Native Fashion Now - Portland Art Museum

2y ago
13 Views
2 Downloads
250.05 KB
88 Pages
Last View : 21d ago
Last Download : 4m ago
Upload by : Lee Brooke
Transcription

Native Fashion NowMylar dresses. Stainless-steel boas. Iridescentleather bomber jackets with a futuristic vibe.Stunning clothes and accessories you’ll find onthe runway, in museum collections, and on thestreet. Welcome to Native American fashion andthe contemporary designers from the UnitedStates and Canada who create it! They arepushing beyond buckskin fringe and feathers toproduce an impressive range of new looks.In this exhibition you’ll find the cuttingedge in dialogue with the time-honored.Some Native designers work with high-techfabric, while others favor natural materials.Innovative methods of construction blendwith techniques handed down in Nativecommunities for countless generations. Mindbending works such as a dress made of cedarbark—a reinvention of Northwest Coast basket

weaving—appear alongside T-shirts bearingcontroversial messages. This wearable artcovers considerable ground: the long traditionof Native cultural expression, the artists’contemporary experience and aestheticambition, and fashion as a multifaceted creativedomain.Native Fashion Now groups designers accordingto four approaches we consider important.Pathbreakers have broken ground with their newvisions of Native fashion. Revisitors refresh,renew, and expand on tradition, and Activatorsmerge street wear with personal style andactivism. Get ready for the Provocateurs—theirconceptual experiments expand the boundariesof what fashion can be.So let’s get started! Native fashion design awaitsyou, ready to surprise and inspire.

[signature and photo]Karen KramerCurator of Native American and Oceanic Art andCultureThe artists have loaned these works exceptwhere otherwise noted.[HOTSPOT #1]Fashion ForwardDesigners like Patricia Michaels are activelyredefining contemporary Native fashion. For along time, Michaels’ work ranged so far fromtypical expectations of Native clothing andaccessories that Native fashion shows would notaccept it. Not anymore. Her ensembles turnedheads throughout the fashion world when sheparticipated in the hit reality-TV show ProjectRunway, in the season that aired in 2013.

Pueblo principles of balance govern Michaels’work. She integrates the handmade and themachine-made, the representational andthe abstract. The hand-painted featherybrushstrokes of her Cityscape dress evokeManhattan buildings reflected in water, yet froma distance they read as pure pattern.Michaels often has her models carry parasols.To her they are physical embodiments of prayer,a connection to the natural world—a way toexpress an uninhibited inner voice.Patricia MichaelsTaos PuebloBorn 1966, works in Taos Pueblo, New MexicoCityscape dress, Project Runway, Season 11Collection, 2012Leather, paint, and silkOn loan from Kathryn Rossi

Parasols, 2015Patricia MichaelsHandles by James Duran (Taos Pueblo)Blacksmith work by Frank TurleySalt cedar, metal, cloth, dye, hide, beads, andpaintCommissioned by the Peabody Essex Museum[MEDIA – RUNWAY FOOTAGE]Runway showEnsembles and parasols by Patricia MichaelsIndian Market, Santa Fe, New Mexico, 2011

Runway show, PM WaterlilyFashion Week El Paseo, Palm Desert, California,2015Gabriel Mozart Steven AbeytaTaos Pueblo, born 19925 minutes, 15 seconds, loopedCourtesy of Gabe Abeyta/Claymo productions

PathbreakersIt’s such a common cliché—Native design isultra-traditional. Yet since the 1950s and right upto the present, indigenous designers have beenblazing trails in daring and distinctive ways.The result? They have overturned the simplisticnotion that all Native design tends to look thesame.These designers dare to dream. They marry theworldview and aesthetics of their communitieswith modern materials and silhouettes. Clothingis their language, and they write it in silks andstainless steel, in rhythm, shape, and line.These Pathbreakers increasingly source theirfabrics globally and use New York runways as ajumping-off point for their careers. Along the waythey create opportunities for those who follow intheir footsteps.

