Local Fabric: Mid-Century Modernisms, Textile and Fashion Design, and the Northwest Coast, 1940–1967

May combine two claims.

Fashion, textiles, and merchandising were key to the MoMA exhibition's agenda, with the industry's response as swift and profound as that of New York avant-garde artists.

“Fashion, textiles, and merchandising were key to the MoMA exhibition's agenda, with the industry's response as swift and profound as that of New York avant-garde artists (Rushing 1995, p. 118;Navratil 2015, p. 229).”

• cites Rushing 1995, p. 118Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites Navratil 2015, p. 229Partly supported

  In “Incorporation in Fashion” (page unavailable), the paper describes MoMA’s use of a fashion designer and its aim to create a market for Indian products; it also says New York retailers were quick to devise sales campaigns. These passages support the exhibition’s fashion and merchandising aims and a swift industry response, but they do not establish that the response was as profound as that of New York avant-garde artists. (LLM, conf=0.84)

  Experimental — accuracy not yet measured

May combine two claims.

Although the organizers aimed to promote Native-made work, the display nevertheless incentivized non-Native designers to keep drawing from Indigenous design ideas.

“Although the organizers aimed to promote Native-made work, the display nevertheless incentivized non-Native designers to keep drawing from Indigenous design ideas (Navratil 2015, pp. 234-42).”

• cites Navratil 2015, pp. 234-42Supported

Probably not a substantial claim: may not pass S3 (load-bearing).

Jackson recalled having no access to historical Northwest Coast objects in Santa Fe, only books, which were mostly black and white.

“He recalled having no access to historical Northwest Coast objects in Santa Fe, only books, which were mostly black and white (Jackson 2020).”

• cites Jackson 2020 sourceCould not verify

  The MJ and LU interview passages discuss the Domestic Ambient Noise booklets and their production methods, not historical Northwest Coast objects. Searches for Santa Fe, Northwest Coast objects, and black-and-white books found no passage addressing the recollection attributed to Jackson. (LLM, conf=0.76)

  Experimental — accuracy not yet measured

Probably not a substantial claim: may not pass S3 (load-bearing).

The show's program features a silkscreened version of the sea-bear.

“The show's program features a silkscreened version of the sea-bear (Figure 8).”

Probably not a substantial claim: may not pass S3 (load-bearing).

The model also wears a northern-style hat fashioned in velvet based on a historical one woven in spruce root.

“The model also wears a northern-style hat fashioned in velvet based on a historical one woven in spruce root.”

Probably not a substantial claim: may not pass S3 (load-bearing).

Promotional images from 1956 show a model in dresses by New at the Craft Center.

“Promotional images from 1956 show a model in dresses by New at the Craft Center (Figure 10).”

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based).

Lloyd Kiva New did not create a cohesive body of textiles and fashion with Northwest Coast design ideas in his Scottsdale studio.

“Lloyd Kiva New did not create a cohesive body of textiles and fashion with Northwest Coast design ideas in his Scottsdale studio.”

May combine two claims.

In a well-known 1958 image of Neel working in her studio, the artist wears a shirt that she probably designed herself, with buttons on the collar and crest forms stitched onto the shirt in contrasting fabric, referencing button blankets and other cloth regalia that instantiate inherited rights in the potlatch system.

“Carolyn Butler Palmer points out that in a well-known image of Neel working in her studio in 1958, the artist wears a shirt that she probably designed herself (Figure 5).With buttons on the collar and crest forms stitched onto the shirt in contrasting fabric, the garment references button blankets and other cloth regalia that instantiate inherited rights in the potlatch system.”

• cites Butler Palmer 2021Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S3 (load-bearing).

The front cover of Art of the Northwest Coast Indians by Robert Bruce Inverarity (1950) depicts the crest design from the front of the Haida tunic in Figure 7.

“Front cover of Art of the Northwest Coast Indians by Robert Bruce Inverarity, 1950, which depicts the crest design from the front of the Haida tunic in Figure 7.”

Probably not a substantial claim: may not pass S3 (load-bearing).

'I.A.I.A. Boys Bldg 342 Room 228' is written in pen on the back of the Blackmore curtain.

““I.A.I.A. Boys Bldg 342 Room 228” is written in pen on the back of this curtain.”

