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From Couture to Country Major B S3589568 Jacinta Pogson Mentor: Brian Smith
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6. Research Results 6.1 Objective 1: To identify the different concepts and themes surrounding Indigenous fashion and textile design and its importance to Indigenous people. 6.1.1 Historical Context For thousands of years Australia’s First Nations peoples have been story telling through their art and this has been maintained with alarming consistency (Cubillo, Caruana 2010). Scholars have identified artistic motifs still used by Aboriginal communities today that have appeared in archeological record for up to 30,000 years which has given Australian Indigenous art a reputation as the oldest living artistic culture in the world (Muscato,2016). Because it was common for Indigenous communities to wear minimal clothing in the hot Australian climate and majority of clothing was made from organic fibers limited aboriginal textiles have survived. However, because of the cultural story-telling and the importance of maintaining traditions over thousands of millennials it is possible to have an idea of what they looked like and what they were made from (Cubillo, Caruana 2010).
Some common Indigenous textiles used plant fibers such as bark, which were dyed using plants and clay, the artist would then strip the bark into long threads that were then woven together to make baskets and bags. Hair was also used by Aboriginal artists, both animal and human hair to create strong threads. The hair was hand spun into yarns sometimes alone and sometimes with bark. This was woven into blankets, bags and baskets (Ryan et al, 1998). Aboriginals were also known to traditionally wear animal skins which were processed and turned into cloaks or blankets, the insides often painted with dyes produced from local minerals (Ryan et al, 1998). Refer to Appendices 10.6 for imagery of historical Indigenous textiles.
6.1.2 Preservation of Culture through Contemporary Mediums
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Today, Aboriginal artists use a wide range of materials and techniques to create unique textiles. Access to new materials and techniques have formed a modern take on tradition and contemporised these practices and artworks to make new designs. Common fibers like cotton, silk and polyester make up the fabrics that have been dyed or screen-printed with traditional Indigenous artistic motifs. Modern artists use modern textile techniques and traditional patterns to create new representations of the dreamtime, communicating beliefs about their heritage, culture and spirituality (Muscato, 2016).
Crystal Thomas in the founder and director of North, a clothing and textile label whose products are made from printed fabrics that are purchased from a number of Indigenous Art Centres (Refer to 6.3.1 for further explanation on art centres) around Australia. For example, North’s sleepwear is dyed using traditional techniques by the Anindilyakwa women who live across the Groote Eylandt Achripelago. The textured prints show splashes of inky blues, etchings of burnt orange and cloudy blotches of eucalyptus green. She describes the process “The dying process starts with a bush trip that draws on ancient knowledge of country where they find and collect roots, leaves, bark and berries, then back on the beach at Umbakumba, they are boiled in a big drum on a campfire while the women wrap the silk carefully around leaves and found objects.”
Figure 1: Anindilyakwaarts bush dyeing process
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Thomas notes that while aboriginal culture has an ancient heritage, today it has evolved to incorporate new ways of sharing cultural stories. Another art centre Thomas purchases from is Injaklas Arts, a Darwin based art centre consisting entirely of aboriginal artists. One of the screen printers at the centre working for North is Gabriel, who is one of the Kunwiniku people of Western Arnhem Land. Gabriel’s screen prints reflect the Mimih spirts which inhabit the Arnhem landscape. Her screen print reflects the same Mimih spirit story depicted on the rock face of Inhalak Hill which was painted over 15,0000 years ago. This story continues to survive in modern day by being shared on screen printed fabric. Gabriel explains “We want to help balanda (white people) to understand that rock art is part of our culture, then and now�. As such, screen-printing practice signifies a new medium to share stories and a space for new artists to develop creatively. During the interview, Thomas provided examples of various experiences, opinions and stories of the artisans she works with. It is necessary to tell their stories and experiences in order to understand from first hand experiences the connection between Aboriginal fashion and textile and its connection to culture.
