]. Each group differs greatly from the other by culture, language, tradition, and more. However, the fashion and textiles from the Aboriginals and Torres Strait Islanders do have similarities. These two communities are highly skilled in basket weaving, knotting, rug making, and fabric dyeing [3]. They use these skills to make baskets, fish nets, animal skin cloaks, ceremonial headpieces, and more for everyday use in nature. For example, knot making is used to create string bags for storing, transporting, and preparing food. As we look into the fashion here, we can see that the textiles are made especially particular with an emphasis on design and culture. These techniques include hand-painting, screen painting, and batik [3]. Batik is the process of using wax on fabric to prevent dye from going on certain areas of the fabric, thus creating a print [4]. The 1980s expanded the textiles in Australia by these indigenous groups as outside groups found an interest in them as well. The indigenous adapted to provide for outside markets, sharing their talent and expertise graciously. Central Australia expanded batik production and sewing workshops increased design construction [3]. The weaving techniques used to create clothing, baskets, and more is called buyu (buyu-dhamuk is a close weave and buyu-gadagada is an open weave) [3]. Some pieces are not shared with people outside of these groups. Ceremonial pieces have an important, cultural significance and should not be used or worn by non-indigenous people, out of respect. This can be a dicey subject but should not be overlooked. It is vital that humanity attempts to salvage any form of respect for one another that we have left. As we lose hope in politics, world leaders, friends, and idols, let us not forget civility. Don’t be insensitive [5]. Moving forward, let us discuss ceremonial fashion pieces for the indigenous Australians. Sacred strings with vibrant parrot feathers, twined baskets with tassels, ochred poles adorned with feathers, and headdresses are a few of the meaningful pieces used in rituals and ceremonies [3]. This includes using these poles, such as the Morning Star dancing pole, in mortuary ceremonies by indigenous Australians.
As for clothing, animal skin is a big part of the history of Aboriginal fashion. Other than quilted textiles and patchwork, animal skin was used to make cloaks during colder season [3]. The fur would be worn on the inside to keep the bodies warm, and children would have oil rubbed on their bodies to retain heat [6]. In warmer weather, indigenous people in Australia did not wear clothing at all, instead opting for pigments from the Earth [6]. Being naked was a normal part of life. Rape was a western issue that never disrupted the indigenous world. If it did, punishment was death. Soon, clothing became a necessary part of life and indigenous groups began to adapt. In making clothing, they only used natural fibers and resources to preserve the planet. Plants and animal skins were utilized to make jewelry, apparel, and other accessories [7]. These resources tended to depend on the geographical location of the group. Those near rainforests would use bark and other plants (like fig trees) to make blankets and clothing, while western groups would use animal skins (like kangaroo skin) to make clothing [7]. Some even took human hair, shells, grass, and feathers to make home items for everyday life [7]. The cultural significance here was to promote what the planet had to offer, honoring the environment. These groups had, and continue to have, respect for the planet. The natural resources led to the creation of beautiful fabric with unique designs hand-painted on. Linear designs, organic silhouettes, landscapes, flowers, and geometric patterns represent the tribal prints on these textiles. They also focused on using natural colors and tones such as browns, reds, oranges, and greens to make the fabrics’ designs. In the 1980s, non-indigenous designers began to gain inspiration from indigenous fabric pieces [8]. Jenny Kee, Katie Pye, Robert Burton, Linda Jackson, and other major fashion designers provided fabric for indigenous groups to paint, using these textiles in their collections [8]. Linda Jackson’s designs were inspired by central Australia’s landscapes, while Jenny Kee’s collection drew from a mix of Asian silhouettes and Australia’s cycle of death and regeneration. Jackson’s pieces spoke from the true culture of the indigenous people. She used the Aborigines’ rainbow for her color palette; this consists of ochres, reds, browns, yellows, black, and white [8]. She even witnessed the batik process, noting that the desert was perfect for making this print to keep the wax hot and quickly dry the dyed pieces, preventing any mistakes. On the other hand, Kee took her own personal experiences from living in the Blue Mountains, where fires frequently burned down the environment around her. The bushland would slowly regrow and green would begin again. Her waratah fabric was inspired by this with the use of bright reds and the black boy fabric’s black crisscrossed stalks, which were meant to resemble native figures [8]. Each designer truly took the culture to heart.