Probably not a substantial claim: may not pass S3 (load-bearing).

In 1956, anthropologist Erna Gunther, director of the Washington State Museum (precursor of the Burke), presented a local version of Frederic Douglas' popular program.

“That year, anthropologist Erna Gunther, the director of the Washington State Museum (the precursor of the Burke), presented a local version of Frederic Douglas' popular program.”

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based).

Some examples of 'Native-inspired' designs relating to the Northwest Coast appear in periodicals and other publications in the 1950s, often drawing upon the cachet of the totem pole.

“Some examples of “Native-inspired” designs relating to the Northwest Coast appear in periodicals and other publications in the 1950s, often drawing upon the cachet of the totem pole.”

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

The 1956 'fashion show' at James Monroe Junior High School, Seattle, was sponsored by the Seattle Art Teachers Association and the Washington State Museum.

“Show sponsored by the Seattle Art Teachers Association and the Washington State Museum.”

Probably not a substantial claim: may not pass S4 (based). May combine two claims.

Most studies of the circulation of Indigenous idioms in these industries focus on Southwestern or South Pacific regionalisms, and scholarship on studio and commercial fabric and fashion design from the Northwest Coast in the twentieth century is limited.

“Most studies of the circulation of Indigenous idioms in these industries focus on Southwestern or South Pacific regionalisms, and scholarship on studio and commercial fabric and fashion design from the Northwest Coast in the twentieth century is limited.”

Classified as probably not a substantial claim. May combine two claims.

These cultural conditions can make appropriative practices like Neiman Marcus's and Celanese's particularly challenging to local Indigenous ethical and political structures, stymieing opportunities for Native artists and other culture-bearers to participate in and help determine the outcomes of design and distribution.

“These cultural conditions can make appropriative practices like Neiman Marcus's and Celanese's particularly challenging to local Indigenous ethical and political structures, stymieing opportunities for Native artists and other culture-bearers to participate in and help determine the outcomes of design and distribution.”

• AssumptionRests on an assumption: Customarily on the Northwest Coast, the rights to certain crest designs and other tangible and intangible prerogatives such as names, stories, and songs are acquired from ancestors and cannot be transferred to outsiders without permission.

May combine two claims.

Within a few years, artist and entrepreneur Ka'kasolas [Ellen Neel] (Kwakwaka'wakw) would be the first Native artist from the coast to create printed fabrics and apparel with local designs, controlling her production and sales herself and inspiring greater involvement for Indigenous artists in this market.

“Within a few years, artist and entrepreneur Ka'kasolas [Ellen Neel] (Kwakwaka'wakw) would be the first Native artist from the coast to create printed fabrics and apparel with local designs, controlling her production and sales herself and inspiring greater involvement for Indigenous artists in this market (Kramer 2012, p. 40).”

• cites Kramer 2012, p. 40Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S4 (based). May combine two claims.

Amid an urgency to define and grow domestic textile and clothing production apart from Europe, and buoyed by widening interest in and consumption of both textile and Native arts, Native and non-Native agents experimented with Northwest Coast aesthetics in the linked production centers of the Northwest Coast, the Southwest, and New York City.

“Amid an urgency to define and grow domestic textile and clothing production apart from Europe, and buoyed by widening interest in and consumption of both textile and Native arts, Native and non-Native agents experimented with Northwest Coast aesthetics in the linked production centers of the Northwest Coast, the Southwest, and New York City.”

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

American textile consumption tripled between 1920 and 1966, and by mid-century, the U.S. was the largest manufacturer and consumer of textiles in the world.

“American textile consumption tripled between 1920 and 1966, and by mid-century, the U.S. was the largest manufacturer and consumer of textiles in the world (Troy 2019, pp. 23, 26).”

• cites Troy 2019, pp. 23, 26 sourceNot checked — no full text of the source

May combine two claims.

Northwest Coast artists and art ideas asserted a peripheral but locatable role in mid-century textiles and fashion, facilitating the development of today's robust Indigenous fashion network on the Northwest Coast and its cultural politics.

“My examination illustrates that Northwest Coast artists and art ideas asserted a peripheral but locatable role in mid-century textiles and fashion, facilitating the development of today's robust Indigenous fashion network on the Northwest Coast and its cultural politics.”

May combine two claims.

