Opening Night of Vancouver Indigenous Fashion Week: Showcasing Innovation and Community Strength

Vancouver Indigenous Fashion Week (VIFW) is one of the most inspiring, unforgettable events in the city. Opening Night (November 20) brought together diverse Indigenous communities from across the province and Turtle Island (North America), in addition to passionate supporters of Indigenous fashion and artistry.

This year’s VIFW takes place November 20 to 23, 2024 (doors at 6pm, show from 7pm to 10pm approximately), at the Queen Elizabeth Theatre. Launched in 2017, the event was the dream of founder and artistic director Joleen Mitton, who had returned to Canada after a successful international modeling career. She envisioned an event that would champion the talent of emerging and established Indigenous fashion designers, capture the range of Indigenous artistry, and foster community across generations. Based on opening night, she and her enthusiastic team have made this a wondrous reality.

Each of the four nights of VIFW is themed, and includes a territorial acknowledgement, MC(s), a DJ, a musical artist, a runway show, and a Maker's Market. The first night is a “Red Dress Event” in tribute to missing and murdered Indigenous men, women, girls, two-spirit, and LGBTQ community members; November 21 is “All My Relations Couture Night,” melding high fashion with an Indigenous fashion aesthetic; November 22 is “Indigenous Futures,” highlighting the hopeful future of youth, pop culture, sportswear, and streetwear; and November 23 is “Spirit of the West Coast,” devoted to this local place and what makes it so unique.

It was a packed night at the opening “Red Dress Event,” the lobby and the theatre filled with attendees wearing red. There was a sombre tone to parts of the evening but also a joyful one, as Indigenous community members celebrated their strength as well as the talent of their artisans and designers. People happily greeted friends around the venue.

The night was hosted by Geena Jackson (Bears’ Lair) and journalist Angela Sterritt, who took over from Mandy Nahanee, who, unfortunately, was not able to make it. DJ Paisley mixed the music for the night, while Juno Award-nominee Cris Derksen played a dreamy, yet upbeat set of electronic cello after the intermission.

The most moving part of the night was a "Red Spirit Dance" choreographed by Madelaine McCallum, with Derksen providing musical accompaniment. Dancers, dressed in striking red, moved poignantly across the stage, evoking yearning and loss. The closing uniting at the front of the stage of both young and old, with photos of those murdered and missing, was a powerful statement about the strength of Indigenous communities in the face of continued violence. Lorelei Williams, activist and founder of dance group Butterflies in Spirit, also later gave an emotional speech about the continued efforts to end the crisis.

After the dance performance, the event then shifted to the runway show, during which seven designers showcased their distinctive creations. VIFW is an impressive production, with the Queen Elizabeth Theatre transformed into a fashion show, complete with an elaborate runway. Many of the models are represented by Supernatural Modelling, the only exclusively Indigenous modelling agency, which was co-founded by Mitton.

Chepximiya Siyam, Chief Janice George, and Skwetsimeltxw, Willard Buddy Joseph, began the runway show with their weavings (Squamish) that evidence the continued vitality of ancestral practices. Sugiit Lukxs Designs by Yolonda Skelton (Gitxsan) followed with an innovative melding of both old and new in striking designs, many featuring the formline of animals and birds. Next was Taalrumiq (Inuvialuit and Gwich’in) from Northwest Territories who presented “I.G. Love, Hope, Joy,” a collection that represents the intergenerational beauty and vibrancy of her people and their culture in the north.

After the intermission, three other designers’ work took to the stage. First, Lindsay King (Saulteaux, Mohawk, and Ojibway), who after a career in Indigenous social work, transitioned to fashion design and leatherwork. Her red-hued outfits with their clean, modern lines were particularly lovely. The runway show concluded with two designers: Ocean Kiana (Nishinaabe), whose pieces offer a contemporary interpretation of traditional clothing, like ribbon skirts; and Rebecca Baker-Grenier (Kwakiutł, Dzawada'enuxw, Skwxwú7mesh), who has been beading regalia since a child and uses culturally-inspired design elements to make gorgeous statement pieces.

Designers were greeted with thunderous applause and standing ovations from the crowd. They also showed their support for Indigenous artists at the extensive Maker’s Market, which can be found on the three lobby levels of the Queen Elizabeth Theatre. The Market features artists and artisans from across British Columbia, in addition to other parts of Turtle Island, such as Northwest Territories and Alberta.

The Market is well-timed for holiday gift-giving, with impressive work on display, including beaded jewelry by Elaine Grace Auger (Dene) of Sweet Beads Jewelry; lux beaded earrings by Natasha Seymour (Tahltan, Tsimshian, and Nisga’a) of Native Glam; clothing and purses by Lesley Hampton (Ashinaabe); handbags by SHISAKO; and soaps and wellness products by Sweet Grass Soap. Artisans are very receptive to sharing about their craft, their cultural inspirations, and individual pieces.

In sum, Vancouver Indigenous Fashion Week (VIFW) is a not-to-be-missed event that combines culture, tradition, contemporary design and artistry, and community pride. It continues until November 23 (November 20: “Red Dress Event”; November 21: “All My Relations Couture Night”; November 22: “Indigenous Futures”; and November 23: “Spirit of the West Coast). Tickets are priced on a sliding scale ($30-$75) and are available HERE.