Current fashion is not that different from the tribal, ethnic prints of the past. One of the many great things about culture is the richness and consistency it brings with it. Generations pass down the traditions and textiles of the past to show the future what was, inspiring what will be. Australian Fashion Week in 2021 sparked a new beginning as traditional dance, the smoking ceremony, and indigenous models were seen on the runway [9]. This marked a moment of respect for the indigenous people and recognition that the First Nations fashion industry (a national voice for the indigenous in the country) existed far before us [9]. The pieces featured hand dyed silks, inspiration from the natural environment, and earth tones. One designer created a silk dress with hand-dyed designs to represent the fluidity of the Binyal river leaves. This event promised a better future as the indigenous were working with the non-indigenous to tell their story. Designer Penny Evans used hibiscus and emu feathers to make a necklace showcasing her grandmothers’ impact on her life. Another design had a graphic print of golden leaves to represent the gold particles found in an Australian tree’s molecular structure [9]. Symbolism and natural designs are heavily used by the indigenous in fashion. Fashion represents identity, no matter the culture. Indigenous Australian fashion is meant to oppose current power structures and reshape other countries’ views of their fashion. Indigenous designers in Australia are only growing in popularity, with majority taking inspiration from their own home environment. Some are even combing current trends from western countries (like the U.S.) with traditional wear to make it true, modern Australian fashion [10]. Some popular designers include Grace Lillian Lee and Denni Francisco who have each been in fashion shows in and out of the country [10]. Lee’s designs have been on display in Melbourne, San Francisco, Sydney, and New Zealand and she is noted for her unique style. She specializes in traditional Torres Strait Island weaving to construct architectural designs in vibrant colors [10]. The movement of her pieces are so strikingly unique that they should be in films and are already in national museums and galleries. Vogue Australia has also promoted First Nations Fashion on its cover this year, promoting indigenous designers. Francisco founded the brand Ngali that focuses on silk printed designs, simple silhouettes, and splashes of color [10]. Her pieces were in 2021’s Australian Fashion Week and the brand’s intention is to make wearable art. Clothing is but a canvas, and the artists of the brand make designs on tunics, scarves, and silk button-ups for any occasion [10]!
Not all fashion can come off a runway. Indigenous women’s fashion in the early ages consisted of opossum fur rug aprons (which were the most common), heavy cloaks, bark capes, seaweed dresses, and kangaroo skin rugs for wet weather [11]. They also wore head nets made from hair, flax, or opossum twine to keep their hair out of the face [11]. Men wore simple aprons during warmer weather and kangaroo skins in colder weather [11]. Feathers and shells would also rest on the hair of indigenous people as ornamentation. Due to the rural environment, appearance was not heavily prioritized by men or women in the early times [12]. However, the 1980s brought materialism and a desire for Australians to follow mainstream trends. Like other nations, outside influences corrupted fashion tradition here, as politicians encouraged adaptation. Fortunately, the community and culture of the Australians remains an important part of their way of life. They do not fully accept American clothing or fashion and prioritize ceremonial adornment and community affiliation [12]. Since the 2000’s, indigenous people in Australia have started to wear Western clothing, like patterned t-shirts, dresses, and scarves, apart from those living in more remote areas. The beanie and Akubra hat have also been adopted by indigenous people as cultural pieces [12]. Each region within Australia differs in their outside influence and style. Those in Sydney tend to dress more American, in Melbourne they dress more European, and in the subtropical Brisbane and Perth they tend to sport casual bright pieces [12]. Overall, indigenous Australian men and women wear a combination of Western-influenced clothing and traditional wear.
The future of the indigenous fashion industry looks quite promising. Australia and the general public have become more accepting and respectful when it comes to culture in the community. Many leaders in the industry, like entrepreneur Rhys Ripper, are set on making indigenous fashion widely, if not globally, accepted [13]. Organic, geometrical prints, rich natural colors, and flowing silhouettes will continue to be popular. Texture will be an added part of the textiles for the indigenous, creating designs for the visual eye and the grasping hand. As we move forward, it is important that culture remains an important part of our world. With culture, we must also have admiration and civility. No matter our differences in religion, ethnicity, race, or geographical location, we must respect one another. Fashion can bring us together as we learn, design, dress, and collaborate. Style with care.
Stay tuned for my next post coming soon…
REFERENCES
[3] http://archive.maas.museum/hsc/paperbark/history.html
[4] https://www.batikguild.org.uk/batik/what-is-batik
[6] https://www.sbs.com.au/language/english/aboriginal-clothing
[8] http://archive.maas.museum/hsc/paperbark/influence.html
[9] https://www.vogue.com/article/australian-fashion-week-first-nations-fashion-design
[11] https://www.tota.world/article/680/
[12] https://fashion-history.lovetoknow.com/clothing-around-world/australian-dress