In 1958, artists created the Inuit-led West Baffin Eskimo Cooperative, which produced a range of printed textiles for commercial sale with designs that represented Inuit cultural values.

“In 1958, artists created the Inuit-led West Baffin Eskimo Cooperative, which produced a range of printed textiles for commercial sale with designs that represented Inuit cultural values.”

• cites Shaughnessy and Richard 2018Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

Kwak'wakawakw artist Doug Cranmer, a relative of Ellen Neel, also created similar space at the same time.

“Jennifer Kramer relates how Kwak'wakawakw artist Doug Cranmer, a relative of Ellen Neel, also created similar space at the same time.”

• cites Kramer 2012Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

May combine two claims.

Jackson did not stay long in textiles, leaving AIA in 1967.

“Jackson did not stay long in textiles, leaving AIA in 1967.”

• cites Green 2020, p. 124Not checked — no full text of the source

May combine two claims.

The California look symbolized warmth and leisure, and was disseminated by a significant manufacturing base in Los Angeles.

“With its brilliant tropical colors and flowers, the California look symbolized warmth and leisure, and was disseminated by a significant manufacturing base in Los Angeles (Kerstein 2003, p. 68-69;Bazylinski 2013, pp. 29-30).”

• cites Kerstein 2003, p. 68-69Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites Bazylinski 2013, pp. 29-30Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Classified as probably not a substantial claim. May combine two claims.

The Northwest Coast art market was not only fledgling at this time, but what representations did exist in fabrics may have been an awkward fit aesthetically for social trends of escapism or exoticization, which relied on ebullient patterns and bright color.

“The Northwest Coast art market was not only fledgling at this time, but what representations did exist in fabrics may have been an awkward fit aesthetically for social trends of escapism or exoticization, which relied on ebullient patterns and bright color.”

May combine two claims.

Thiry aestheticized this crest form away from its original context, flattened the cultural meaning, and designed it to maximize emotional content or impact.

“Thiry aestheticized this crest form away from its original context, flattened the cultural meaning, and designed it to maximize emotional content or impact.”

Probably not a substantial claim: may not pass S3 (load-bearing).

In the postwar period, political conditions for Native people in Canada and the United States were uneven and turbulent.

“In the postwar period, political conditions for Native people in Canada and the United States were uneven and turbulent.”

May combine two claims.

Production capacity and return on investment for textiles and fashion on the Northwest Coast was limited in the mid-twentieth century.

“Even with the creativity and agency of wellpositioned Native artists exploring fabric media in the mid-twentieth century, production capacity and return on investment for textiles and fashion on the Northwest Coast was limited, major trade centers like New York were marginally accessible, and the appeal of Northwest Coast-specific design in the broader market was barely in place.”

May combine two claims. The quote only partly states this claim.

The desire and opportunity to explore Northwest Coast motifs in textiles and fashion expanded in the later 1940s and early 1950s.

“The desire and opportunity to explore these motifs in textiles and fashion expanded.”

May combine two claims.

For these two artists, wood sculpture-typically men's work-was more feasible, financially viable, and artistically invigorating than their forays into cloth printing for home goods and accessories.

“For these two artists, wood sculpture-which was typically men's work-was more feasible, financially viable, and artistically invigorating than their forays into cloth printing for home goods and accessories.”

Classified as probably not a substantial claim.

Anthropologist Nancy Parezo notes that almost every outfit in the show, including an 1890s Haida dance shirt as well as Tlingit hats, was adapted for commercial designs.

“Anthropologist Nancy Parezo notes that almost every outfit in the show, including an 1890s Haida dance shirt (then attributed Tlingit by Douglas; DAM cat.no.1951.90) as well as Tlingit hats, was adapted for commercial designs (Parezo and Blomberg 1997, pp. 51, 54;Parezo 1999, pp. 258-59).”

• cites Parezo and Blomberg 1997, pp. 51, 54Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites Parezo 1999, pp. 258-59 sourceNot checked — no full text of the source

May combine two claims.

The designer of New's shift dress, who may have been Indigenous but not from the Northwest Coast, freely modified the customary forms of northern coastal art, adding a sinuous, rococo flair.

“The designer, who may have been Indigenous but not from the Northwest Coast, freely modified the customary forms of northern coastal art, adding a sinuous, rococo flair.”

