THE ROLE OF FIRST NATIONS DESIGNERS IN AUSTRALIAN DESIGN
THE ROLE OF FIRST NATIONS DESIGNERS IN AUSTRALIAN DESIGN
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First Nations designers have significantly contributed to shaping aesthetics and the authenticity of place in Australia. Their work reflects a deep connection to the land, cultural heritage, and community. Here are some ways they’ve influenced design:
Symbolism and Storytelling: Indigenous designs may incorporate symbols and patterns that connect to songlines and the visual identity of place and traditional owners. These motifs represent Dreamtime stories, ancestral spirits, and natural elements. First Nations designers infuse spaces with cultural significance by integrating these symbols into contemporary design.
Land-Based Aesthetics: Aboriginal and Torres Strait Islander designers draw inspiration from the landscape. Earthy tones, organic shapes, and textures mirror the Australian environment. Whether in architecture, textiles, or visual art, these aesthetics evoke a sense of place and belonging.
Sustainable Practices: Indigenous design emphasizes sustainability and respect for the environment. Traditional materials like bark, clay, and natural pigments are used alongside modern techniques. This approach aligns with the concept of custodianship—caring for the land for future generations.
Public Art and Murals: First Nations artists contribute to public spaces through murals, sculptures, and installations. These artworks celebrate cultural identity, challenge stereotypes, and foster dialogue. They transform urban landscapes into vibrant, inclusive places.
Collaboration with Architects: Indigenous architects collaborate on projects that honor cultural protocols and respect sacred sites. Their designs integrate traditional knowledge with contemporary functionality. Examples include community centers, educational facilities, and housing.
Fashion and Textiles: Indigenous designers create clothing, accessories, and textiles that blend heritage with modern aesthetics. Prints inspired by bush tucker, animals, and Dreaming stories adorn fabrics, connecting wearers to the land.
Ceremonial Spaces: Indigenous designers contribute to the design of ceremonial spaces, such as meeting circles, smoking ceremonies, and healing gardens. These spaces reflect cultural practices and provide a sense of belonging.
Reclaiming Authenticity: First Nations designers challenge cultural appropriation by reclaiming authenticity. They assert their rights to use traditional motifs and protect them from misrepresentation.
The Australian Indigenous Design Charter aims to help facilitate accurate and respectful representation of Australian Aboriginal and Torres Strait Islander culture in design and associated media.
The role of the Charter is to assist design practitioners, both Indigenous and non-indigenous. Designers can also use the Charter to promote understanding with their clients and the buyers of design including governments, corporations, businesses and not-for-profit organisations.
This protocol guide spells out clearly the legal, ethical and moral considerations for the use of Indigenous cultural material in arts and cultural projects. This protocol guide recognises that in Indigenous Australian communities, the artist is a custodian of culture with obligations as well as privileges.
What are my responsibilities as a student designer?
What are my responsibilities as a student designer?
As aspiring designers in Australia, you have a unique responsibility and opportunity to contribute to the respectful representation and integration of Indigenous cultural heritage in your work. This responsibility is not about avoiding the use of Indigenous intellectual property (IP), but rather about approaching it with care, respect, and a commitment to doing it well.
Your approach to Indigenous design as students and future professionals plays a crucial role in Australia's ongoing reconciliation process.
By approaching Indigenous design with respect, enthusiasm, and a commitment to doing it well, you not only enrich your own work but also contribute to a more inclusive and respectful design industry in Australia. This approach aligns with the principles of both the International and Australian Indigenous Design Charters, and plays a vital role in the broader journey of reconciliation.
Remember, the goal is not to avoid engaging with Indigenous culture in your designs, but to do so in a way that respects, celebrates, and properly acknowledges the rich cultural heritage of Australia's First Nations peoples.
Engagement, Not Avoidance: Rather than shying away from using Indigenous IP, you should actively seek to engage with it. This engagement, however, must be done thoughtfully and responsibly.
