FISH SKIN SUSTAINABILITY

In 2022, I visited the Penn Museum with John Cloud, my colleague at the Smithsonian Arctic Studies Center. We came to see the Amur River fish skin collection at the invitation of William (Bill) Wierzbowski, Keeper of the American Section. Our visit was followed by a second delegation from the Center, led by Bill Fitzhugh and Igor Krupnik, and Wierzbowski later visited the Smithsonian’s Arctic collections, presented by Stephen Loring.

Wierzbowski possesses a breadth of knowledge that is difficult to match, with expertise in North Alaskan Iñupiaq walrus ivory, Southern Cheyennes’ figurative painting, Creek and Cherokee beadwork, and Amur River fish skin craftsmanship. As a scholar dedicated to preserving these collections, he has facilitated access for Native artists to study historic artifacts to integrate them into their contemporary practice. His commitment to these collections represents an invaluable legacy in museum curation and Indigenous artistic heritage.

Since the late 1990s, fashion designers have recognized fish leather’s sustainability potential, repurposing waste from the food industry while addressing the fashion sector’s growing environmental impact. In recent years, fish skin has gained recognition as an innovative, sustainable fashion material with low environmental impact.

My cover article in the latest issue of Expedition reflects my journey in fashion anthropology, examining cultural and historical Arctic fish skin practices. It also draws upon my expertise in developing fish leather garments while leading the Parisian design studio at John Galliano.

I brought salmon skin to the runway while working in luxury fashion. My journey—from fashion designer to fashion anthropologist—led me to the fish skin collection of the Penn Museum, where centuries of Arctic craftsmanship reveal how sustainability and artistry are intertwined.

This post is an Expedition magazine digital extra:

https://www.penn.museum/blog/the-art-of-indigenous-sustainability/


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