May combine two claims.

Carl Heinmiller of Alaska Indian Arts paid for Jackson's travel from Santa Fe back to southeast Alaska and asked him to work as a screen-printing instructor for paper and textiles.

“Another booster of Jackson's, Carl Heinmiller of the Haines-based workshop and cooperative Alaska Indian Arts (AIA), paid for Jackson's travel from Santa Fe back to southeast Alaska and asked him to work as a screen-printing instructor for paper and textiles.”

• cites Green 2020, p. 93Not checked — no full text of the source

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based).

In the United States, federal termination policy and the urban relocation program brought a new wave of assimilation, discrimination, and other duress.

“Meanwhile, in the United States, federal termination policy and the urban relocation program brought a new wave of assimilation, discrimination, and other duress.”

May combine two claims.

The tunic's motifs and adaptations underscore the easy adaptability of Northwest Coast formline design from three-dimensional objects such as clothing to two-dimensional media, namely printing on paper and fabric, as well as the concomitant flattening of cultural meaning that can occur when doing so.

“They also underscore the easy adaptability of Northwest Coast formline design from three-dimensional objects such as clothing to two-dimensional media, namely printing on paper and fabric, as well as the concomitant flattening of cultural meaning that can occur when doing so.”

May combine two claims.

Neel's line included her designs on blouses, shirts, and skirts that she sold at her Stanley Park retail outlet, the Totem Art Studios, which operated from 1948 to 1957.

“Neel's line came to include her designs on blouses, shirts, and skirts that she sold at her Stanley Park retail outlet, the Totem Art Studios, which operated from 1948 to 1957 (Kramer 2012, p. 33;Butler Palmer 2021, p. 12).”

• cites Kramer 2012Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites Butler Palmer 2021Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S4 (based).

In the 1950s and 1960s, Northwest Coast textile arts did not have coordinated investment for economic development from government or private interests to build infrastructure for production and promotion that would generate artistic and market value.

“In the 1950s and 1960s, Northwest Coast textile arts did not have coordinated investment for economic development from government or private interests to build infrastructure for production and promotion that would generate artistic and market value.”

May combine two claims.

New found in art a means to shape his selfhood, promote cultural pride, and support Native prosperity.

“Trained in art education at the Art Institute of Chicago, New found in art a means to shape his selfhood, promote cultural pride, and support Native prosperity.”

May combine two claims.

Even with his short turn in cloth media, Jackson can be recognized as advancing space for Northwest Coast fabric arts and contributing to the continuity of Native practice within this design field in the way that Neel had advocated 17 years earlier.

“Even with his short turn in cloth media, Jackson can be recognized as advancing space for Northwest Coast fabric arts and contributing to the continuity of Native practice within this design field in the way that Neel had advocated 17 years earlier.”

May combine two claims.

The Society for the Furtherance of BC Indian Arts and Crafts promoted commercial use of Northwest Coast Native designs but also gave designs to non-Native corporations with little direct benefit to Native communities.

“The society had been promoting commercial use of Northwest Coast Native designs, but inasmuch as it aimed to support Native makers, it also gave designs to non-Native corporations with little direct benefit to Native communities (Roth 2018, pp. 45-54).”

• cites Roth 2018 sourceNot checked — no full text of the source

May combine two claims.

After co-founding the Institute of American Indian Arts (IAIA) in Santa Fe in 1962 and serving as its first art director, a small number of Indigenous artists from the Pacific Northwest and Alaska learned textile printing techniques directly from New.

“However, after he co-founded the Institute of American Indian Arts (IAIA) in Santa Fe in 1962 and served as its first art director, a small number of Indigenous artists from the Pacific Northwest and Alaska were among those who learned textile printing techniques directly from New.”

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

In New's case, he acknowledged the original Indigenous designers and involved new ones, making a path for Native practitioners to contribute and grow in the broader design field.

“But in New's case, he acknowledged the original Indigenous designers and involved new ones, making a path for Native practitioners to contribute and grow in the broader design field.”

May combine two claims.

Many IAIA student prints were sewn into curtains, wall hangings, and table coverings for the school's buildings, and into clothing and other items sold to support the organization.

