Contemporary Indigenous Fashion at Penn: A Conversation with Carlyle Cornell
A junior at the University of Pennsylvania, Carlyle Cornell is merging modern style with cultural heritage, crafting a voice that not only speaks to contemporary trends but also honors the rich traditions of her Chickasaw roots. This semester, Cornell is engaged in an independent study project through Penn’s anthropology department and Native American and Indigenous Studies program: designing her own fashion pieces grounded in her Indigenous culture, guided by instructor Tina Pierce Fragoso. These designs emphasize the importance of visibility, heritage, and self-expression in fashion.
"My project focuses on sovereignty and freedom," Cornell explains, "and I incorporate elements that symbolize these concepts. For example, I’ve started with butterflies, which, in my family, represent strength and freedom." One way these butterflies can take form is through ribbon skirts—a staple in Native American fashion—which Cornell adapts with modern inspiration. Her pieces not only honor traditional craftsmanship but also tell a broader story about identity and pride. "Ribbon skirts are a big show of Native pride," she comments, noting how they’re commonly worn at cultural events like the Penn Powwow.
Cornell’s work | Courtesy of Carlyle Cornell
Through her designs, Cornell is particularly attentive to the significance of colors and patterns. In drawing on the colors of the Medicine Wheel—a powerful symbol in Native culture used in healing—her designs communicate both personal and collective stories. "A lot of times, colors are just fashion choices," she adds, "but there are moments when they have cultural significance, like in the case of military colors, or in specific ceremonies. I've grown up learning that the Medicine Wheel symbolizes the four directions (North = white, East = Yellow, South = Red, West = Black) and that it also symbolizes our 4 parts (Intellectual mind = white, Emotional mind = yellow, Spirit/soul = red, Physical body = black).”
In addition to the technical obstacles that every designer faces, some of Cornell’s challenges are deeper than that. "I didn’t grow up as close to my culture as I wish I had, so I make sure to check in with elders to ensure I’m doing everything respectfully," she explains. This respect for tradition is central to Cornell’s work. Her great-grandmother faced intense discrimination and was forced to hide her Chickasaw identity for survival. Now, Cornell’s designs are a form of reclaiming that heritage, celebrating the aspects of her culture that her great-grandmother needed to hide.
Cornell’s journey is not just about fashion, but also about bringing visibility to Native voices in an industry where they are often peripheralized. "There’s a lack of representation in mainstream fashion," she says. "Big fashion houses are predominantly run by European men, and even when Native elements are used—like the tribal prints popular in the 2010s—it’s not usually about honoring Native people; it is appropriation." Cornell’s hope is to change that by increasing visibility for Native designers and showcasing the beauty and depth of Native American fashion. Following this line of thought, she would like to highlight a few great Indigenous designers working today: Mia Indigenous Arts (instagram: @mia_indigenousarts) who creates beaded jewelry, Jamie Okuma (instagram: @j.okuma) who makes beaded Louboutin, Prada boots, and ribbon dresses, and Naiomi Glasses (instagram: @naiomiglasses), a Diné/Navajo designer who recently collaborated with Ralph Lauren.
Cornell’s designs, rooted in tradition but with a forward-thinking vision, are more than just clothing. Through them, she strives to show that Indigenous people are still here, still designing, still creating, still thriving.
Featured Image Courtesy of Carlyle Cornell