Grace Kumbi is the Indigenous Art Coordinator at Merrepen arts. Her most common design is of a sand palm which represents the ancient dilly bag. The dilly bag is made from a string conducted from palm leaves which is then rolled up to make a dilly bag and the left over middle-part of the palm is
Figure 2: Dilly Bag (Image via Carla Matjandajpi)
eaten. She has also designed a textile print made up of string rays. Grace was inspired by going fishing with her husband where she saw large fish being chased by the stingray.
Raylene Bondon, is a printer and designer at Babbarra Designs, which is a womens art centre set up to empower Aboriginal women and provide them with sustainable income
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(Babbarra Designs, 2018). Her father was a bark painter, and she would watch him paint and catch fish with him when she was young and put them in dilly bags. She draws on these memories and mimics them in her designs. Bondon says “Its special to me that those designs are now on fabric. Our fabric art isn’t like those bark paintings, we use bright colours, acrylic colours, not ochre (clay)�.
Isaiah Nagurrgurrba is the co-manager at Injalak arts and crafts in Gunbalanya, which is also his birthplace. He reflects on memories when he would sit with his brother and grandfather while his grandfather painted on bark and would tell them stories of the dreamtime. His Grandfather told him that in the future he would paint his own stories. Isaiah is drawn to rock art style because his grandfather used to paint on bark which is the traditional way of using clay and ochre. So, using the red and white in rock style represents the rocks and the ochre, reviving his culture and memories while translating them into new mediums.
This is again reflected in the designs at Tiwi Design art centre where much of the designs were originally created by the aboriginal elders that have passed on. The patterns that the aboriginal designers make reflect their own tribes and body art painting. These are the designs that would go on the face and body in ceremonies. Each family has their own design which each family member wears. The same is done on the fabrics (Jilimara, Tiwi Designs).
Grace Lee, founder and designer from Grace Lillian Lee reflected similar opinions during the in-depth interview. Her designs draw on from inspiration drawn from her indigenous heritage. Lee also collaborates with Australian Indigenous communities to make and design her collections. For Lee, drawing on her indigenous heritage through her designs while being out in remote communities where she comes from is a healing process because it allowed her to connect with people of her heritage and discover more about her culture, even
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learning new techniques, such as indigenous weaving used to make dilly bags, which are evident in many of Grace’s collections today.
These examples all tell a common narrative of how fashion and textile design has enabled Aboriginal artists to draw on their cultural heritage and connect with their history through a contemporary way.
6.1.3 Connecting with Youth The research also identified that as well as preserving culture, Indigenous fashion and textiles can be a tool for teaching youth about their indigenous heritage, and encourage them to connect with it. As well as collaborating with Indigenous communities, Lee also mentor’s young people within these communities to encourage creative expression. Her future aim is to guide members toward developing their art into textiles in a contemporary fashion, while sharing artistic culture between generations, in order to work as an instrument for the preservation and celebration of traditional techniques and creativity. “Fashion’s fun, its hands on artistic nature translates well to youth and tells the stories of culture and heritage in a fun and engaging way through fashion and art practice” (Lee, 2018). Textiles have contemporised aboriginal art, and the youth find it easier to relate to, and are showing more interest. They can design it, wear it and connect with it in a fun and exciting way” (Lee, 2018). Thomas agreed with this by describing how at the art centres much of the speak in their local language to try and keep it alive, and also host teaching workshops in their local language with aboriginal children, connecting youth with elders.
By teach youth about their culture, and showing them ways to profit off them, it is communicating to Aboriginal youth that the future is something that they can prosper in, and that they don’t have to compromise their Aboriginality in order to be successful unlike what Australian society and governments have taught them throughout history (Abbatangelo,
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2018). Lee agrees, that this helps them excel forward by embracing their tradition and culture “Fashion allows Aboriginals to do Aboriginal not just be Aboriginal” (Lee, 2018)
6.2 Objective 2: To identify and analyse issues within the indigenous fashion and textile space 6.2.1 Appropriation and Simplification of Indigenous Textile Design As the research has showed, Indigenous Fashion and Textiles have a deeper meaning than just a simple souvenir or peice of clothing and serve a much greater purpose and hold a much deeper connection. Therefore, Indigenous textiles are complex and have underlying meanings and purposes.
