Directly inspired by Afrofuturism (a term coined by Mark Dery in 1993), the term "Indigenous Futurism" was coined by Anishinaabe scholar and professor Dr. Grace L. Dillon in 2003 (and later popularized through her landmark 2012 anthology, Walking the Clouds: An Anthology of Indigenous Science Fiction).

Dillon created the framework to describe how Indigenous writers, artists, and media creators use speculative fiction, science fiction, and advanced technology to envision Indigenous self-determination and futures. She highlighted how Indigenous knowledge, scientific literacy, and ancestral storytelling paradigms naturally align with—and push beyond—Western science fiction concepts.

Virgil Ortiz (Cochiti Pueblo) is one of the earliest and most prominent pioneers of Indigenous Futurism in fashion and art. Starting in the late 1990s and early 2000s, Ortiz began blending traditional Pueblo pottery aesthetics with futuristic science fiction, dystopian storytelling, and high fashion, including his well-known futuristic Revolt 1680/2180 collection. Check out his work in the link below.

Jamie Okuma (Luiseño/Shoshone-Bannock) has been active as a professional artist and fashion designer for over 30 years, spanning from 1995 to the present. She is renowned for incorporating high-fashion couture with intricate beadwork and speculative Native designs.

Jason P. Baerg (Cree-Métis) is a leading contemporary voice through his fashion label Ayimach Horizons, using digital technology, futuristic silhouettes, and traditional medicine concepts to project Indigenous design into the future. Baerg’s major international milestone arrived with his debut at Indigenous New York Fashion Week (INYFW), officially aligned on the Council of Fashion Designers of America (CFDA) calendar. Presenting on a globally recognized stage in New York marked a pivotal step for Indigenous design—elevating Indigenous fashion from boutique art spaces into high-fashion discourse.