Reclaiming Burlesque - Re-Indigenizing Glamour
- Jun 15
- 7 min read
Across generations, glamour has been emphasized throughout time. Whether in Upper class homes, Hollywood, burlesque, or even in the general public, glamour is something that is constantly changing. But where does the influence come from? Obviously there are many roots within fashion and the idea of glamour, and influence comes from every culture in different forms. Today I'm going to explore some of the Indigenous inspirations that have led to some of the most recognizable elements in burlesque glamour overtime.
For the many Indigenous cultures across the globe, our regalia and outfits are an extension of ourselves. From protecting our spirit, to connecting us to our culture and ancestors, regalia has many unique meanings and intentions for being worn. Personally, I also have different garments I wear whether for ceremony or for performance. Not all of my regalia belongs onstage, and some is only intended for the stage. And beyond ceremonial garb, many elements outfits are a result of the day-to-day survival and culture. When hunting or harvesting animals, I have been taught that we are supposed to use as much of the animal to ensure nothing goes to waste. I am not a hunter, but I know the basic teachings.
Use of Natural Items
Let's begin with one of the most prominent features of burlesque costumes and props... Furs, animal patterns, feather boas, feather fans, and feathers EVERYWHERE... the list goes on. Animal skins and products are incredibly symbolic of burlesque and pinup.
But as with many "inspirations" this often comes at a price to those who are the so-called inspiration.
At different points in history including today, wearing furs and skins was seen as "savage," something that only the uncivilized do. And when you hear animal rights activists chant "fur is murder," it dismisses the spiritual and cultural attachments of Indigenous Peoples who wear animal materials for protection from the environment such as freezing temperatures like the Inuit. For certain cultures, specific parts of the animal will have special meanings and may be used as
medicine. I have also seen many West Coast nations dye the skin of salmon or animal hide to bring colour into their outfits. We are taught to honour the animal before we harvest it, and only take what we need. Indigenous people don't hunt exclusively for fashion, they hunt for survival. The current move in burlesque from animal products to vegan options is one I support in theory for sustainability and improved animal care. Seriously... the fashion industry's use of fast fashion and unethical harvesting practices should be challenged and people should absolutely make change where they can to counteract this. But I also think it often doesn't leave room for cultural nuance. When we choose to symbolize an item that one culture is ridiculed for while another is celebrated, it very quickly becomes extractive and invisibilizes the ones who rely on the material beyond aesthetic. Similarly, when fashion focuses on extracting animal materials at an unsustainable rate, Indigenous Peoples lose access to their resources due to over-harvesting.
As well, for centuries furs were used as a status symbol in royal families in Europe. Though, obviously there were stark difference between the royal families and Indigenous Peoples' perspectives and harvesting practices. Through the fur trade in North America, between the early 1600s to mid 1800s, Indigenous Peoples were supplying Europeans with beaver pelts and furs for their fashion. Once Hollywood and the fashion industry wanted to revive the use of furs and leather for statement pieces, around the 1920s, furs as status... or moreso "elegance" was back. Interestingly, this was also near the time when Sally Rand and Faith Bacon became known for their feather fan dances, G*psy Rose Lee was active in the scene and Josephine Baker was claiming space in Europe. All of them can be seen extensively with furs and feathers in their performances and photos.
Similarly, many First Nation communities have teachings around the Eagle. One teaching that I was taught that the Eagle flies the highest to creator, so carrying an Eagle feather gives us strength. There are specific teachings of how to behave when holding a feather or when being near the eagle. Because of this, many leaders can be seen carrying an Eagle fan. Though this is very different from burlesque feather fans that are often made of ostrich, pheasant, or marabou, it still feels very similar to me. We may not have teachings related to how we care for our fans in burlesque, but putting feathers into a fan could possibly be a form of influence.
Feather fans, boas, furs, animal print... Many of these pieces from burlesque at the time and shortly afterwards, are some of the most recognized items of burlesque still.
Incorporating Movement
For many Indigenous dancers, movement and sound attracts the ancestors. Some examples of movement on regalia include copper cones on Jingle dresses or ribbons on fancy shawls. And fringe... lots of fringe. Burlesque also incorporates movement into our outfits. Elements such as fringe, pastie tassels, and feathers are just a few examples of how performers can further attract the audiences eyes. I love movement on burlesque costumes... the spontaneity, the emphasized energy of the move, and the costume becoming its own spirit coming alive. For anyone who has ever been to a powwow, the amount of layers of fringe, ribbons, and other items is immediately noticeable. The dancers don't stop moving, and neither does their regalia.