However, many fashion brands are beginning to enter into joint ventures with Indigenous art centers. This has recently been done by Melbourne brand Gorman whereby they purchase prints from Indigenous artisans and use it in their collections. This is the same model used by Thomas’s brand North. Lee discussed these joint ventures in our interview. Lee described how brands that purchase fabrics from art centers use the textile as the celebration, rather than the technique, like traditional indigenous weaving techniques (like that of the dilly bag) that are evident in Lee’s collections. Lee feels that it’s important to push the boundaries and work with the artisans directly to draw on stories of culture and develop design aesthetic than just following a fashion trend. Suggesting that this simplifies the process and turns it into an item fit for western society, taking away from the deep complexity of the designs and artworks. Some joint ventures have been scrutinized for resulting in ‘tokenistic’ partnerships. The industry term for this is ‘black cladding’ (PWC,2018). This is where larger organisations enter into disingenuous partnerships with indigenous artists and over-represent the involvement and control the artists to have a more ‘westernised’ and trend focused design (PWC,2018). Lee also pointed out that these businesses are not run by indigenous peoples, and instead non-indigenous Australians are purchasing Aboriginal textiles and creating a label from it. However, Lee does acknowledge
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that they are still purchasing the textile from the art centers and creating a demand for the industry.
Further secondary research found that the fashion industry appropriating indigenous art and motifs is a common occurrence. A recent example of this was when luxury brand Chanel made headlines for selling a $2000 Chanel branded boomerang. The label was criticized heavily for disrespecting indigenous Australians and culturally appropriating the ancient and culturally significant boomerang. This was also evident in Istanbal designer Bunyamin Aydin featured “tribal” inspired dot paintings and clothing references to 1788 (the year Europeans arrived in Australia) during a runway show for his label Les Benjamins’. This was seen as offensive to indigenous Australians who were not involved in any way with the collection. Again, an American label Rodarte was also critisised for profiting from Aboriginal inspired prints without the involvement of any aboriginal artists. However, the brand later did note that they had licensed the prints from an Aboriginal designer, but their work was never credited. These examples show how commonly western society tries to simplify Australian culture and knowledge into cliché items (Sentence,2018).
However, when it comes to non-aboriginals wearing Aboriginal motif clothing as opposed to creating it Richard Frankland, an Gunditjmara man feels more positively. He describes excitement when he sees a ‘white fella’ wearing an Aboriginal style print because it means that “Aboriginals are less invisible to non-Aboriginal now, finally we are being noticed and getting recognised”. Frankland states that as long as they understand the cultural significance of the motif and are buying it through appropriate channels then it is a great thing to do. It represents that Aboriginal pride, strength, identity and their unique place in modern Australia is acknowledged and that Australia’s black history and future is shared by non-Aboriginal brothers and sisters, therefore becoming a shared symbol of solidarity (ABC,2018).
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6.2.2 Fake Indigenous Art Recent research conducted by the Indigenous Art Code found that 80% of indigenous souvenirs in tourist shops are fake. This includes aboriginal textiles such as homewares and clothing and is estimated to be worth AUD 200m (Hobbs, 2018). In Australia, this is currently not illegal, as long as the product says where it was made (Nava, 2018). NAVA believes that this exploits culture, undermines communities and blocks income generation for Aboriginal artists.
The National Administration for Visual Art (NAVA) has expressed concern on Fake Indigenous art being sold as souvenirs. It is recognized that technology has made it similar to reproduce Aboriginal designs, images and visual symbols. Therefore, making it easier to replicate create and sell imported inauthentic aboriginal art.
The financial impacts on artists, communities and ethical dealers is significant because indigenous artisans are reliant on the sale of their work as an income stream. The selling of fake art dismantles this stream and simultaneously disadvantages the ethical businesses who struggle to compete against the cheap, fake souvenirs.
