HEADDRESS DISASTERS OF THE FASHION INDUSTRY

Recently, Chanel's Dallas Fashion show featured a Cowboys & Indians theme, where models on the catwalk were feathered and one wore an all white war bonnet. First of all, is the need for native designers in an ever growing market that wants to honor native peoples of this hemisphere. I encourage designer brands to draw in that wealth of experience and tribal knowledge, talent and vision. I implore this industry to seek out American Indian designers, and people of tribal heritage and fold them into efforts of the industry to culturally represent with authenticity.

Second, there are countless young native American women with the looks, talent and capability to model any cultural themed costumes, and that should be the industry standard going forward. The door is still closed to our sisters, and I would first ask that the industry cultivate a cadre of both male and female models who can successfully pull off native cultural presentations.

Third, native people can project a vision that would not inappropriately use cultural icons like the warbonnet, or head dress in a manner often done, in a cheap sexual and tawdry way. And what is up with that anyway? Since Cher wore the headdress, it has been acceptable for scantily clad women to slap one on and slither about. Lana Del Rey did it, and its become almost equated with sexuality and sexual expression. The opposite of what it was intended for. The Chanel model, while fully clothed, is the recent exception.

On a deeper level, what does this mean: are white women striving for a power symbol? It this a deeper sexual fascination with the native male in the mindset of a captivity narrative furthering the negative stereotype of the native man as wild and dangerous? Is this the modern expression and extension of film captivity narratives that have stereotyped and dogged native people since the first western movie?

Since fashion lines chose to exploit native people's icons and symbols, these multi billion dollar enterprises should look at the culture and communities they are exploiting for their bottom line. There are vast unmet needs in Indian country. Going down the road of exploitation is a double edged sword that often works to impale native people.

The work of Chanel caricaturizes native culture, imagery and iconography, and makes us only visible in the periperal, knock-off manner these kinds of presentations are made. It serves native people no real justice to be caricaturized in an exploitive way intended to reap millions off the sale of their iconography of cultural and meaningful symbols and items.

The day before more critical articles came out of the Chanel Dallas fashion show; a sacred eagle feather was placed in the casket of Nelson Mandela by the Canadian National Chief, Shawn Atleo of the Ahousaht people of coastal British Columbia. Our symbols are weighted with a sacred belief, and there is great care in the feathers themselves, as sacred relics of our connection to our winged relations. Further, the painting of symbols on the feathers are often connected to the individual's symbolism, and carry meaning of a spiritual nature. Paints, whether used on feathers or in other ways, are in cultural context—intended for spiritual reasons. This is observed by most if not all tribes.

The Chanel empire did a simultaneous service and disservice, and it is upon us as native women leaders and the corporate brass to use this as a teachable moment. I am aware many of the models are very forward thinking, intelligent women who would not knowingly violate the cultural beliefs of a group of people, and would not knowingly participate in that. The presence of native designers in the making of lines, and in other aspects of fashion show events, should be brought in. Whether these projects are done by a brand employee, or whether or not a major brand took the time, effort and respect to draw in native people into a themed project is the difference between raw unbridled exploitation and accolades of being a standard bearer of equality in the industry.

Building upon the fashion industry's recent mishaps on this issue, (citing the recent Victoria Secret slip up), we can see the fashion industry as wanting to reach out to native people, or to express empathy with native people. In the context of the Dallas show, it highlighted the spirit of the West and native people's place in that history.

We have to take what is commendable, and strive to improve. This is a corporate step forward, and I feel the moment can be seized, and drawing in native themes must accentuate that iconography, is in large part—based upon the story teller. A model is in a sense, a story teller. So is a designer, art director, and photographer I implore the industry to work toward accolades, not exploitation. It is a win/win proposition.

This is helpful with race relations going forward. I would like to see Chanel do a complete do-over, involve the native women fashionistas, such as Manitoba-born, and Tucson-based Anishinabe Chione Skye, and her company, the Chic Cartel. She has vast experience on appropriate cultural presentations of native women models in the context of their respective tribal representations.

This is a matter that will not go away. I suggest in the future, native people, from art directors, models, photographers, and designers, are involved in all phases of a presentation that is going to be made. They are effective as a cultural filter and to ensure major brands do not encounter these kinds of controversies in the future. We can all agree it is time to make a forward proactive approach that is culturally relevant, respectful and tasteful. As Chanel and Victoria Secret have effectively demonstrated, we are not a vanquished race. Native people are of a vast array of vibrant cultures, and obviously marketable.

Melinda Gopher was raised as a traditional native Ojibway (Blackfeet descent) on Hill 57, Great Falls, Montana. She is available to advise the major industry brands on their culturally inclusive campaigns. Twitter: OjibwekweOgemaw, and email: MelindaGopher@gmail.com. She is a blogger for the Huffington Post since 2009, and a screenwriter, paralegal, multi-dimensional artist, fancy dancer, and ran for the U.S. House.