How Indigenous people are strengthening fur traditions in an anti-fur world

Inuvialuit fashion designer Taalrumiq says she knows first-hand how using real animal fur can foster harsh criticism and anger in people who are against the fur industry. 

Taalrumiq, whose English name is Christina Gruben King, creates couture pieces and fine art using the materials and designs of her ancestors. She travels from her home in northern British Columbia to sell these pieces and often has to explain to non-Indigenous people — whose responses she say can range from discomfort, to disgust, to anger — the uses, beauty and cultural importance of fur. 

It doesn't always go as expected.

"I had a booth at Indigenous fashion arts in Toronto, so we had quite a variety of customers coming through," Taalrumiq told Unreserved host Rosanna Deerchild. "And there's one man who came to my booth about five different times throughout the day. First few times he was arguing with me about fur and [saying], 'It's disgusting,' and 'How could you?'"

Taalrumiq remained calm and tried to explain the beauty and utility of the products she was selling. 

"He kept coming back to look and then started to touch them," she continued. "And then actually came back the next day and … he bought some earrings for his partner."

Anti-fur sentiment has made it harder for the people who hunt and trap animals, as well as artists like Taalrumiq who use these harvested materials, to make a living from selling their wares. Animal rights activists have long called the fur industry inhumane and unnecessary. 

But despite the negativity toward using and selling fur, Indigenous people say fur can be a sustainable, respectful and even luxurious material for clothing, accessories and art. They believe it's important to preserve fur's place in Indigenous cultures and traditional economies.

In Johanna Tiemessen's role with the Northwest Territories government, she helps small communities turn their lifestyles on the land — through activities like hunting, trapping and fishing —  into economic opportunities. She also helps artists using these materials bring their work to market. 

The N.W.T.'s department of finance notes that while trapping doesn't make up a huge part of the territory's total economy, it's a sector that is important to many residents — especially those in smaller communities — for food, clothing and income.

Conversations like the one Taalrumiq had with the man in Toronto are a way for artists to spread information about fur and help the industry survive, said Tiemessen.

"When we look at the Queen not wearing fur, or talk about the RCMP not wearing fur in their garments anymore, they again are under the pressure of these groups that have tons of money [and] famous musicians speaking out against the use of fur," she said.

"But they're not thinking about the damage that they're doing to … small Indigenous communities where economic development opportunities are scarce."

The N.W.T. government offers several programs to support these traditional practices, including a Hide and Fur program, which helps artisans access affordable materials; a Seal Certification program that gives Indigenous harvesters an exemption to the European Union's seal ban; and the Genuine Mackenzie Valley Fur program, which gives N.W.T. trappers access to the international fur auction market.