Currently NAVA is calling on the Australian government to address these issues and put regulations in place to protect Indigenous Artists including banning the supply of products that impersonate Australian Indigenous artefacts, artworks and textiles as well as banning terms such as ‘Aboriginal style’ which are used to describe inauthentic important souvenirs.
6.2.3 Lack of Funds and Exposure Another issue faced by the Aboriginal Textile and Fashion Design industry Is that many of the brands are non for profit. Thomas described in her interview that it is hard to grow as a business organically. North relys entirely on investment in order to grow and expand as a business. North is a non for profit social enterprise, and like many other Aboriginal fashion brands it is focused on developing artistic practice, nurturing new talent, building skills and
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confidence, providing resources and engaging youth. All of these factors require a large amount of capital. In order for investors to be interested there needs to be more consumer demand for indigenous textiles. Thomas notes that consumer interest has increased greatly since she started North in 2013, but there is still a long way to go. This was evident in the survey research where 89% of respondents said that they did not know of any Australian brands using Indigenous textiles. And when asked to identify countries with traditional artesian fashion only 2 out of 110 respondents with Australia.
6.2.4 Rural Isolation and Economic Exclusion Most commonly indigenous artisans live in rural communities within Australia and are heavily isolated from the Australian fashion economy. Often experiencing extreme economic exclusion (Egan,2016). Additionally, Aboriginal Australians are one of the most economically marginalised groups in the country (Egan, 2016). As well as this, historically the Aboriginal Australians have been subjected to discriminatory policies that were designed to exclude Indigenous people from economic participation (PWC, 2018). An example of this was the stolen wages, whereby Aboriginal workers were enslaved and denied access to their wages which were taken from them by officials and employers, locking them into a cycle of poverty (Creative Spirits, 2018). For many Aboriginal people living in remote Australia, the western economy is a foreign system that has only been introduced recently in relation to a vastly different Aboriginal economic system used prior to colonialism. Because of the marginalisation, exclusion and racism towards Aboriginal communities they were not provided with the opportunity to learn how to navigate the western economic system effectively, leaving them shut out and unable to participate in ways they desire. Which has in turn, led to even deeper social issues. Additionally, what is most commonly on available for work in remote communities around Australia is demeaning work for government dole programs, or training for jobs that don’t exist in remote communities (Egan, 2016) enabling a disconnect of information and support in remote communities. Therefore, It is not that these
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communities don’t have ideas and aspirations for engagement in the economy but no means to progress them.
During the in-depth interview with Thomas from North, when questioned about this issue she described that the mission for her business is to provide demand, support marginalised communities and broaden the exposure of textile design of Indigenous artists living remotely on their country. She mentions the words of one of her screen printers Raylene Bonson from Babbarra Designs “I love seeing people wearing my designs, I love knowing that something I created is loved by someone else. I hope in the future we will grow and have more exhibitions and collaborations and I can see more people wearing my designs all over Australia”. Bonson’s words show that members of the community want to progress economically and reach new markets outside of their remote communities. Lee also acknowledged that her label Grace Lillian Lee, acts as a support network for these communities, and offering ongoing mentoring and training means that members of the community are able to profit from their art.
6.2.5 Fast Fashion/ Mass Production Culture With the rise of fast fashion and mass production, fashion consumers have been able to access stylish fashion at a cheap price, making on-trend and stylish garments widely accessible. The survey results proved this consumer ideals showing that 70% of fashion consumers update their wardrobes monthly-every few months, and that cost is one of the most important factors when considering what clothing to buy.
Additionally, with the development of new technologies and the rise of globalisation, many fast fashion companies can easily mass produce their clothing with machines meaning the process is quicker and less costly due to not having to pay staff to make it (Fashion Revolution, 2015). As well as this, globalisation has enabled brands to offshore their production to countries that have a lower minimum wage, meaning less fashion is being
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made in Australia. All these factors have contributed to the speed to market and low cost of fashion in the Australian market place (Fashion Revolution, 2015). Consumers now expect fashion items to reach them quickly and rapidly update their offering.