[HOTSPOT #2]Vintage ClassicLloyd “Kiva” New is the father of contemporaryNative American fashion. He was the first Nativedesigner to create a successful internationalhigh-fashion brand, under the label Kiva, whichrefers to an architectural structure used forNative religious ceremonies in the Southwest.New developed a signature style featuring aNative aesthetic—abstract and figural symbols—and modern cuts and color palettes. Workingwith silks and cottons, he created clothes thatevoke the Southwestern landscape: patternsfrom riverbeds, striated cliffs, and desert scrub.Just as important to his legacy is his promotionof Native art and artists in the mid-20th century,when Native Americans and other marginalizedpeoples faced widespread discrimination.

Lloyd “Kiva” NewCherokee1916–2002, worked in Santa Fe, New MexicoDress, 1950sFor KivaScreen-printed cotton and metalOn loan from Fashion by Robert Black withDoreen PicerneLloyd “Kiva” NewCherokee1916–2002, worked in Santa Fe, New MexicoDress, about 1960For KivaScreen-printed cottonOn loan from Fashion by Robert Black withDoreen Picerne

Frankie WelchCherokeeBorn 1924, worked in Alexandria, VirginiaDress designed for First Lady Betty Ford, 1974Silk brocadeOn loan from the Gerald R. Ford Museum1983.88.3In her posh boutique in Alexandria, Welch styledWashington’s elite, including five First Ladies,from the 1960s through the 80s. She sold herown line alongside those of Halston, Oscarde la Renta, and other leading designers. Thisbrocade gown, designed for and worn by FirstLady Betty Ford, combines a sleek modernsilhouette, exquisite workmanship, and colorsthat suggest power and prestige—a combinationwell-chosen for the president’s wife.

[caption for label photo]First Lady Betty Ford wearing this dress, WhiteHouse Christmas Party, December 17, 1974[credit line] Courtesy of the Gerald R. FordPresidential Library

Dorothy GrantHaidaBorn 1955, works in Vancouver, British ColumbiaEagle Gala dress, 2013For DG Gold LabelSilk, tulle, synthetic fabrics, sequins, and floralappliquéDorothy GrantHaidaBorn 1955, works in Vancouver, British ColumbiaShe-Wolf tuxedo jacket and pants, 2014For DG Gold LabelItalian wool and embroideryOn loan from Michael HorseDorothy Grant blazed a trail as the first Nativewoman to gain an international following—paving the way for other Native designers withher stunning Feastwear tuxedos and other iconic

Northwest Coast fashions for men and women.Dorothy Grant’s over 30 year career reacheda high point this year when actor Duane E.Howard, portrayed as Elk Dog in the AcademyAward winning motion picture, Revenant, woreGrant’s Eagle Raven Shawl tuxedo design onOscar’s red carpet.[caption for label photo]Howard pictured at his fitting in Grant’s studio,February 2016[credit line] Courtesy of Dorothy Grant

Orlando DugiDiné (Navajo)Born 1978, works in Santa Fe, New MexicoDress, headpiece, and cape, Desert HeatCollection, 2012Dress: dyed silk, organza, feathers, beads, and24-karat goldCape: feathers, beads, and silverHeadpiece: African porcupine quills and feathersThis ensemble reveals Dugi’s keen eye forelegant eveningwear and luxurious detail. Theheadpiece’s sharp quills add a sexy danger tothe dramatic volume and fluidity of the dress.Glittering beads capture the experience ofwatching all-night Diné ceremonies under astarry sky. Dugi owes a debt to the fashiondesigners Yves Saint Laurent and Valentino andto Dugi’s Diné grandmother, who wore elaborateclothing and accessories every day. Their loveof opulent adornment, layering of textures, and

draping are qualities that drive his work.Wendy PoncaOsageBorn 1960, works in Fairfax, Osage Reservation,OklahomaDresses, 2015Dresses and accessories: Mylar, fox fur, goldenand bald eagle feathers, crystals, space-shuttleglass, and shellMannequins painted by the artistMylar, a material used in space shuttles, doesn’tseem like the typical stuff of Native fashion, butthese are the real deal. This reflective fabricrecalls the Sky World, home of the ancestorsin Osage creation stories. And in motion, Mylaractually makes a crinkling sound, an auditoryreminder of this ancestral connection.Ponca taught fashion at the Institute of American