Learning and Understanding: Take the time to thoroughly understand the cultural significance and context of Indigenous designs, symbols, and stories before incorporating them into your work.
Collaboration and Consent: Whenever possible, collaborate directly with Indigenous artists, designers, or communities. Seek proper permissions and ensure you have informed consent before using Indigenous IP.
Attribution and Acknowledgment: Always give proper credit and acknowledgement to the Indigenous sources of inspiration or collaboration in your designs.
Cultural Respect: By treating Indigenous IP with respect and understanding, you contribute to a broader culture of respect for Indigenous peoples and their heritage.
Amplifying Indigenous Voices: Through responsible collaboration, you can help amplify Indigenous voices and perspectives in the design world and beyond.
Economic Empowerment: Proper engagement with Indigenous IP, including fair compensation for collaborations, contributes to economic opportunities for Indigenous communities.
Education and Awareness: Your work can educate others about Indigenous cultures and the importance of respectful engagement with Indigenous heritage.
Building Bridges: Thoughtful collaboration in design projects can foster meaningful connections between Indigenous and non-Indigenous Australians, supporting the reconciliation process.
Margaret Preston, Christmas Bells, 1925
Margaret Preston, Christmas Bells, 1925
Margaret Preston became known for her promotion of Aboriginal art styles as a "true" expression of the Australian visual identity. 'Many of her articles published in The Home magazine and Art in Australia encouraging readers to take designs and symbols from Aboriginal art to devise a uniquely Australian cultural expression. One of the most popular of these was her 1930 article ‘The Application of Aboriginal Designs’ in which she called for all Australians to ‘be Aboriginal’.(1) However benevolent in intent, an expression of a larger interest in Aboriginal art and culture informed by her travels throughout Australia, these exhortations have since been criticised by subsequent generations for their casual lack of understanding of the appropriation of sacred designs.'
Source
Tony Albert, Conversations with Margaret Preston, 2021
Tony Albert, Conversations with Margaret Preston, 2021
Tony Albert’s interest lies in the consequences of Preston’s encouragements - these kitsch caricatures of Aboriginal designs and motifs still found on tea towels, tablecloths, table runners, handkerchiefs, placemats, and lengths of fabric, rather than the sophisticated abstraction she envisioned.
"At the core of my work is a kind of reconciliation with these racist objects’ very existence. Yes, they are painful reiterations of a violent and oppressive history, but we cannot hide or destroy them because they are an important societal record that should not be forgotten. I’m trying to reconcile those two positions." - Albert
BLAK DESIGN - Koorie Heritage Trust, Annual Exhibition of Blak/First Nations Artists
Wurrdha Marra - The NGV's dedicated space for First Nations Art & Design
Cassie Leatham - Cassie Leatham is a multidisciplinary artist, cultural educator, master weaver, designer and jeweller. The Taungurung / Dja Dja Wurrung artist draws inspiration from the cultural practices of her ancestors, researching and transforming techniques perfected by First Nations people from South East Australia. Through her weaving, textiles, ceramics and jewellery work, Leatham preserves cultural knowledge while connecting with ancestors and Country.
Matthew Harris - From painting to sculpture Matthew Harris’ practice seeks to debase normative hierarchies with a mix of queer sentimentality, cuteness, vulgarity and abjection.
JESWRI - JESWRI (pronounced ‘Jess-rye’) is a Gadigal artist of the Eora Nation, born and raised in Sydney and now based in Melbourne. With an art practice dating back to 2005, JESWRI has made a name for himself in Australia and internationally with his large-scale street art, pop culture-inspired murals and numerous brand collaborations.
Rubii Red - Rubii Red is a proud Lama Lama artist, activist and Twitch streamer who uses her work to share her culture and discuss issues affecting her and her community. Red’s lifelong love of anime and comic books has influenced her graphic style, in a practice that spans portraits, abstract line work, character design and fan art.
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