Resonance Between Native American Culture and Fashion: Who Owns the Sacred Patterns? The Question Raised by the Launch of 〈Hosh〉

Table of Contents

1. Introduction: What is the "Hosh Phenomenon"?

2. The Full Scope of the Party that Lit Up Higashimura's Night

3. Profiles of Participating Artists/Models

4. Brand Strategy and the Context of the Fashion Industry

5. Praise and Criticism Reflected on Social Media

6. Reconsidering Cultural Appropriation/Representation

7. Voices of Indigenous Creators

8. Implications for Japanese Readers

9. Conclusion: Continuing "Co-Creation"

1. Introduction: What is the "Hosh Phenomenon"?

In mid-June, the word "Hosh" took the New York art scene and fashion industry by storm. The New York Times reported on the event, dubbed a "Launch Party," and the article was shared over 20,000 times within 12 hours of publication, with related words dominating the top trends on X (formerly Twitter).reddit.com

"Hosh" is a new lifestyle brand co-founded by Evan Blackthunder (Navajo/Hopi), a designer from the American Southwest, with a mission to bring "contemporary Native art into urban life." This event celebrated the brand's launch and simultaneously proclaimed a "celebration of contemporary Native American art."

2. The Full Scope of the Party that Lit Up Higashimura's Night

The venue, "The Hole Gallery," is known for its curation that blurs the lines between street culture and high art. On June 12, at 8 PM, a carpet with beadwork patterns was laid in front of the gallery, and totems modeled after Hopi cottonwood carvings welcomed guests. Upon stepping inside, guests were greeted by animated sand paintings projected across the walls. In the back, the electronic music unit "Red-Cedar Beats" and a Navajo flute player performed together, intertwining beats and prayer melodies.

At the bar counter, sunset-colored cocktails called "Four Directions" were served, and at a booth, guests could experience making silk scarves with natural dyes under the guidance of dye artist Dee Begay (Diné). According to the NYT article, about 300 guests attended, more than half of whom were creators or models with Indigenous roots.pechanga.net

3. Profiles of Participating Artists/Models

Notably, the party functioned not just as a fashion event but as an "intersection" of contemporary Indigenous art. For example, the family of the late Jaune Quick-to-See Smith unveiled a new series titled "Urban Land Back."en.wikipedia.org

Another highlight was model Philip Bread (of Lake Pebble descent from New Mexico), who drew attention by appearing on the runway in a gown draped with a traditional bandolier blanket. On social media, the hashtag "Regalia Reimagined" garnered over 100,000 posts.

4. Brand Strategy and the Fashion Industry Context

The business model advocated by is based on three pillars: "Design = Indigenous creators, Manufacturing = Fair trade workshops, and reinvesting 1% of profits into an art education fund." For example, the first collection's silk shirt "Sand Painting No.5" is inspired by Navajo sand painting ceremonies, with a portion of the proceeds pledged to the art program at Wind Rock High School. Such "social good" brands strongly resonate with Generation Z, yet they also carry the risk of becoming a hotbed for "story consumption."

5. Praise and Criticism Reflected on Social Media

On the positive side, X user @barrymosk praised it as "a beautiful exchange worthy of celebrating culture."

On the other hand, the hashtag #CultureNotCostume surged on TikTok, with numerous harsh videos urging not to use Indigenous spirituality as "Instagrammable" material. Images of influencers wearing feathered headdresses spread, and an explanatory video pointing out that "headdresses are sacred items given to warriors or elders" surpassed 1.2 million views in 24 hours.

Debate also heated up on the Reddit thread r/NYTauto, with criticisms that "NYT is too credulous of the brand's PR statements" and defenses claiming "such articles are proof of mainstream media diversification" both holding ground.reddit.com

6. Rethinking Cultural Appropriation/Representation

The term "cultural appropriation" can sometimes lead to oversimplification, but in this case, it is necessary to consider three layers: ① Who benefits commercially, ② Whether spirituality and ritualism are consumed out of context, and ③ Whether the voices of those involved are incorporated into decision-making. includes Indigenous stakeholders as co-founders and promises revenue redistribution, thus meeting certain "representation requirements," but there were also opinions from workshop participants that "extracting ritual elements for short-term experiences is itself problematic."

7. Voices of Indigenous Creators

Dye artist Dee Begay, who was interviewed, stated, "Our techniques and patterns are not merely 'design differentiation elements.' The act of dyeing fabric is a prayer that captures the memory of the earth." Jack Woods (Cherokee/video artist) warned, "While opportunities like this can expand career paths for young Native artists, they also risk turning 'being Native' into a product label."

8. Implications for Japanese Readers

In Japan, issues often arise regarding the balance between consumption as tourist souvenirs and maintaining authenticity in Ainu and Ryukyu cultures. The case of suggests that "the best way to protect culture is for those involved to take the lead in the economic cycle," while also teaching that "the sacred and the secular inevitably blur the moment they enter commercial spaces." When modernizing folk crafts in Japan, it will also be necessary to carefully redefine the positioning of design and prayer.

9. Conclusion—To Continue "Co-Creation"

Towards the end of the party, the venue turned to a circle dance, with attendees holding hands and stepping in time with the call and response of Indigenous singers. In that moment, the boundary between "audience" and "performer" dissolved, and culture thrived as a shared space. However, to transform that joy into sustainable co-creation,

• transparency of economic returns

• appropriate handling of spiritual elements

• efforts by media to provide context
  are essential. is just at the starting point. We will continue to watch how they progress by the next time they visit New York—and what we can learn from it.

Reference Article