Indian Arts. In the mid-1980s she cofoundeda collective of Native designers, models, andartists, establishing Santa Fe as a center forNative haute couture.Virgil OrtizCochiti PuebloBorn 1969, works in Cochiti Pueblo, New MexicoandDonna KarenBorn 1948, works in New York CitySkirt, Spring/Summer 2003For Donna KaranCottonOn loan from Ellen and Bill TaubmanIn 2002, Ortiz was selling his ceramics andcouture at Santa Fe’s Indian Market when theNew York fashion powerhouse Donna Karanstrolled over. Struck by Ortiz’s bold forms and

motifs, she invited him to collaborate on her2003 couture collection. They worked togetherto marry her silhouettes and fabrics with hisgraphic patterns, which symbolize wild spinach,clouds, and fertility. Their partnership is aninspiring example of collaboration betweenartists, cultures, and businesses.[MEDIA: RUNWAY FOOTAGE]Runway show, Donna Karan, New York, Spring/Summer 2003Courtesy of Fashion Channel Publishingfashionchannel.it27 seconds, looped

Derek JagodzinskyWhitefish CreeBorn 1984, works in Edmonton, AlbertaDress, belt, and handbag, Four DirectionsCollection, Spring/Summer 2014For LUXX ready-to-wearSpandex and synthetic blendCree language syllabics swirl around the waistof this fringe dress, encircling the wearer at thecenter of her being. This garment celebratesthe Cree language, still spoken daily by tribalmembers in Canada despite government effortsto suppress it in the past. Its appearance onthe runway conveys Jagodzinsky’s ongoingmessage: “We will succeed.”

Charles LolomaHopi Pueblo1921–1991, worked in Hotevilla, Hopi Pueblo,ArizonaBracelet, about 1975Ironwood, silver, lapis lazuli, turquoise, coral,fossil ivory, and abalone shellOn loan from Leslie M. Beebe and BruceNussbaumLoloma is widely considered the most renownedNative jeweler of his day. This landscape-inminiature reveals his sources of inspiration:the colorful stepped mesas of Arizona andthe sharp angles used by Frank Lloyd Wright,the 20th-century architect. Loloma’s chunkyinlays, vertical slabs, and exotic woods andstones depart from Southwestern silversmithconventions, heavy with silver, turquoise, andstampwork.

Robin WayneeSaginaw ChippewaBorn 1971, works in Santa Fe, New MexicoNecklace with detachable brooch pendant, 201418-karat gold, blackened sterling silver, Tahitianpearl, sphene, diamonds, and pink sapphiresOrlando DugiDiné (Navajo)Born 1978, works in Santa Fe, New MexicoandTroy SiceZuni PuebloBorn 1977, works in Albuquerque, New MexicoThe Guardian—Bringer of Thunder, Lightningand Rain handbag, 2013Elk antler, stingray leather, parrot feathers,bobcat fur, rubies, shell, glass beads, andsterling silverOn loan from Ellen and Bill Taubman

Denise WallaceChugach AleutBorn 1957, works in Hilo, Hawai’iandSamuel Wallace1936–2010, worked in HiloCraftspeople Belt, 1992Sterling silver, 14-karat gold, fossil ivory, andsemiprecious stonesOn loan from the Museum of ContemporaryNative ArtsAT-58This belt tells Denise Wallace’s story of meetinginfluential Alaska Native artists during a groupexhibition in Anchorage. Ten figures appear,separated by scrimshawed medallions, tocelebrate the makers of boats, dolls, and masks,as well as basket weavers and ivory carvers.Northern Alaskan jewelry often condenses astory through imagery—a more permanent

version of what is conveyed through dance andceremony.Wallace’s Aleut heritage is a major influenceshaping her jewelry. She combines older Arcticartistic genres, such as stone carving, maskmaking, and storytelling, with Southwesternstyle stone inlay and silver.Frankie WelchCherokeeBorn 1924, worked in Alexandria, VirginiaCherokee Alphabet scarf, about 1970Printed synthetic fabricPeabody Essex MuseumGift of Karen Kramer2015.11.3In 1966, Virginia Rusk, wife of Dean Rusk, theU.S. secretary of state, commissioned Welch

to design a scarf as an official presidential gift.She requested an “all-American design.” Whatcould be more American than the first NativeAmerican language to be expressed in writing?Welch’s bold graphics and esteem for her Nativeheritage come through clearly in this design,which features syllabics from the Cherokeelanguage. This is the most popular of her 2,000scarf designs.Maria SamoraTaos PuebloBorn 1975, works in Taos, New MexicoLily Pad bracelet, 201418-karat gold, palladium white gold, anddiamonds