Indigenous Nations are noted as one of the first peoples to create the concept of fringe, from twisting leather or cutting strips from hide. It feels natural that burlesque's obsession with fringe and movement in costumes adds to our performance. It gives the audience an added detail to follow, where would our artform be if fringe had not existed?
Adorning the Head
As previously mentioned, regalia can be seen as the spiritual armour that covers us from head to toe... or from toe to head? Again, head coverings hold cultural significance across Indigenous communities. I've heard teachings of how feathers hold different meanings depending on their positioning on the head or that cedar is medicine, which is often seen in Coast Salish communities as cedar headbands and hats.
Many of these coverings have details very similar to those we see in burlesque. From Flapper girls' headbands with feathers that are reflective of the head regalia worn by Princess Watahwaso, who was a prominent Indigenous (Penobscot) singer and vaudeville performer between 1916 - 1929. Another popular example I see is the very common feathery headpieces that are often inspired by culturally significant headdresses such as Moctezuma's Headdress.
Embracing Patterns & Details
Patterns are extremely common within Indigenous communities. Whether it's seen in the fine details, such as the trim or fully encapsulating the fabric of today's performers... Indigenous people know how to incorporate details.
And besides patterns, we know how to make a statement. Whether dancing at ceremony or existing in day-to-day life, so many Indigenous people can be seen wearing eye-catching patterned garments to dramatic earrings and accessories. And if we know anything about burlesque - especially classic burlesque - the vibe doesn't end at the pieces that come off. So often when I see performers in their mingle outfits, they add extra accessories. Even onstage, the performers who want to emulate high end glamour can be seen wearing big chunky jewellery.
Patterns and statement jewellery is not unique to Indigenous cultures, but I like to think that the frequency of how they're used within different cultures has helped bring their use into the mainstream. There is something truly special about the reclamation that comes with wearing your people's art. For many cultures across the globe, patterns often do more than look attractive, they tell a story. For me as a Tahltan person, it brings so much power to wear something and feel "these earrings are Tahltan-made art, these are my people, this is me." Feeling pride in my identity and what materials or items I bring into my performance can truly elevate my confidence onstage to varying degrees. It might seem small, but it makes a difference.
Re-Indigenizing Glamour
Between 1885 - 1951, the Potlatch Ban was in place in Canada. Indigenous language, ceremony, and culture was criminalized. But people found ways to keep it alive in more subtle and underground ways. One way (though not so subtle) being through Wild West shows and entertainment, as it was one of the few spaces during colonization where Indigenous people could still openly claim their culture. Today, we see more Indigenous burlesque performers integrating their cultural garb through their performance. Whether through incorporating traditional beading on their garments, adding ribbons reflective of ribbon skirts and fancy shawls, or wearing their hair in braids, there is no one way to reclaim glamour or identity. When Indigenous burlesque performers combine their culture with pride through modern outfits such as beaded corsets or pasties, it fuses a deeper meaning and story to the stage garments than what might be perceived by others. And this form of resilience makes its way into the general public.
Beyond the burlesque stage, one modern burlesque performer in particular has been equally successful with their costuming skills... Kwakiutl performer, Scarlet Delirium from Delirium Designs and Maison Delirium, has now had her work showcased TWICE on the Vancouver Indigenous Fashion Week (2024 & 2025) which is a large-scale fashion event. What started as garments for removal onstage have now made it into the mainstream, taking up space within fashion. Scarlet has some of the most creative reveals with fine tuned musicality, just watching her perform is a masterclass in itself. When I think of modernizing burlesque through Indigeneity, a concept frequently discussed in Christine Bold's book "Vaudeville Indians," Scarlet's work immediately comes to my mind.
So what's next in terms of glamour in burlesque? Only time will tell, but given how much overlap there is between Indigenous cultural garments and what we see in burlesque, I suspect they will continue to grow alongside one another for a long while yet.
Sources:
History of Fur in Fashion (2016) https://itsweb.org/history-of-fur-in-fashion/
The History of Fringe (2017) https://startupfashion.com/fashion-archives-the-history-of-fringe/
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