“Many of the IAIA student prints were sewn into curtains, wall hangings, and table coverings for the school's buildings, and into clothing and other items sold to support the organization (Myers et al. 2016, pp.55-56; Green 2020, p. 64) (Figure 12).”

• cites Myers et al. 2016, pp.55-56Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites Green 2020, p. 64Not checked — no full text of the source

May combine two claims.

Jackson's aesthetic choices synthesize handcraft and fidelity to customary forms with exuberant, contemporary color and innovative technique.

“Unlike Thiry's print, Jackson's aesthetic choices synthesize handcraft and fidelity to customary forms with exuberant, contemporary color and innovative technique.”

May combine two claims.

Since 1946, Ellen Neel experimented with new media and techniques, and in the late 1940s and early 1950s she designed a locally popular line of silk scarves with crest designs and stories she had inherited rights to use.

“Since 1946, Neel had been experimenting with new media and techniques, and in the late 1940s and early 1950s, she designed a locally popular line of silk scarves with the crest designs and stories that she had the inherited rights to use.”

• cites Neel 2020Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites Butler Palmer 2021Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

May combine two claims.

Although these artists did not utilize symbols of their specific cultures or clans, their engagement with Northwest Coast forms affirms their identities as Indigenous artists exploring regional aesthetics for cultural revitalization and resurgence, not exploitation.

“Although these artists did not utilize symbols of their specific cultures or clans in these works, their engagement with Northwest Coast forms affirms their identities as Indigenous artists exploring regional aesthetics for the purposes of cultural revitalization and resurgence, not exploitation.”

May combine two claims.

At the gift shows, silkscreened prints were favored over wood carvings and jewelry, but most of the interest and uptake was in prints on paper versus on fabric.

“At the gift shows, silkscreened prints were favored over wood carvings and jewelry, but most of the interest and uptake was in prints on paper versus on fabric (Green 2020, pp. 109-10).”

• cites Green 2020, pp. 109-10Not checked — no full text of the source

May combine two claims.

Starting in 1938, the Canadian Handicrafts Guild, and then Canada's Northern Affairs and National Resources office in 1956, initiated the development of a commercial art industry in Canadian Inuit communities.

“Starting in 1938, the Canadian Handicrafts Guild, and then Canada's Northern Affairs and National Resources office in 1956, initiated the development of a commercial art industry in Canadian Inuit communities.”

• cites Shaughnessy and Richard 2018Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

May combine two claims.

Thiry was able to leverage his position, demonstrating the extent of the production infrastructure available to non-Native designers in these industries amid glaring structural inequality for Native peoples across the continent.

“Asserting a Northwest regional modernism through local Indigenous art and architectural ideas, Thiry was able to leverage his position, demonstrating the extent of the production infrastructure available to non-Native designers in these industries amid glaring structural inequality for Native peoples across the continent.”

May combine two claims.

Unlike textiles and clothing, paper prints could be readily and quickly made, distributed, and sold for museum, gallery, and home display, easily framed and understood as work for walls.

“Unlike textiles and clothing, paper prints could be readily and quickly made, distributed, and sold for museum, gallery, and home display, easily framed and understood as work for walls.”

May combine two claims.

With the closure of The Talking Stick in 1967, this product line ceased, owing to the limited profitability of the bags and Cranmer's shift toward larger carving commissions as his notoriety grew.

“With the closure of The Talking Stick in 1967, this product line ceased, owing to the limited profitability of the bags and Cranmer's shift toward larger carving commissions as his notoriety grew (Kramer 2012, pp. 32-45).”

• cites Kramer 2012, pp. 32-45Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based). May combine two claims.

After a three-year parliamentary review of Canada's prevailing Indian policy, the potlatch ban and its dress restrictions were lifted in 1951, among other adjustments to the Indian Act.

“After a three-year parliamentary review of Canada's prevailing Indian policy, the potlatch ban and its dress restrictions were lifted in 1951, among other adjustments to the Indian Act.”

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

Thiry's repeated, fairly faithful rendering of the sea-bear on his textile results in an unnerving overall effect, unlike the fashion-show cover where the sea-bear's gaze was softened.

“Unlike on the fashion-show cover, where the sea-bear's potentially menacing gaze has been softened with larger eyes and fewer teeth-more like a teddy bear than a formidable supernatural being-Thiry's repeated, fairly faithful rendering of the sea-bear on his textile results in an unnerving overall effect.”