RevisitorsOne tradition never changes in Native art: thingschange. Native artists have always brought newmaterials and ideas into their work. This gallerycelebrates fashion designers who refresh andexpand on time-honored symbols, forms, andtechniques even as they adopt new ones. In turn,Revisitors use contemporary and innovativeapproaches to strengthen and carry forwardancient understandings of the world that sustaintheir tribal communities. Some make clothingand other objects specifically for powwows andNative ceremonies, while others intend theirwork for outside markets.Revisiting also has other connotations worththinking about. Some of today’s non-Nativedesigners are inspired by Native patterns,motifs, and styles past and present—a commonpractice not without controversy. When symbols

used in Native cultures are employed out ofcontext, their intended message can becomegarbled. Also, profits from the sale of such itemswill never reach the Native artists who createdthe designs.RevisitorsTrending TribalTotem-pole designs of the Pacific NorthwestCoast captivated the fashion designerIsaac Mizrahi, inspiring him to create thisMASTERFULLY EMBROIDERED dress. Thecharacters and symbols on totem poleschronicle histories, indicate social status, andrepresent family identity among the NorthwestCoast Native communities. And yet Mizrahi is notNative—so what to think of his appropriation ofthese motifs?

CULTURAL BORROWING is complex. Fashiondesigners are RENOWNED REMIXERS—voracious consumers of images and ideas.Mizrahi makes reference to totem poles, but hedoes not replicate one exactly. He emulates, yethe also produces a new style.In fact, this garment deeply influenced the TaosPueblo designer Patricia Michaels. She saw apart of herself embraced by the mainstreamin this Native-inspired piece, a CATALYST topursuing her dream of a career in fashion.

Bethany YellowtailApsáalooke (Crow) and Northern CheyenneBorn 1988, works in Los Angeles, CaliforniaOld Time Floral Elk Tooth dress, ApsáalookeCollection, 2014For B.YellowtailLace, leather appliqué, and elk teethPeabody Essex MuseumMuseum purchase2015.22.1Bethany Yellowtail’s family heirlooms, includingbeaded garments and photographs of herrelatives wearing elk-tooth dresses, inspiredthis piece. A line of elk teeth, symbolizingApsáalooke wealth, runs along the sleeves andchest, popping against the garment’s delicateItalian-made lace and leather floral appliqués.The interplay between dark and light, foregroundand background, defines Crow aesthetics andsuggests balance—something Yellowtail aspires

to achieve aesthetically and spiritually whileliving in Los Angeles, far from her Montanahome.[HOTSPOT #3]ConvergenceFor centuries, Native designers have foundinspiration through cultural exchange. Inthe second half of the 19th century, Plainsartists began using colored pencils and EuroAmerican accounting books, or ledger books,instead of painted buffalo hides to recordpictorial histories. Plains Indians also adoptedthe fashionable top hats and parasols of theera, adding personal embellishments such asporcupine quills, lace, and beads to give themnew meaning.Wilcox’s hat refers to those sported by stylish

19th-century Plains Indian men. Wilcox madehis from vintage paper. The dragonfly ontop symbolizes protection. Greeves foundinspiration for her parasol in the ones carriedduring parades at the annual Crow Fair inMontana and in the umbrella her mother alwaysbrought to what she called “Indian doings.”Williams depicts horses galloping across akimono in response to a friend’s mixed Nativeand Asian heritage. Like their Plainspredecessors, these artists have imaginativelyfused Plains iconography with their currentexperiences.Toni WilliamsNorthern ArapahoBorn 1953, works in Taylorsville, UtahKimono and obi, 2011Silk with appliquéAnonymous loan

Dwayne WilcoxOglala LakotaBorn 1957, works in Rapid City, South DakotaMedicine Hat, 2013Vintage paper and pigmentsTeri GreevesKiowaBorn 1970, works in Santa Fe, New MexicoIndian Parade Umbrella, 1999Brain-tanned deer hide, glass beads, abaloneshell, Bisbee turquoise, cloth, brass and nickelstuds, Indian bead nickels, and antique umbrellaframeOn loan from Gilbert Waldman

