On Aug. 18, Cree designer and graduate student at Parsons School of Design Jontay Kahm presented his sophomore collection, “Ethereal Realms,” at the Southwestern Association for Indian Arts (SWAIA) Fashion Show. Just an hour before the models hit the runway, Kahm and his team — Victoria San Gabriel, Emily Schuyler, and Savannah Meechance — were still beading and sewing, having worked tirelessly for two straight weeks leading up to the show. Meanwhile, models rehearsed their walks while others paced nervously in the greenroom, eagerly anticipating their debut.
Cheers from the audience could be heard as they celebrated the collections from the designers before Kahm’s, as he had been chosen to close the show. Finally, the models were called to line up backstage in the dark, where Kahm moved down the line making last-minute adjustments. As the lights slowly rose, the piano from Moby’s “In My Heart” began to play, and the first model stepped onto the runway.
Prior to the show, Kahm described “Ethereal Realms” as a physical manifestation of the world unseen, alluding to the “religious experience” he likened to the final showcase. The collection of celestial silhouettes also explore expressions beyond the afterlife, while portraying the many facets of Kahm’s identity as walking pieces of art.
As the show began, models moved down the runway in a blend of vibrant blues and reds, clouds of feathers, and gleaming beaded crosses sewn into large, draping gowns. Many of the pieces in “Ethereal Realms” were designed to embody biblically accurate angels and were constructed using materials typically found in Indigenous dancers’ regalia. Some pieces were altered to be increasingly wearable by incorporating elements of style reminiscent of classic Americana — such as a white T-shirt and jeans. Through haute couture, Kahm aims to express his Indigenous heritage and spirituality while introducing new concepts and innovations.
“Ethereal Realms” marks a significant era for Kahm’s brand. Just last year, he debuted his first collection “Regalian Bodies” at SWAIA, capturing the attention of Indian Country with his twist on traditional wear. His exposure led prominent Indigenous cultural figures like Lily Gladstone and Cara Jade Myers to wear Kahm’s art on red carpets, introducing his designs to mainstream fashion.
In an effort to refine his brand identity after his debut show at SWAIA, Kahm decided to return to school in 2023 to pursue his MFA in fashion at Parsons School of Design. During this period, amid creating custom pieces and honing his work at Parsons with the guidance of his mentor Sariah Park, “Ethereal Realms” was born.
“I work in a reverse process. I don’t sketch my designs; rather, the ideas come to me as if on a conveyor belt. I saw the silhouette of the collection first and then envisioned lots of reds and crosses,” Kahm explained. “I wanted to honor God by incorporating crosses, symbolizing God’s creativity shining through these garments. At the same time, I aimed to capture the spirit of Americana, drawing inspiration from Marilyn Monroe’s iconic silhouette.”
These contrasting themes shaped Kahm’s craft throughout different phases of his career. Growing up in Saskatchewan, Kahm was surrounded by his Cree community who taught him traditional regalia-making techniques, which are inspired by powwow dances such as the “Fancy Dance.” Yet, Kahm was equally fascinated by the world beyond his own — watching fashion TV shows and idolizing designers like Alexander McQueen and John Galliano. This blend of influences resulted in signature designs like Kahm’s feather gowns in “Ethereal Dreams,” drawing parallels between ‘90s high fashion and his homage to the “Fancy Dance.”
“Ethereal Realms” is a natural extension of what Kahm has always embodied: a seamless intersection of his identities. The collection, conceived over his first year at Parsons, was brought to life in just two weeks and evolved through fabric, beads, and feathers before making its debut on the runway. Kahm and his team spent countless hours beading on mannequins in Kahm’s mother’s home, filled with a mix of excitement and anxiety as they rushed to complete the looks.
The final beaded gown was finished minutes before it was scheduled to appear on the runway. His team, who had been part of the journey from the beginning, watched their work unfold from backstage while Kahm covered his mouth in awe.
“I knew at that moment it had all been worth it,” Kahm said. “Beforehand, we kept thinking, ‘This is crazy. This is insane. We’re never doing this again.’ But once the music started, and the models began walking, we all agreed: ‘Okay, we’re definitely doing this again.’”
Though his brand reflects the many components of Kahm’s individuality, at its core, it is deeply rooted in his Indigenous heritage. “There is a way to appreciate a culture, and I believe I’m doing it the right way,” Kahm said. “I’m using my own culture by drawing from ceremonial garments, taking small aspects and transforming them into fashion — creating something entirely new and unseen before.”
“Ethereal Realms” was a creation rooted in Indigeneity from start to finish, with both the materials and techniques used drawn from Kahm’s own heritage. The labor behind each look was done by an all-Indigenous team, while a majority of the models showcasing the collection were Indigenous as well. The collection debuted at a fashion show during the largest Native arts event, the Santa Fe Indian Market, allowing fellow artists to connect with it in an intimate and individual way. While “Ethereal Realms” broke new ground, it was, above all, an act of reclamation and a celebration of Indigenous pride.