May combine two claims.

Neel's silk scarves were a reflection of internal cultural priorities and an assertion of her lineal prerogatives, in contrast to scarves designed by Dalí or Vertès.

“The scarves were not only a unique accessory, but also-in contrast to any designed by Dalí or Vertès-a reflection of internal cultural priorities and an assertion of Neel's lineal prerogatives.”

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based).

Native designers from the Northwest Coast region were apparently not involved in the commercial fashion and textile sector at the time of Marjorie Holligan's 1947 Alaska trip.

“Furthermore, Native designers from this region were apparently not involved in the commercial fashion and textile sector.”

May combine two claims.

Like the Haida tunic, the crest on New's shift is aligned to the body, invoking its original context.

“Like the Haida tunic, the crest on New's shift is aligned to the body, invoking its original context.”

May combine two claims.

Inverarity's book served to keep Northwest Coast design ideas in circulation: designs within it were copied or adapted by both Native and non-Native practitioners of textiles and fashion for decades, including Nathan Jackson, Paul Thiry, and Vera Neumann.

“The book served to keep Northwest Coast design ideas in circulation: Designs within it were copied or adapted by both Native and non-Native practitioners of textiles and fashion for decades to come, including Nathan Jackson, Paul Thiry, and Vera Neumann, as well as by designers more broadly.”

Classified as probably not a substantial claim.

The magenta and orange eagles in Jackson's textile are more aligned with bright, playful California style than the customary palette of northern Northwest Coast painting.

“The magenta and orange eagles, poised for flight over the waterlike background, are more aligned with bright, playful California style than the customary palette of northern Northwest Coast painting.”

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based). May combine two claims.

The public's value of Northwest Coast carving and prints on paper far exceeded that of fiber arts in the mid-twentieth century, and remains so.

“While a productive investigation of the factor of gender in this design history is beyond the scope of this paper, it is clear that the public's value of Northwest Coast carving and prints on paper far exceeded that of fiber arts in the mid-twentieth century, and remains so.”

May combine two claims.

New embraced modernist design aesthetics and promoted ideals such as artistic freedom and personal expression, innovation, and Native self-determination.

“New embraced modernist design aesthetics and promoted ideals such as artistic freedom and personal expression, innovation, and Native self-determination.”

Classified as probably not a substantial claim.

New expressed that his project was for Indigenous people to reclaim design, production, and marketing of commercial goods so that they could imagine and create an alternative future than one of unbridled colonialist consumption.

“As with Neel before him, New expressed that his project was for Indigenous people to reclaim design, production, and marketing of commercial goods so that they could imagine and create an alternative future than one of unbridled colonialist consumption.”

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based). May combine two claims.

Between 1954 and 1955, New developed the Kiva Craft Center, an expansive modernist court in Scottsdale that included his signature boutique and various studios and amenities.

“Between 1954 and 1955, New developed the Kiva Craft Center, an expansive modernist court in Scottsdale that included his signature boutique and various studios and amenities.”

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based). May combine two claims.

The patriotism of Native veterans in World War II prompted a reckoning over Canada's enfranchisement policy alongside First Nations activism for self-determination.

“The patriotism of Native veterans in World War II prompted a reckoning over Canada's enfranchisement policy (forced revocation of Indian status in order to obtain Canadian citizenship) alongside First Nations activism for self-determination.”

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

Green reports that Heinmiller asked New several times to come to Alaska to help develop a textile workshop with Jackson and Tega, but the records suggest that New and Tega did not travel there.

“Green reports that Heinmiller asked New several times to come to Alaska to help develop a textile workshop with Jackson and Tega, but the records suggest that New and Tega did not travel there (Green 2020, pp. 113-14).”

• cites Green 2020, pp. 113-14Not checked — no full text of the source

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

Nathan Jackson is an acclaimed Tlingit artist renowned for his totem pole carving.

“One of them is the acclaimed Tlingit artist Nathan Jackson, who is renowned for his totem pole carving.”

Probably not a substantial claim: may not pass S4 (based).

In the later 1940s and early 1950s, Native and non-Native artists and museum professionals in Seattle, Vancouver, and New York increasingly promoted Northwest Coast aesthetics.