Dallin MaybeeNorthern Arapaho and SenecaBorn 1974andLaura SheppherdBorn 1957Both work in Santa Fe, New MexicoCorset and skirt, 2010Corset: silk, cotton, and steelSkirt: silk shantungNecklace: dentalium shell and brain-tanned hideEarrings: sterling silver, 24-karat gold, andmammoth ivoryJewelry by Dallin Maybee, 2015

Juanita LeeKewa (Santo Domingo) Pueblo1910-1974Dress and belt, 1970Commercial fabric and embroidery threadOn loan from the Heard MuseumGift of Mareen Allen Nichols4353 29 a–cMargaret WoodDiné (Navajo) and SeminoleBorn 1950, works in Phoenix, ArizonaBiil (Blanket Dress), 1980sWoolOn loan from the Heard MuseumGift of Mr. Tom Galbraith and Ms. Margaret WoodNA-SW-NA-C-82In this re-creation of the classic 19thcentury Navajo blanket dress, Wood kept the

characteristic palette of navy and red and thestepped pattern. She updated the cut, changingit from knee-length to floor-length, and added abateau neckline.D. Y. BegayDiné (Navajo)Born 1953, works in Santa Fe, New MexicoBiníghádzíltł’óní (Woven Through) serape, 2012Wool and natural dyesAfter visiting Peru, the fourth-generationweaver Begay created this Diné version of aPeruvian serape. Its abstract pattern derivesfrom the landscapes of the Diné homeland in theAmerican Southwest, and the T shape refers toSpider Woman’s cross. This holy character inDiné cosmology holds particular significance forBegay: Spider Woman taught the Diné people toweave.

Niio PerkinsAkwesasne MohawkBorn 1980, works in Akwesasne, St. RegisMohawk Reservation, New YorkEmma ensemble, 2010Cotton, velvet, glass beads, and metal pinsOn loan from the Southwest Museum of theAmerican Indian Collection, Autry NationalCenter, Jackie Autry Purchase Award, AmericanIndian Arts Marketplace, 20102010.62.1–7For Perkins, a box of beads holds endlesspossibilities. She poured her heart into thiselaborate ensemble—fit for a traditionalwedding—and titled it Emma, a favorite name.She likens the outfit to a close friend she spentmonths getting to know.Beadwork is deeply rooted in Perkins’ Nativeheritage. She embraces its power to stimulate

community involvement and pride: “Our designsare like stories, thoughtfully woven into aceremonial dress. They capture personality andidentity.”Elizabeth James-PerryAquinnah WampanoagBorn 1973, works in North Dartmouth,MassachusettsBlouse, skirt, sash, moccasins, wampumfriendship collar and earrings, and bracelet,2014–15Blouse and skirt: linen with trade silver andribbonsSash: oblique-weave wool and beadsMoccasins: leather with glass beadsCollar and earrings: leather, glass beads, andquahog shellBracelet: porcupine quills

“The colors, textures, the creative rhythm ofsomeone . . . weaving and threading and beadingtogether a certain pattern; it’s like telling a story.Being part of that storytelling process is centralto my identity as a Wampanoag woman.”—Elizabeth James-PerryJonathan PerryAquinnah WampanoagBorn 1976, works in Aquinnah, MassachusettsBlue Heron necklace, 2014Slate, copper, glass trade beads, and sinew“I am grounded in the traditions of my oceangoing ancestors. I consider designs byexamining the raw materials closely and drawingmy images from the grain, hues, and patinaof wood, stone, and copper. I enjoy using thematerials and knowledge handed down from myancestors to express my understanding of the

natural world as well as the changes over timesince our creation.”—Jonathan Perry[HOTSPOT #4]It’s All in the MixThere’s style, and then there’s styyyyle. Theseelegant boots demonstrate how personalfashion sense can mix the antique with thecontemporary, the accessories of one culturewith those of another. Jamie Okuma catapultsmoccasins into the 21st century. She handstitched thousands of antique beads onto bootsby the French designer Christian Louboutin.Only his signature red soles (a symbol ofthe French aristocracy) remain exposed. Thegraceful swallows and abstract floral motifsevoke Okuma’s childhood on her grandmother’sland.

