Feathers in fashion

 

imagesTraditional Native American headdresses have been popping up in all kinds of inappropriate places as of late. Last year alone saw a scantily clad model sporting a war bonnet at Victoria Secret’s annual runway extravaganza, a distasteful No Doubt video, a flat out racist release party for clothing label Paul Frank themed around powwows that involved play-acted scalpings, tomahawks and feathered dress-up, to mention but a selection of cases that went beyond the norms of cultural respect. These events sparked uproars on blogs and in other media, resulting in apologies from all the offending parties. The fashion industry, however, seems to have missed out on the larger lesson as traditional Indian attributes continue to hold appeal for fashion designers less discerning on questions of cultural integrity. One particular blatant example that seems to have passed the radar of most commentators is the Japanese label Neighborhood. The lookbook for its spring/summer 2013 collection features white models wearing prominent feathered headdresses along with other Native American references.

One reason that this case has escaped the attention of sites such as Native Appropriations, Beyond Buckskin and other blogs that are usually hyper-alert to questions of this matter could be that the label is not widely distributed outside of Japan. Yet Neighborhood is not completely unavailable on western shores. It is sold in hip online stores such as Mr Porter and Tres Bien shop. On top of this, and due to the use of exclusively western-looking white models, the campaign is arguably addressed to a western clientele which makes it fair to say that there is a certain ”hipster headdress” tendency at work here.

neighborhood-2013-spring-summer-lookbook-1Now, Neighborhood belongs to a niche of Japanese designer labels  – Kapital and Real McCoy are some others – that are obsessed  with Americana and the historical garments of America’s past. In these labels quests for authenticity, historical accuracy matters down to the smallest stitch. Such sartorial reverence does of course not grant them a free pass to play fast and loose with loaded spiritual symbols of other cultures. It does, however, suggest that at least some thought has gone into the creative process. But just what kind of thought are we dealing with? Chasing after intent is of course often a dead end in these matters as most cultural appropriators will attest to their well-meaning. So let’s proceed from what we have – the photos. They are undeniably beautiful and in comparison to the other photos in the lookbook the Indian themed ones seem to convey a different mood. The model turns down his head in what appears to be solemn introspection. This is a welcome departure from the reigning visual tropes involving Native headdress – the sexy Indian and the proud warrior. Were these art photos they might be interpreted as propositions of the white man’s guilt or at the very least as showing signs of humility. But these are not images of art. Even supposing that the premises were of critical nature, the message is betrayed by the specific context, the purpose of which is to market clothes. What clothes, one might ask considering that there is little evidence of the label’s actual designs to be seen in these photos, presuming of course that the headdress is not part of the collection. A closer look on one of the photos will however reveal something just below the model’s unclothed torso that actually is part of the collection. It is the Thunderbird belt, a beaded belt inspired by traditional Native American craftmanship. The point of the headdress is in other words to reinforce the impression of Indian authenticity. Exactly how a white person serves this purpose is unclear, and extremely problematic.

I myself am a white person of Swedish origin. As a collector of Native American art I have a deep love for the aesthetics and traditions of cultures I am not born into. It is my hope that my passion can be practiced without infringing upon the meaning and symbolic significance that Native cultures ascribe to their objects. I understand that certain objects are sacred and require reverence and understanding at a level beyond mere aesthetic appreciation. One such item is the ceremonial headdress.

images-1As Jennifer Weston (Hunkpapa Lakota, Standing Rock Sioux) explains on the blog Jezebel: ”While ceremonies varied among the diverse plains tribes who produced these headdresses, most involved specific prayers and actions, often relating to EACH single feather. Honor songs and ceremonies, for men and women warriors, come from our languages and represent ancient spiritual practices deeply tied to tribal homelands and their biodiversity.”

To therefore use headdress as shorthand for Native American authenticity is not only reductive and stereotypical but deeply disrespectful to the traditions they are trying to pay hommage to. Sure, the photos look cool and all. But just as you can’t use crosses and other religious symbols without being expected to supply an explanation as to their spiritual significance, it shouldn’t be conceivable to engage with headdress in a manner that stops at mere superficial admiration. That’s how easy appreciation can turn to affront. If only Neighborhood would apply as much care and respect to symbolic matters as they do to the construction of their clothes such self-undermining blunders of appropriation could be avoided.

 

 

 

Minimalist superheroes

 

 

veregge spiderman

In time for the inevitable summer invasion of superheroes to our movie screens, the art of Jeffrey Veregge can serve as a gentle reminder that sometimes less is more.

You wont see Veregge’s art outside your local multiplex, which is a shame because his minimalistic movie designs would do well to counterbalance the extravagance of the superhero genre. Veregge is a Native American artist who translates the visual language of his Washington state S’Klallam tribe into iconic movie characters, preferably those with more enhanced abilities. With restrained precision he produces images that are reminiscent of both the stenciled paintings of Douglas Miles and the radically minimalistic and unofficial poster designs of someone like Eder Rengifo. 