“However, in the later 1940s and early 1950s, Native and non-Native artists and museum professionals in Seattle, Vancouver, and New York increasingly promoted Northwest Coast aesthetics.”

Probably not a substantial claim: may not pass S3 (load-bearing).

In Jackson's print, Indigenous value systems and the tenets of modernism work in concert.

“As with New's dress and hat, in this print, Indigenous value systems and the tenets of modernism work in concert.”

May combine two claims.

Today, a vibrant regional Native fashion industry has expanded from these foundations, with its own Indigenous fashion week and a network of committed local designers and producers that still work on a small scale.

“Today, a vibrant regional Native fashion industry has expanded from these foundations, with its own Indigenous fashion week and a network of committed local designers and producers that still work on a small scale (Allen, forthcoming).”

• cites Allen, forthcomingNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

May combine two claims.

Non-Natives involved in the mid-century Native fashion shows could momentarily inhabit Northwest Coast Indigeneity-including gender and marital structures-while Native people were generally not present to self-represent.

“It is worth noting that non-Natives involved in the mid-century Native fashion shows could momentarily inhabit Northwest Coast Indigeneity-including gender and marital structures-while Native people were generally not present to self-represent.”

Probably not a substantial claim: may not pass S3 (load-bearing).

Vogue printed fashion spreads set in the MoMA exhibition with models wearing non-Native-inspired styles.

“For example, Vogue printed fashion spreads set in the MoMA exhibition with models wearing non-Native-inspired styles (Crowninshield 1941).”

• cites Crowninshield 1941Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

May combine two claims.

The discourse of cultural property rights on the Northwest Coast has shifted since the mid-twentieth century, with emphasis on the limitations of European-derived property law alone at resolving issues of ownership and protection.

“Furthermore, the discourse of cultural property rights on the Northwest Coast has shifted since the mid-twentieth century, with emphasis on the limitations of European-derived property law alone at resolving issues of ownership and protection.”

Probably not a substantial claim: may not pass S3 (load-bearing).

In 1975, a Kwakwaka'wakw eagle transformation mask on plate 90 in Inverarity's book was the inspiration for the Seattle Seahawks logo.

“As a well-known example, in 1975, a Kwakwaka'wakw eagle transformation mask on plate 90 in Inverarity's book was the inspiration for the Seattle Seahawks logo (Wright 2014).”

• cites Wright 2014Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable).

This type of research is challenging because of the persistent values that determine which types of dress materials and narratives are archived in museums across art, anthropological, and fashion collections.

“This type of research is challenging because of the persistent values that determine which types of dress materials and narratives are archived in museums across art, anthropological, and fashion collections.”

Probably not a substantial claim: may not pass S3 (load-bearing).

The Celanese Corporation expanded its production beyond the U.S. as early as 1947, when it began manufacturing acetate fibers in Ocotlan, Mexico.

“The Celanese Corporation itself expanded its production beyond the U.S. as early as 1947, when it began manufacturing acetate fibers in Ocotlan, Mexico.”

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based).

Weavers stopped producing Raven's Tail robes in the early-to-mid 1800s.

“While Chilkat weaving has an unbroken history of manufacture, weavers stopped producing Raven's Tail robes in the early-to-mid 1800s, then revived the practice in the 1980s.”

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based).

Ellen Neel is credited as the first Northwest Coast printmaker in any medium.

“Ellen Neel is credited as the first Northwest Coast printmaker in any medium.”

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based).

Given that Erna Gunther was also involved in the Northwest Coast art display there, the tunic was probably on view at the exposition as well.

“Given that Erna Gunther was also involved in the Northwest Coast art display there, the tunic was probably on view at the exposition as well.”

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based).

Chilkat weaving has an unbroken history of manufacture.

“While Chilkat weaving has an unbroken history of manufacture, weavers stopped producing Raven's Tail robes in the early-to-mid 1800s, then revived the practice in the 1980s.”

Probably not a substantial claim: may not pass S3 (load-bearing).

In 1952, after d'Harnoncourt's exhibitions, Erna Gunther, director of the Washington State Museum in Seattle, developed two exhibitions at the Seattle and Colorado Springs art museums that promulgated Northwest Coast Native art.