Jamie OkumaLuiseño and Shoshone-BannockBorn 1977, works in La Jolla Indian Reservation,CaliforniaBoots, 2013–14Antique glass beads on bootsBoots designed by Christian Louboutin (born1964, France)Peabody Essex MuseumCommissioned by the Peabody Essex Museumwith support from Katrina Carye, John Curuby,Karen Keane and Dan Elias, Cynthia Gardner,Merry Glosband, and Steve and Ellen Hoffman2014.44.1ABMike Bird-RomeroOhkay Owingeh (San Juan) and Taos PueblosBorn 1946, works in Ohkay Owingeh Pueblo,New MexicoFour bracelets, 2000–2010

Top left: sterling silver, spiny oyster shell, andturquoiseTop right: sterling silver, spiny oyster shell, andabalone shellBottom left: sterling silver, abalone shell, andonyxBottom right: sterling silver, onyx, and turquoiseLeft CenterEddie BegayDiné (Navajo) bracelet, 2000–2010Sterling silver, turquoise, coral, and jet

Right CenterRay AdakaiDinéBorn 1965andAlice ShayDinéBoth work in Gallup, New MexicoBracelet, 2000–2010Sterling silver, spiny oyster shell, and stonesAll six bracelets on loan from Catherine B.Wygant

Keri AtaumbiKiowaBorn 1971, works in Santa Fe, New MexicoBeach Water Drop earrings and Mussel Shellnecklace, 2013–14Sterling silver, diamonds, and 22-karat goldEach piece of Ataumbi’s jewelry forms a smallsculpture, enhanced when worn on the body.She created the delicate mussel-shell beadsusing a hydraulic press, etching tools, and asoldering iron. Rather than focus on traditionalform or potential markets, she seeks inspirationin current visual culture, the history and theoryof modern art, and her personal aesthetic, whichblends natural organic forms with sleek moderndesign and technology.

Kevin PourierOglala LakotaBorn 1958, works in Scenic, Pine RidgeReservation, South DakotaRez Bans glasses, 2009Buffalo horn, malachite, gold and white motherof-pearl, coral, lapis lazuli, sandstone, metal, andglassKenneth Williams Jr.Northern Arapaho and SenecaBorn 1983, works in Santa Fe, New MexicoHe Was Iconic, 2014Glass beads, turquoise, coral, seed pearls,brass, wool, yarn, brain-tanned hide, gold, andhuman hairOn loan from the Nerman Museum ofContemporary Art

[caption for label photo]Reverse side of He Was Iconic. This piecehonors the Native jeweler Charles Loloma,whose work can be seen in the Pathbreakersgallery. Photo courtesy of the artist.

ActivatorsSpeak Your PieceSelf-representation, a recurring theme incontemporary Native fashion, is a major focusfor the artists who use fashion to expressidentity and political ideas. When you thinkabout it, what you wear and how you wear it cansay a lot—about yourself and your engagementwith others. Clothing can help get a messageacross.Activators design and style casual-chic outfits,blending tribal-specific patterns and colorswith street-style sensibilities and bypassingthe catwalk and the corporation. Many youngerNative designers are Activators, constantlyresponding to trends and current events by wayof the Internet and social media.

Kenneth Williams Jr.Northern Arapaho and SenecaBorn 1983, works in Santa Fe, New MexicoStyling of the ensembleBlazer: linen with painted designs by ThomasHaukaas (born 1950, Sicangu Lakota), 2013Moccasins: glass beads, wool broadcloth, brass,wool, yarn, and brain-tanned hideShirt and pants: dyed cottonThomas Haukaas designed this stunning linenblazer for his friend Kenneth Williams Jr. towear for the opening of a museum exhibition ofWilliams’ work. Haukaas decorated the jacketin a classic Plains pictorial style, showing highranking warriors on horseback. Traditionallypainted on buffalo hides and tipis, such imagesoften recorded “counting coup”—feats in battleor hunting that brought prestige to the warriorand his family. The designs on this jacket servea similar function: Haukaas’s riders and horses

celebrate his friend’s achievements as an artist,a contemporary equivalent of counting coup.Tommy JosephTlingitBorn 1964, works in Sitka, AlaskaMy Ancestors, 2009-15Wool and dyeOn loan from The Fabric Workshop and MuseumThis piece references Joseph’s Tlingit clangroup, Ch’aak, or Eagle (Wolf is sometimes usedinterchangeably). The flattened Eagle figure,rendered in heavy black outlines, wraps aroundthe wearer’s body. Joseph collaborated withPhiladelphia’s Fabric Workshop and Museumto create this experimental three-piece suit. Byprofession a carver of masks and totem poles,Joseph translates Tlingit stories into threedimensional art.