 

 

Batman-print

 

 

 

 

 

 

 

 

 

 

veregge superman

 

 

 

 

 

 

 

 

 

 

 

veregge transformers

Ralph Lauren’s Navajo connection

 

Ralph Lauren's ranch in ColoradoIf I say Ralph Lauren the image will very likely pop into your head of a bratty young white guy, probably belonging to a fraternity at an ivy league university where he spends his family-money-subsidized days making up beer-fueled plans to rule the world, all the while sporting the polo shirt that has become synonymous with the brand. Pretty soulless, in other words. But Ralph Lauren is more, much more. He has a passion for the look and feel of the historical America that runs far deeper than what trends are advocated by the current season of fashion. Lauren has employees whose sole job is to scour through the country for forgotten artifacts and clothes to serve as the inspiration for his vintage RRL line. The resulting designs will end up in stores that resemble trading posts more than those of a high-end fashion designer.

 

Lauren has a particular affinity for Navajo patterns and ever since the Santa Fe collection in 1981 they have been a recurring motif in his designs. Where other designers might treat the Indian element as an exotic and temporary flourish that is swept away as soon as the wind of trends turn, Lauren has throughout the years remained true to the style. Such dedication, however, has both its up- and its downsides. On the one hand, he is opening up new markets for indigenous design traditions, and with that hopefully raising interest in their cultures. On the other hand, the critics knock him for being an outsider that engages with Native culture in a superficial and diluted manner.

 

Navajo inspired shirt by Ralph LaurenTo be fair to Lauren, he always made it clear that his was a romanticized version of the old west. He began incorporating tributes to the southwest through his Polo Western collection before ever having set foot in it. Accordingly, his “vintage” line RRL and his “Navajo” designs should be taken to heart with a healthy dose of fiction. It is not for nothing that John Wayne’s hat decorates one Lauren's ranch. John Wayne's hat on table in the foregroundof the coffee tables on Lauren’s ranch, and his vintage collections similarly have the feel of old movie costumes more than historically authentic pieces of clothing. Still, it is understandable that Lauren’s appropriation of Native patterns and imagery might provoke hostility. Lauren’s pieces, however lovingly designed, are mass-produced and hence can never replace or even approximate the experience of genuine Navajo weaving. Behind a real Navajo textile stands a real person, and her labor and sweat is woven into the warps and wefts of the fabric. It is the reality of this person – her history and culture as well as her individuality – that is pushed to the side when the copy is allowed to stand in for the original.

 

Besides, one can’t help but think that if Lauren really wanted to pay more than lip service to Indian culture, he would at least include some Native people in his campaigns or on his runways.

For real deal Navajo weaving, drop by Kiva Gallery’s new exhibition.

Beautiful Pendleton blankets in Kiva Gallery

Handpicked from US  to Kiva Gallery , a selection of beautiful Pendleton blankets and throws, all in amazing colors and with original Native American patterns. The blankets, here in robe size are still today much preferred and in everyday use by Native Americans who often also use them for ceremonial purposes, wrapping the blankets around themselves.

On display in the gallery you will also find a few antique and rare blankets going back a century, to the very start of the well-reputed Pendleton weaving mill, today one of the few in US.

The ¨Chief Joseph pattern¨ is a much favored pattern embellishing blankets and throws,  and still in production.

The Pendleton textiles are impressive also as wall hangings.

Antique blankets are highly acclaimed by collectors all over the world.

IMG_9455

 

   – It is cold and we have no blankets. The little children are freezing to death. My people, some of them, have run away to the hills and have no blankets, no food. No one knows where they are – perhaps freezing to death. I want to have time to look for my children and see how many of them I can find. Maybe I shall find them among the dead.   Hear me, my chiefs. I am tired, my heart is sick and sad.   From where the sun now stands, I will fight no more forever.

                         CHIEF  JOSEPH

 

 

 

 

New exhibition

Tradition in Transition: Navajo weaving  

Ancient weaving tradition meets young and breathtaking contemporary  aesthetics.

Now Kiva Gallery is showing unique works by artist Melissa Codya young Navajo woman tired of stereotypes and gifted with an amazing talent for using the most unusual and bold palette in her art of weaving. 

Among other things, Melissa Cody finds inspiration in street art which she channels through the medium of traditional weaving. Cody’s knowledge of weaving has been passed down through generations, and she has since a young age been developing her own unique aesthetic vision of the textile art.

We are also showing antique rugs and more traditional examples of Navajo weaving.

 

Melissa Cody ”Reclamation” (detail)

Heard Museum

Heard MuseumIn my research into Native culture, the Heard Museum in Phoenix has become an invaluable treasure trove of knowledge and experiences of beauty. Since it opened to the public in 1929, the museum has been an important institution for the preservation, archiving and support of Indian art.

The renowned museum was founded by Dwight and Maie Heard. During many travels through the Southwest, this wealthy couple had collected an impressive number of American Indian artifacts, and decided to share their treasure with their contemporary Phoenicians. The intention was also to educate people about Arizona’s Native cultures and their history.

