Walking the Runway Between Worlds: A Conversation with Christian Allaire
Posted: Sep 16th, 2025 | Sovereignty Style

At Sovereignty Style, I like to say Indigenous fashion isn’t a trend, it’s a way of life. It’s a representation of our histories and forms of evolution, but on our own terms. For this conversation, I got to sit down with someone who embodies that duality beautifully: Christian Allaire. He’s Ojibwe from Nipissing First Nation, the Senior Fashion and Style Writer at Vogue, and author of From the Rez to the Runway (2025), and The Power of Style (2021). From Garden Village, Ontario, to New York Fashion Week, Christian has been carving out space for Indigenous voices in global fashion, and he does it with humor, humility, and killer shoes (he was literally a shoe editor once!). 

Christian grew up surrounded by the waters of Lake Nipissing, where his family and community are based. “Some of my fondest memories are growing up right on the water. It was scenic, it was home,” he told me. Moving to New York after college was, in his words, “a vast difference — like being in two opposite worlds.” 

That theme of duality runs through his work. “There’s always a tension between the old and the new,” he explained. “Designers are finding ways to incorporate traditional craftwork into modern fashion. And for me, I’m writing about Indigenous culture in a city that couldn’t be more different from our way of life.”  

Christian studied journalism at Toronto Metropolitan University (formerly Ryerson), where he interned at publications like Flare and The Globe and Mail. That persistence paid off: before he even graduated, he was hired as an editorial assistant in New York. His first gig? Covering shoes for Footwear News. 

“I was a shoe editor for three years,” he laughed. “It was the best crash course into fashion I could’ve had. And honestly, it was fun!” 

From there, Christian worked his way up to his dream job: Vogue. “I wanted to work there since I was five years old,” he admitted. “It took years of hard work, networking, and a little luck. But I always say: if a little rez kid like me can make it here, anyone can.” 

In 2021, Christian released his first book, The Power of Style. Writing it during COVID turned out to be a gift. “It gave me something to do,” he said. “Interviewing people for the book was a way to connect at a time when we were all so isolated. Honestly, I don’t know how I would’ve coped without it.” 

This year, he released his second book, a memoir titled From the Rez to the Runway. “It’s really personal,” he noted, “but I think it’s the story people most want to hear.”  

A big part of Christian’s work is researching Indigenous fashion history, not only for its brilliance but also its exploitation. He’s spent time in museum collections like the Smithsonian and the Field Museum, and he admits the experience can be bittersweet. “It always makes me sad to see pieces in glass cases. You wonder: who do these really belong to?” 

Lately, his research has zeroed in on appropriation. “I’m fascinated by clothing made by non-Indigenous brands that adopt our patterns or beadwork. I’d love to see an exhibit that puts those side-by-side with the authentic versions. Like: here’s the real thing, and here’s the rip-off. Give them both labels. Call it the Pretendian Collection.” 

I told him about a Picasso show in Montreal that did just that. They displayed the artist’s paintings next to African masks he “claimed” didn’t influence him, with his plane tickets to Africa framed on the wall. Christian laughed: “Exactly! That’s the kind of radical curatorial move we need.”  

“That’s one of the coolest things about Indigenous fashion: it embodies values of kinship without even trying.”

—Christian Allaire

We talked about inclusivity, collaboration, and where Indigenous fashion stands compared to the mainstream industry. Christian sees progress in New York and beyond, though admits there’s still plenty of work to be done. “This past season, I noticed more age diversity on the runway,” he said, adding that body size and additional representation are still lacking.By contrast, Indigenous designers have long been doing the work. “It’s not performative. They cast friends, family, their communities — which makes it naturally diverse and dynamic. That’s one of the coolest things about Indigenous fashion: it embodies values of kinship without even trying.” 

On collaborations with major brands, Christian is cautiously optimistic. “Sometimes collaborations can act as a form of apology,” he said. “But more importantly, they’re a step toward uplifting artists and making space for them. Eventually, I want to see Indigenous designers on the main Fashion Week calendar — not just through collaborations, but in their own right.”  

When I asked what advice he’d give to Indigenous youth dreaming about fashion careers, Christian didn’t hesitate: “Don’t be afraid to imagine yourself at the places you want to be,” he said. “I dreamed about Vogue since I was a kid.”  

He also emphasized the importance of working hard and networking. stating, “it takes years of persistence. Put in the effort. Never burn bridges. Relationships carry you further than you think.”  

He added, “Luck and timing are part of it too. Trust that you’ll be taken where you need to go.”  

Most importantly, he stressed the value of community. “Moving to New York would’ve been impossible without my friends – Native friends who also transplanted here. Having people to bounce ideas with is essential. Indigenous fashion isn’t just about design — it’s about kinship.” 

Christian’s current obsessions? Artists like Joe Big Mountain, Elias Jade Not Afraid, Jamie Okuma and Pat Pruitt. “Their work is incredible — and they’re genuinely good people,” he said. “That’s one of my favorite things about Indigenous fashion: the kindness, the humility, the community. It feels like family.”  

With his recently released memoir, Christian will no doubt continue to be a leading voice championing Indigenous designers and shaping the next chapter of Indigenous fashion – one where designers are not just included, but truly celebrated.  

As he put it: “We deserve both. Our own spaces, like Indigenous Fashion Arts or SWAIA, where we set the terms. And also our rightful place on the global runways. Both are coming. And I think it’s only the beginning.” 

Talking with Christian reminded me why I started this blog in the first place: to break down barriers, share stories, and make the world of Indigenous fashion feel accessible, because it is ours, after all. 

Christian’s journey shows how far a rez kid’s dreams can go, but also how much further we can take them together. Whether it’s creating our own spaces like Indigenous Fashion Arts in Toronto, or watching Native designers hit the global runways, it’s clear we’re not just “included” anymore, we’re setting the tone. 

And the best part? The community vibe stays the same. As Christian says, Indigenous fashion is never just about the clothes — it’s about kinship. That’s a runway worth walking. 

Miigwetch for reading! Stay tuned for more Sovereignty Style conversations that celebrate our fashion, our people, and our stories. 

The Textile Museum of Canada and Feather Miigwans would like to thank the Canada Council for the Arts for generously supporting this project.