Winifred NungakInuitBorn 1987, works in Kangirsuk, Nunavik, QuebecParka and Nasaq (hat), 2015Parka: Commander fabric, Hollofil, and fox furNasaq: wool and fox furJamie OkumaLuiseño and Shoshone-BannockBorn 1977, works in La Jolla Indian Reservation,CaliforniaJacket, pants, and purse, 2013–14For J.OkumaJacket: holographic Italian lambskinPants: leather and lacePurse: leather, pony hair, dye, and brass

Bethany YellowtailApsáalooke (Crow) and Northern CheyenneBorn 1988, works in Los Angeles, CaliforniaYellowtail shift dress, 2013–14For Project 562Polyester, satin, and polyester mesh printedwith photograph by Matika Wilbur (born 1984,Swinomish and Tulalip)On loan from Karen KramerYellowtail’s dress reflects a fast-growing trendin fashion: photoprint fabrics. She createdthis limited-edition garment as a reward forthe Kickstarter campaign for Project 562,the photographer Matika Wilbur’s effort tophotograph contemporary Native America in allits diversity. The cut of the fabric positions thehorizon of one of Wilbur’s photograph alongthe hems of the skirt and the sleeves. The filmyblack band at the bottom evokes the flutter ofwings and the spirit of birds in flight.

Caroline BlechertInuitBorn 1987, works in Yellowknife, NorthwestTerritoriesCuff, 2014Porcupine quills, Delica beads, caribou hide, andantlerPeabody Essex MuseumMuseum purchase2014.52.1Blechert lives where the arctic winters are longand dark—snow covers the tundra for eightmonths at a time. But in the summer, flowers,mosses, and lichens fill the landscape withbursts of purples, greens, and rusts—colorsBlechert uses in her jewelry. Natural materialsreflect the art of her Inuit roots. The laser-cutbeads and contemporary color scheme groundher in the present.

Douglas MilesSan Carlos Apache and Akimel O’odhamBorn 1963, works in San Carlos, San CarlosApache Indian Reservation, ArizonaT-shirt, pants, cap, belt with buckle, and skateshoes, 2008–15Miles fuses bold, graffiti-inspired graphicswith Apache iconography and language. Yearsago he painted his first skateboard, for hisson. His brand, Apache Skateboards—the firstNative-owned skateboard company—grew fromthat first deck, and soon it included a line ofstreetwear. In 2009–10, Miles collaborated withthe internationally popular skate brand Volcomto create its Stone-Age product line. His missionis to empower Native youth and highlight socialissues that confront their communities today.

For Apache Skateboards and Volcom Stone-AgeT-shirt: cotton, 2010Pants: denim and paint, 2015Cap: cotton, 2010Belt with buckle: leather and pewter, 2010Skate shoes: suede and rubber, for Ipath, 2008Douglas MilesSan Carlos Apache and Akimel O’odhamBorn 1963, works in San Carlos, San CarlosApache Indian Reservation, ArizonaThe Original Apache Skateboard deck, 2007-08For Apache SkateboardsAcrylic on wood[MEDIA: FILM]Dustinn CraigWhite Mountain Apache and Diné (Navajo), born1975Young Raiders, 2014

For 4-Wheel War Pony9 minutes, 38 seconds, loopedRico Lanaat’ WorlTlingit and AthabascanBorn 1984, works in Juneau, AlaskaRaven and Eagle skateboard decks, 2014For Trickster CompanyWood and paintPeabody Essex MuseumMuseum purchase2014.53.1–2

[HOTSPOT #5]Fresh TakesEver since the graphic tee emerged as a fashionstatement in the 1970s, designers have usedT-shirts to flaunt individuality and voice politicalprotest. For young designers, these affordable,easy-to-produce shirts offer a way to grabattention and express opinion.Jared Yazzie’s Native Americans DiscoveredColumbus T-shirt reclaims America asindigenous country, and his Mis-Rep teechallenges the use of images of Native peopleas sports mascots. For Yazzie and the otherT-shirt designers, words are weapons, provokingpeople to think harder about history.