The Heard Museum, in fact, rests on the original grounds of Dwight and Maie Heard’s estate in the city. Mrs Maie Heard died in 1951. At the time of her passing, the Heard collection consisted of approximately 3,000 pieces. Today, the collection numbers more than 40,000 items; a variety of fine art  and cultural artifacts. An estimated number of 170,000 visitors from all over the world come to the Heard Museum yearly. The Annual Fair & Market at the Heard is a world-acclaimed festival that each March draws nearly 20,000 visitors and more than 700 American Indian artists to Phoenix, Arizona.

I’ve been attending the Indian Market and activities/events around it regularly over the years. Many of  Kiva Gallery’s artists are represented and chosen to show their art at the Indian Market at Heard. I come to Phoenix to meet them and their art. In later posts I will tell you more about the routes I have travelled and the people I have met on my art collecting quests.

 

Bloodstained feathers..

Thomas Breeze Marcus, "Hethuska Two Feathers", 2013

NEW ACQUISITION  to the gallery:

Two humble-looking feathers, a work by artist Thomas Breeze Marcus (Tohono O’odham and Akimel O’odham).

Here, – their story in Breeze Marcus’s own words:

– ”My blood line on my family’s Ponca side. As the story goes, a Ponca Warrior was out by himself hunting and came across two enemies near his camp. The Ponca Warrior surprised the two, capturing them and tied them up, then killing and mutilating one of the enemies. The Ponca man then released the other enemy making him carry the mutilated body back to tell the others to stay away from his people, –  or he would do the same to all of them…

To this day in the Ponca Hethuska Society or Warriors Society, a single feather (sometimes two) is worn on top of the Straight Dance Regalia.  Being passed down through generations, our family in the Hethuska wear two feathers with the outfit… symbolizing the two enemies from the old story. My uncle (my mom’s younger brother) wears two during the dances in honor of the story, and the rights passed down to our family. ”

The writing on the wall

 

Graffiti is an art form that does not politely wait to be discovered. It does not ask permission but pushes its message onto an unsuspecting public. Considered as a political gesture, it is easy to see the appeal of graffiti for many Native American artists. Graffiti is necessarily anti-authoritarian, as is the work set out for Native artists struggling to get their images past a white hegemony that prefers to take representation of Native culture into their own hands.  

Graffiti is first and foremost known to be an element of Hip Hop culture, but the use of spraycan paint in the public arena also has roots in punk culture. Some bands would apply spray paint over stencils to get their names onto street walls. Some activist artists also took to illicit stenciling. One early artistic use of spray painted stencils to deliver a public message explicitly relate to Native American history. In 1979 John Fekner stenciled the message “Wheels over Indian trails” on the Pulaski Bridge Queens Midtown Tunnel in New York, in commemoration of the thirteen tribes that originally inhabited Long Island.John Fekner

In the hands of Douglas Miles, spraycan art is infused with a Native punk sensibility all his own. His images are instantly recognizable, often combining stenciled figures reminiscent of comic drawing with written slogans, logos, and short, powerful messages. In the tradition of graffiti he paints on walls, but also on canvas, paper, skateboards, old briefcases, rusty oil cans, folding tables – anything he can lay his hands on really. In such an indiscriminating dissemination of his artistic mark, Miles evinces a spirit true to graffiti. And by repurposing discarded objects as art he shows that the objective of graffiti is to beautify, not – as the governmental outlawing of it maintains – to deface and vandalize.

miles

One might argue that by displacing a street medium such as spraycan art onto canvases and into galleries, Native culture’s engagement with graffiti today risks replaying the fate of graffiti culture in 1980s New York. When the art world caught up with what was happening on the streets, some gallery owners and agents tried to cash in by encouraging graffiti writers to transfer their art from subway cars and street walls to canvases. The results were often disappointingly, but perhaps inevitably, tame. It may not be the most self-serving thing for a gallery to state, especially when Kiva Gallery has many graffiti related art works for sale, but let´s face it: there will always be an aspect of resistance and subversion to graffiti that cannot be adequately conveyed within the confines of the gallery walls. However, for Thomas Breeze Marcus such concerns would seem to be of secondary importance. He is just as accomplished an artist on large public walls as he is in smaller format. This is in part due to the fact that his style takes inspiration from the aesthetic traditions of his tribal heritage. The incredibly intricate and interwoven designs of his paintings resemble the basket weavings of the Akimel and Tohono O’odham peoples, but also mirrors the most complex form of lettering in wildstyle graffiti.Thomas Breeze Marcus

Through its very medium, spraypaint raises political associations of taking representational matters into your own hands as much as it does a particular aesthetic. Douglas Miles and Breeze Marcus have adopted graffiti as a way to deal artistically with specific concerns of their own cultures and in the end their commitment to it is as reinvigorating for the art of graffiti as it is for Native culture.

 

 

Breeze Marcus has a great blog that documents a lot of his public works: http://brezone.blogspot.se/

Douglas Miles´ Facebook page is here: http://www.facebook.com/pages/APACHE-Skateboards/116109058377