Join us and meet three Northwest Coast Indigenous fashion designers who are transforming the world of contemporary couture with inspired works that draw on their heritage. The designers will showcase recent works on live models and discuss their visions of Indigenous design. They will also share their perspectives on historical artworks featured in our new exhibition, In a Different Light: Reflecting on Northwest Coast Art.
Autum Jules Autum Jules (Skaydu.U) belongs to the Eagle clan (Daxhlawedi) of the west coast Tlingit First Nations. The Eagle clan owns both the eagle emblem, the people that watch the air, and the killer whale emblem, the leaders that watch over the water. Inspired by her clan systems and the emblems that she belongs to, Autum Jules designs contemporary works of art that reflect strength, traditional knowledge and her love of design, bringing artistic vision to life. She has had the opportunity to train with elders, and reflect deeply on the interconnections between territory, traditional practices, life, and materials such as cedar.
Yolonda Skelton Yolonda (Loni) Skelton is a Textile Artist from the Gitxsan Nation and the House of Hax-be-gwoo-txw of the Fireweed Clan. Her traditional name is (Sug-ii-t Looks) and it is the name of her company which means “When the Whales Crest.” Her fashion designs are inspired and created from traditional oral stories told to her by her late maternal grandmother Lily Jackson (Na-gwa). She is able to combine the aesthetic beauty of her culture with her love of fashion, in creating one of a kind modern day robes of power, a functional art for people of all nations.
Meghann O’Brien Born and raised in Alert Bay, British Columbia, Haida-Kwakwaka’wakw-Irish textile artist, Meghann O’Brien creates contemporary artworks in basketry, Raven’s Tail textiles, and Chilkat weavings. Inspired by her ancestors’ work, knowledge, aesthetics and the landscape of sky and snow, Meghann explores the relationship between inner and outer experience. Meghann has apprenticed under master weavers and traditional teachers Kerri Dick, Sherri Dick, and William White. Her artistic process is one of devotion to the highest expression of the art form, preferring to allow the weaving to find it’s own place in the world once completed.