“In 1952, after d'Harnoncourt's exhibitions, Erna Gunther, the director of the Washington State Museum in Seattle who had participated in developing the Northwest Coast art display at the 1939 San Francisco exposition, developed two exhibitions at the Seattle and Colorado Springs art museums that also promulgated Northwest Coast Native art(Garfield and Amoss 1984, p. 396).”

• cites Garfield and Amoss 1984 sourceNot checked — no full text of the source

Probably not a substantial claim: may not pass S3 (load-bearing).

Before d'Harnoncourt's two exhibitions, the 1927 Exposition d'Art Canadien in Paris and the 1927-1928 Exhibition of Canadian West Coast Art, Native and Modern in Ottawa, Toronto, and Montreal juxtaposed Northwest Coast art and works by artists such as members of the Group of Seven.

“Before d'Harnoncourt's two exhibitions, the 1927 Exposition d'Art Canadien in Paris and the 1927-1928 Exhibition of Canadian West Coast Art, Native and Modern in Ottawa, Toronto, and Montreal juxtaposed Northwest Coast art and works by artists such as members of the Group of Seven (Dawn 2013).”

• cites Dawn 2013Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S3 (load-bearing).

The practice of producing Raven's Tail robes was revived in the 1980s.

“While Chilkat weaving has an unbroken history of manufacture, weavers stopped producing Raven's Tail robes in the early-to-mid 1800s, then revived the practice in the 1980s.”

Probably not a substantial claim: may not pass S4 (based).

An overlooked area of research in mid-to-late twentieth century fashion is the networks of Native women sewing and designing for themselves and their friends.

“An overlooked area of research in mid-to-late twentieth century fashion is the networks of Native women sewing and designing for themselves and their friends.”

May combine two claims.

Fancy regalia and non-Native dress are favored for preservation, and not everyday wear that may nonetheless be informed by Indigenous aesthetics and cultural values.

“For example, fancy regalia and non-Native dress are favored for preservation, and not everyday wear that may nonetheless be informed by Indigenous aesthetics and cultural values.”

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

Frederic Douglas' Indian Fashion Show paused during wartime between 1942 and 1947, and after Douglas' death in 1956 it continued through 1972 in modified forms.

“Frederic Douglas ' Indian Fashion Show paused during wartime between 1942and 1947. After Douglas' death in 1956, it continued through 1972 in modified forms.”

Probably not a substantial claim: may not pass S3 (load-bearing).

The 1927-1928 Exhibition of Canadian West Coast Art, Native and Modern included Emily Carr's hooked rugs with Native motifs.

“The latter exhibition included Emily Carr's hooked rugs with Native motifs.”

May combine two claims.

In 1952, Lloyd Kiva New met textile designer Leslie Tillett while at the International Fashion Show in Atlantic City, then trained with him for several months to learn how to scale up production.

“In 1952, Lloyd Kiva New met textile designer Leslie Tillett while at the International Fashion Show in Atlantic City, then trained with him for several months to learn how to scale up production (Myers et al. 2016, p. 48).”

• cites Myers et al. 2016, p. 48Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

May combine two claims.

The Haida tunic's sea-bear crest had already been re-signified as modernist design before the publication of Art of the Northwest Coast Indians: the crest was redrawn by Euro-American artist Louis Siegriest for one of the advertising posters for the Golden Gate International Exposition's Indian Court in 1939, commissioned by Rene d'Harnoncourt.

“The Haida tunic's sea-bear crest had in fact already been re-signified as modernist design before the publication of Art of the Northwest Coast Indians: The crest was redrawn by Euro-American artist Louis Siegriest for one of the advertising posters for the Golden Gate International Exposition's Indian Court in 1939, commissioned by Rene d'Harnoncourt (DeNoon 1987, p. 55).”

• cites DeNoon 1987, p. 55Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

Erna Gunther was dubbed the 'Western Secretary' of the Indian Fashion Show and would sometimes narrate in Douglas' stead.

“Erna Gunther was dubbed the “Western Secretary” of the Indian Fashion Show and would sometimes narrate in Douglas' stead (Audrey Hawthorn to Erna Gunther, 28 November 1950, MOA Audrey Hawthorn fonds, box 26-6, series 7-C-2).”

• cites Audrey Hawthorn to Erna Gunther, 28 November 1950Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.