Traditional Innovation Stole the Show at the 2026 Santa Fe Indian Market

Year-round, the downtown plaza in Santa Fe, New Mexico, is typically a quiet place to stroll and maybe grab your morning coffee. But this weekend, a bustling crowd could already be spotted forming shortly after the sun rose: The occasion, of course, was the buzzy 2026 Santa Fe Indian Market—the annual event focused on spotlighting Indigenous artistry and traditions.

Indian Market, run by the Southwestern Association for Indian Arts (or SWAIA), remains one of the city’s biggest attractions, where every year, over 1,000 artists—from 200 tribal nations across North America—gather to exhibit and sell their new works in booths lining the streets of the historic city, drawing locals and tourists alike. This year, the diverse assortment of Indigenous craftspeople was on full display. Traditional techniques ranged from pottery and textiles to jewelry and apparel, but these weren’t your average street market finds; Rather, they doubled as a kind of cultural couture, with many of the intricate pieces taking many months to complete. (Often with a well-earned hefty price tag to match—no concern for the serious art collectors milling about.)

The 2026 Santa Fe Indian Market “Best of Class: Jewelry” winner Jack Tom (Diné). His piece, Dragonfly, is made of sandcast 14-karat gold, Mediterranean and Pacific coral, Cocobolo wood, and black jet.

The 2026 Santa Fe Indian Market “Best of Class: Beadwork & Quillwork” winner Juanita Growing Thunder Fogarty (Dakota / Nakoda). Her piece, Tatąga Hųgá (Bull Chief Assiniboine/Nakoda), is made of porcupine quills, beads, ribbons applied on buckskin, moose hide, and rawhide.

The highlights, naturally, were the works that exemplified Indigenous innovation. This year’s top artists combined traditional Indigenous materials (such as porcupine quills, beads, furs, and animal pelts) but fused them with contemporary twists—some adding luxurious 18-karat gold or rare corals and turquoises for an even more luxurious finish. One could see this fine craftsmanship expressed to its fullest at SWAIA’s “Best of Show” showcase, where ribbons were handed out to artists across a variety of categories.

The “Best of Class: Jewelry” winner Jack Tom, for one, created a dragonfly-shaped necklace made of 14-karat gold, Mediterranean and Pacific coral, and Cocobolo wood. The “Best of Class: Beadwork & Quillwork” winner Juanita Growing Thunder Fogarty, an Indian Market veteran, crafted a classic Native American medicine carrying bag made from porcupine quills and beads, which were then applied to buckskin, moose hide, and rawhide. Artist Golga Oscar also debuted a traditional fancy Yup’ik parka made of a variety of furs, including wolverine, wolf, ground squirrel, and calfskin.

A luxe Yup’ik parka by Golga Oscar, made of wolverine, wolf, ground squirrel, and calfskin.

In the booths, the hand-crafted works without ribbons were no less deserving of attention: One could spend two full days roaming the assortments, and still easily discover objects new and utterly mind-blowing. As usual, the accessories were a clear standout. Michael R.L. Begay showed a brimmed hat with 24-karat gold beads applied by hand. Artists like Cody Sanderson and Adrian Standing-Elk Pinnecoose presented sleek silver cuffs and rings in angular patterns, while Pat Pruitt showed his signature titanium earrings, and Keri Ataumbi had her dazzling diamonds and gold on offer.

A beaded brimmed hat by Michael R.L. Begay.

Silver cuffs by Adrian Standing-Elk Pinnecoose.

Colorful beadwork also proved to be a major draw amongst the eclectic booths. The legendary beadwork artist Sandra Okuma presented her signature vibrant hand-crafted bags, as did Hollis Chitto. First-time market participant Jessie Longbrake had an assortment of beaded-strap cross-body bags. Meanwhile, Nelda Schrupp’s intricate necklaces were punctuated with dainty turquoise stones and horsehair tassels. Because with Indigenous jewelry, bolder is always better.

As for the ready-to-wear assortment, the Indian Market’s annual gala and fashion show debuted new collections from eight contemporary Indigenous clothing designers, ranging from unisex streetwear styles to formal womenswear attire. While expressed in a variety of ways, the unifying thread was in the unexpected approaches to cultural storytelling—each of them using garments to share specific elements or motifs from their particular nations or regions.

The gala, held on Saturday night, drew a crowd by leading with two veteran designers: Jamie Okuma, the first Native American to be inducted into the CFDA, and Patricia Michaels, who rose to fame as a contestant on Project Runway. Okuma’s geometric maxi gowns with fringe detailing, or graphic knitwear with her calling card, floral appliqués, were a highlight. Michaels leaned into her renowned print work: She applied her unique patterns onto silky one-shouldered dresses or sexier two-piece sets. (Iconic Indigenous actor Tantoo Cardinal, notably, also walked Michaels’ runway in one of her designs.)

A design by Jamie Okuma, shown at the SWAIA gala.

A design by Patricia Michaels, shown at the SWAIA gala.

The fashion show on Sunday afternoon, meanwhile, platformed six Indigenous designers who represented the best of Indigenous futurism. Set to the club beats of Lady Gaga and Blackpink, Jontay Kahm’s new collection leaned into edge with his raver-girl neons and fringes (which, on closer inspection, take cues from traditional powwow regalia). Recent ASU FIDM graduate Devon Tso proved he’s one to watch with his striped outerwear and blanket-style gowns and coats. Running Horse Studio designer Jimmy Dean Horn Jr. presented graphic upcycled denims, which were either painted or hand-blocked with colorful stripes and patterns.

A look by Jontay Kahm, shown during the fashion show.

A look by Devon Tso, shown during the fashion show.

A look by Running Horse Studio, shown during the fashion show.

Easy, wearable streetwear also challenged perceptions of what Indigenous design can or should be. Desmond Pack unveiled embellished fleece vests or laser-cut blazers with trains, while Steven Paul Judd—an artist who has collaborated with brands like NTVS, Nike, and Faherty—unveiled eye-catching hoodies and leather jackets on models like Dark Winds star Zahn McClarnon, no less.

The respected and longtime designer Pamela Baker, meanwhile, showcased her renowned West Coast patterns—her striking capes and gowns adorned with the very sacred symbols you’d find on totem poles in her native British Columbia. The spirit of her show is what Indian Market was all about: Referencing history and identity in fashion-forward ways you’d never anticipate.

A look by Desmond Pack, shown during the fashion show.

A look by Pamela Baker, shown during the fashion show.

A look by Steven Paul Judd, shown during the fashion show.