Dustin MartinDiné (Navajo)Born 1989, works in Albuquerque, New MexicoCeci n’est pas un conciliateur (This is not apeacemaker) T-shirt, 2013For S.O.L.O.CottonPeabody Essex MuseumGift of Karen Kramer2015.11.6Jeremy ArvisoDiné (Navajo), Hopi, Pima, and Tohono O’odhamBorn 1978, works in Phoenix, ArizonaDefinition T-shirt, 2013For Noble SavageCottonOn loan from Jeremy Donovan Arviso-NobleSavage LLC

Jared YazzieDiné (Navajo)Born in 1989, works in Chandler, ArizonaNative Americans Discovered Columbus T-shirt,2012For OxDxCottonPeabody Essex MuseumGift of Karen Kramer2015.11.4Jared YazzieDiné (Navajo)Born in 1989, works in Chandler, ArizonaMis-Rep T-shirt, 2014For OxDxCottonPeabody Essex MuseumGift of Karen Kramer2015.11.5

Jolene Nenibah YazzieDiné (Navajo)Born 1978, works in the SouthwestWarrior Women T-shirt, 2012For AsdzaanCottonOn loan from M. McGeoughVirgil OrtizCochiti PuebloBorn 1969, works in Cochiti Pueblo, New MexicoScarf, Indigene Collecti

ambition, and fashion as a multifaceted creative domain. Native Fashion Now groups designers according to four approaches we consider important. Pathbreakers have broken ground with their new visions of Native fashion. Revisitors refresh, renew, and expand on tradition, and Activ

Related Documents:

Telkom. Mata Kuliah Fashion Merchandising mempelajari mengenai Pengertian dan tujuan Fashion Merchandising, Perencanaan Kalender Fashion dan Fashion Marketing yang meliputi fashion communication, fashion promotion, special fashion promotion, fashion

Oct 22, 2014 · ART ART 111 Art Appreciation ART 1301 Fine Arts ART 113 Art Methods and Materials Elective Fine Arts . ART 116 Survey of American Art Elective Fine Arts ART 117 Non Western Art History Elective Fine Arts ART 118 Art by Women Elective Fine Arts ART 121 Two Dimensional Design ART 1321 Fine Arts ART

ART-116 3 Survey of American Art ART ELECTIVE Art/Aesthetics ART-117 3 Non-Western Art History ART ELECTIVE Art/Aesthetics OR Cultural Elective ART-121 3 Two-Dimensional Design ART ELECTIVE Art/Aesthetics ART-122 3 Three-Dimensional Design ART ELECTIVE Art/Aesthetics ART-130 2 Basic Drawing

2.1 identify fashion proportion and the fashion figure; e.g., proportions, anatomy, fashion elongation 2.2 sketch the human figure to fashion proportions; e.g., blocking, style lines, balance lines 2.3 identify a variety of fashion poses; e.g., full front, profile, pelvic thrust 2.4 sketch one fashion illustration using a rounded figure

Running a fashion design house or managing a fashion label is vastly different to other business industries. Fashion constantly changes, so fashion businesses must change with the fashion, and continuously be offering customers new and exciting things all the time. But what looks and trends does the customer want to buy? What fashion sells, and .

2.1. Study on Fashion photography Fashion photography is defined as the len-based production of a photographic image containing fashion products. Fashion photography exists since the invention of camera, and performs the essential function of presenting fashion products for commercial purpose (Hall-Duncan, 1977; Jobling, 1999). The terms .

conceptual instruction. Courses may include fashion drawing, 3-D design, color theory, textiles, computer-aided design, fashion business and portfolio presentation. A Master in Fashion will explore how fashion is connected with other concepts, such as style, fashion design and collections, as well as fashion industry and journalism. 2 years

MS Exemplar Unit English Language Arts Grade 2 Edition 1 Design Overview The MS CCRS Exemplar Units for ELA and mathematics address grade-level specific standards for Pre-Kindergarten-8th grade, as well as for Algebra, English I, and English II. The overall unit plan is described in the first section of the ELA and math units. This section .