This fast turn over and easy consumption has created a disconnect between maker and wearer (BOF, Mckinsey & Company 2016). Consumers are no longer concerned with where their clothes are made, the survey reflected this with only 22% of respondents saying that they pay attention to the origin of their clothing.
This is concerning for Aboriginal Artisans, who’s creative process takes a long time. Out of 110 respondent 70 ranked ‘How a garment was made’ as their least concern when purchasing clothing. Lee, 2018 also backed this information up, saying that Aboriginal design entering the mass market is a concerning issue, because it is a slow and creative process, and to speed that up would take away from the cultural connection and significance of the design.
6.3 Objective 3: To evaluate the findings in order to determine relevant and appropriate market and predict the future of indigenous fashion and textiles After identifying and evaluating the complex issues of indigenous fashion and textile design, different business models have been analysed in order to suggest ways to improve the market and counteract these issues.
6.3.1 Art Centres Art centres are community owned and managed collectives, that are located in remote Aboriginal communities and isolated towns in northern and central Australia. Art centres are most commonly non for profit and fill a large number of social, cultural, artistic and economic roles. Their aim is to assist indigenous artisans with the economical exclusion due to their
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rural isolation. This is done by offering professional development through nurturing artistic talents and providing marketing and career support. They create a pathway for income and help artists to create a career or enterprise that succeeds because of its cultural distinctiveness, and not despite it (Acker, 2008). Art centres provide full accountability financially, operationally and artistically and ensures that nothing is to the disadvantage of the Aboriginal artists and the non-Aboriginal art marketable. Between them, they have brought out some of the greatest works of Aboriginal art. It is these art centres that Thomas’ sources the fabrics and textiles used in North’s collections with the intention to create strong relationships with the artists in the centres in order to generate consistent income streams and provide a mechanism for creative innovation in the art centres (Thomas, 2018).
Despite a growing desire from fashion businesses to purchase product from Indigenous business, it is common for most to be awarded small scale and short-term contracts due to the perception that they don’t have the scale or capabilities to take on other opportunities (PWC,2018). But if Indigenous designers are to thrive and sustaining growth, they too must be able to captilise on long term contracts and large-scale orders (PWC,2018). By entering into joint ventures with Art Centers Indigenous artists are able to secure long term opportunities and build long term relationships between other artists and brands (Thomas, 2018)
6.3.2 Indigenous and Luxury Fashion The in-depth interviews with both industry experts found that because of the high price point that indigenous fashion design is best marketed in the luxury realm. “Its only place is in the high-end market, nothing should be taken away from the artisan. When you’re focused on cutting costs and bringing low price points the artisan will be impacted and there won’t be any support there” (Lee, 2018). Additionally, the survey found that consumers would pay more for an item that has been made by an artisan. Therefore, a focus group was conducted
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with luxury fashion consumers, to analyse their buying motifs and perceptions of indigenous design, in order to draw further conclusions. Participants of the focus group collectively defined luxury fashion based on the price of the item and quality of the item and therefore agreed that their buying motivations lie within the fact that it will last longer, and it is an investment. Because of the high cost of the garment participants all agreed they have a connection towards their clothing “When you spend more money on something your more committed to what you’re buying, you’re part of it, you loved it so much that you wanted to invest in it, people that buy cheap can’t say that about their clothing.” (Participant 3). Another clear point from the discussion is that all luxury consumers purchase because it unique and exclusive, and don’t like to wear garments that everyone else is wearing “ I hate the thought of owning something that every else has, I like luxury because I know that not everyone buys it and can own it, it feels more exclusive” Participant 4. The survey found that 35% consumers perceive indigenous fashion to be unique, which suggests that consumers looking for unique luxury items would be more likely to be drawn to indigenous textiles.
