our brand: The Fireweed Fellowship
I have worked for and with several big apparel brands in my career and am well versed in the power of visual branding to not only sell but also invoke a feeling and communicate ideas and values. On my personal journey of decolonizing, I observe my own impressions of “First Nations branding” and the associated stereotypical Indigenous icons and styles of design. As I learn to question and apply a decolonial lens I have learned about the harm of appropriation and had to unlearn the tendency we may have - to borrow a quote from the television show Portlandia - to simply “put a [dream-catcher] on it” as a way to signify Indigeneity in almost any design. I am grateful for conversations with many knowledge keepers including Mark Rutledge and members of the team at Animikii on the topic. When approaching the design for the Fireweed Fellowship brand, we knew that in creating an inclusive brand that would signify a program open to all First Nations, Métis and Inuit we didn’t want to favour one particular nation’s unique artistic style over another. . Enter matriarch and creative director Ta7talíya Michelle Nahanee, Squamish, of Nahanee Creative and educator in Decolonizing Practices.
Ta7talíya Michelle Nahanee, Squamish: "Simple illustrations paired with Indigenous cultural iconography like ribbon, braids, botanicals set as post-Indian design elements alongside fun, powerful images of Indigenous business owners" is the creative direction I established for the Fireweed Fellowship. The design challenge was to create branding that would speak across Nations as well as stakeholders, from rural to urban, from start-ups and to funders.
As Nahanee Creative, I am committed to decolonizing communication design which includes undoing the legacy of the "Vanishing Indian" photographs which set our Ancestors up in stoic poses and failed to publish their names. The names of the photographers are what we are left with. Being "Post-indian" is moving beyond public identity-constructions of Indian-ness, Gerald Vizenor, Minnesota Chippewa, created the term. It was an early inspiration to me and a position I have built into my life and design work. For me, it is important to centre Indigenous teachings while not performing Indigeneity. It is important to not include images of ceremony and to include the names and Nations of every Indigenous person photographed.
Within the Fireweed Fellowship branding, the essence and feel of connecting to the land with our hands is communicated through the line drawings of the fireweed and braid. The line drawing of the braid communicates how we are stronger together and the photograph of the copper, leather and ribbon braid captures the diversity of talents and teachings that need to come together to support the success of the fellows. The triangles represent patterns from Indigenous artwork across Turtle Island. The vibrant palette and typefaces were chosen in a collaborative, eliminative process. Earthy but unexpected, vibrant but elegant.
I'm proud to have contributed to the Fireweed Fellowship, it has so much good work to do and a wide platform to impact. I believe every Indigenous representation matters, every photo, graphic and text contributes to public knowledge. As a decolonial communication designer, I'm committed to disrupting oppressive visual narratives with bold, beautiful, spirit-filled work that communicates my understanding of Indigeneity.”
Huy chexw a’ Ta7talíya!