However, it is not clear weather all luxury consumers would be interested in Indigenous textiles. When questioned about indigenous artesian products in the luxury fashion space the responses were varied. Participant 2 said that while they like the idea and support it, it wouldn’t match their style, and their concern only lies with how the product looks. Participant 3 agreed, and stated their only interest lie in what the garment looks like and is not really concerned with the way it was made. Participant 1 was more open to the idea and said they would be more drawn to the product and more inclined to make the purchase. However, participant 1 is much more drawn to the colour pallets and Australiana designs and is fond of quirky and unique prints. Participant 4 agreed, liking the idea but not sure whether they would purchase Indigenous fashion. Although It is important to note that no participants had ever seen or purchased luxury indigenous fashion and didn’t really have a clear
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understanding on what it was or what was involved, which made it difficult for them to form opinions on it.
Thomas noted that because artisanship comes at such a high cost, creating marketable price points is an ongoing challenge. Lee agrees with this and faces the same challenges with her label Grace Lillian Lee, however Lee feels unapologetic about her high price-points, and firmly believes that artisan fashion only has a place solely in the luxury market. The survey showed that consumers agree with this and perceive artisanship to be expensive and expect high price points, with 20% of consumers agreed that artisan fashion was expensive.
6.3.3 Indigenous Fashion and Textiles in the Slow Fashion Sector Slow fashion is the alternative to fast fashion and aims at slowing down the rate of fashion production and consumption in the hopes of reducing the industries negative impact on the environment and improve the lives on industry workers. For a garment considered to be ‘slow fashion’ it must meet one or more of these factors; sustainably made, hand-crafted, locally made, ethically and fair, minimal waste, transparent supply chain and gender equality (Well Made Clothes, 2018).
Because Indigenous textiles and fashion are hand-crafted and locally made, they can be appropriately marketed as slow fashion products. Minimal waste is also a factor because the clothing is hand-made and often only what is order will be produced, or small quantities will be made at a time, which therefore produces much lest waste than a fast fashion brand would. Indigenous textiles that are made in art centres around Australia also have a transparent supply chain that is often published on their website for anyone to view. Some art centres are women’s only and therefore gender equality can also be a factor.
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The primary research also attributed this, members of the panel commented how there is a increasing demand from Australian fashion consumers for clothing that comes from within the community “People are beginning to want to go back to community and are wanting to now know who made their clothing, there’s an appreciation now for localisation. It goes beyond luxury, its luxury with an Australian twist” (Friis, 2018). This demand has come from the pressure of fast fashion and mass consumption which means that Indigenous art is a sellable quality “Greater demand can be made for indigenous art, because people are moving away from mass market, artisan is so much more special and there’s a growing place for it in the industry” (Gale, 2018). The survey also reflected this, where 63% of consumers said they would be more inclined to purchase an item that was made by an artisan and helped to preserve traditional cultural designs, over a machine-made garment. Lee also believes that the success of Grace Lillian Lee has been because of the cultural significance and importance of her clothing “People can see it’s come from a genuine place rather than just mass marketing trends on the runway, my designs come from my culture, from within, and I think that’s why people are so drawn to it” (Lee,2018).
The primary research also found that consumers associate Indigenous fashion artisanship with slow fashion. Participant 3 of the focus group noted they associate artisan design with being made in good conditions and assumes that the artisan has been empowered in the process. The survey also reflected this and showed that 80% of consumers associate artisan fashion as being ethical and slow.
Lee provided an industry perspective on the association and agreed, noting that because indigenous fashion is a slow process it needs to be celebrated in a slow way, “When you bring in culture it is a long and slow process that should not be rushed” (Lee, 2018) In 2013 Spotlight collaborated with Barabbra Women’s Art Centre and purchased the designs directly from the art centres. However, Spotlight had the designs printed in China and was able to sell them at less than $20 a metre, compared to the $150 per metre the art centre 19
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sells it for. Some art centres disagreed with the approach and want to keep indigenous textiles within a niche high end market, so it doesn’t take away from the ethicality of the industry and the specialness of being made by artisans (ABC Darwin, 2017).
Thomas from North also acknowledged that its place is in the slow fashion market and notes that all of North’s business choices are associated around social and environmental impacts. However, having an ethical and sustainable focus is one of her biggest challenges as a business because of the large costs involved, which are a large burden amongst all the other costs she faces as a non-for-profit enterprise.
6.3.4 The voice of Indigenous Fashion is Louder As consumers have become increasingly ethically and socially aware of their purchase decisions the indigenous textiles sector has experienced growth “We’re just at the cusp for it to adapt and explode. (Lee,2018) Lee attributes this to the emergence and growth of art centres which have allowed indigenous people to realise their potential. The secondary research added to this and found that indigenous people now than ever are seeking to achieve economic independence by contributing to the economy through establishing Indigenous businesses (PWC,2018)
The increasing number of mentoring programs have allowed indigenous design to translate better into textiles which has been grasped better by the industry, and consumers are enjoying having access to designs from artists that are so far removed from the fashion industry (Lee, 2018). Thomas has also noticed a growing national interest in Aboriginal culture and art and with this has come a growing media interest, which has allowed for her brand to experience rapid growth in the last two years. This suggests that the Aboriginal textile industry is likely to continue to expand in the future.
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9. References Abbatangelo, B 2018, Deadly Questions, ABC Victoria https://deadlyquestions.vic.gov.au/explore ABC Darwin, 2014, The Increase in Popularity of Indigenous textiles has the potential to provide one of the few real economic development outlets for the Territory's indigenous communities. 7.30 NT Time: 19:30,Broadcast Date: Friday, 30th May 2014; Duration: 8 min., 34 sec. au.ezproxy.lib.rmit.edu.au/documentSummary;dn=TSM201405300208;res=TVNEWS> Acker, T 2008, Aboriginal Art: It’s a Complicated Thing, Art Link, viewed October 1st 2018 https://www.artlink.com.au/articles/3144/aboriginal-art-its-a-complicated-thing/ Bamblett, N 2018, Deadly Questions, ABC Victoria https://deadlyquestions.vic.gov.au/explore Creative Spirits, 2018, Stolen Wages, Aboriginal Culture and Economy , vewied October 1st 2018 https://www.creativespirits.info/aboriginalculture/economy/stolen-wages
Cubillo, F, Caruana, W 2010. Aboriginal & Torres Strait Islander art : Collection highlights, National Gallery of Australia, Canberra (First ed.). Canberra: National Gallery of Australia. https://jezebel.com/rodartes-aboriginal-prints-called-offensive-by-australi-30787130 Egan, L 2016, Enterprise Learning Projects- Growing Capacity from the Ground Up, Criterion Conferences https://www.criterionconferences.com/blog/government/enterprise-learning-projects-growingcapacity-ground/ Hobbs, J 2018, The 200m Industry of Cheap Fakes Ripping off Indigenous Artists, Sydney Morning Herald, viewed September 30 2018 https://www.smh.com.au/entertainment/art-and-design/the-200m-industry-of-cheapfakes-ripping-off-indigenous-artists-20180324-p4z63m.html Lee, G 2018, In Depth Interview, Grace Lillian Lee.
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Muscato C, 2016, Aboriginal Textiles, Study Academy, viewed September 12 2018 https://study.com/academy/lesson/aboriginal-textiles.html PWC, 2018, The contribution of the Indigenous business sector to Australia’s economy, PWC’s Indigenous Consulting https://www.pwc.com.au/indigenous-consulting/assets/the-contribution-of-theindigenous-business-sector-apr18.pdf
Ryan, J, Healy, R, Bennett, J S 1998. Raiki wara : Long cloth from Aboriginal Australia and the Torres Strait. Melbourne: National Gallery of Victoria. Straubhaar, R 2014, The stark reality of the ‘White Saviour’ complex and the need for critical consciousness: A Document Analysis of the Early Journals of a Freirean educator, Compare: A Journal of Comparative and International Education, Volume 45, 2015- Issue 3 pg 381-400 https://www.tandfonline.com/doi/full/10.1080/03057925.2013.876306?src=recsys& Thomas, C 2018, In depth Interview, North
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