Indigenous Fashion: A Genealogy of Material Brilliance

May combine two claims.

While the men who set up residential schools lacked a depth of understanding of Indigenous dress theory, they knew that letting Indigenous dress remain would mean a failure to completely 'civilize,' which is why dress was stripped from children entering these schools and replaced with Western-styled clothing.

“Ottmann (2020) identifies that “[w]hile a depth of understanding of Indigenous dress theory was lacking amongst the men who set up the residential schools, they did know that by letting Indigenous dress remain, it would mean a failure to completely “civilize,” which is why dress was stripped from the children entering these schools and replaced with Westernstyled clothing” (p.8).”

• cites Ottmann (2020) sourceSupported

May combine two claims.

If culture is located on the body through dress and Indigenous culture is fundamentally linked to land, then land is also located on the body.

“Ottmann (2020) shares: “If culture is located on the body through dress and Indigenous culture is fundamentally linked to land, then land is also located on the body” (p.8).”

• cites Ottmann (2020) sourceSupported

Classified as probably not a substantial claim.

These gestures continually exist within a binary that places Indigenous garmentmaking and dress practices in continual relation/opposition to whiteness.

“Because of this, these gestures continually exist within a binary that places Indigenous garmentmaking and dress practices in continual relation/opposition to whiteness.”

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

Niessen's manifesto on defashion prompts a shift away from the current homogenized global Fashion system towards a clothing pluriverse: a multiplicity of clothing systems, constructed for and by specific cultural and physical environments.

“I appreciate Niessen's (2022) manifesto on defashion which prompts a”

• cites Niessen, 2022 sourceNot checked — no full text of the source

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

The theorization of concepts such as defashion and antifashion are helpful as they gesture a delinking-an opening up of an autonomous space where fashion can remove itself from its colonial parent.

“The theorization of concepts such as defashion and antifashion are helpful as they gesture a delinking-an opening up of an autonomous space where fashion can remove itself from its colonial parent.”

Classified as probably not a substantial claim.

Non-fashion is a symptom of colonial thought.

“I find comfort in Niessen's (2020) statement that non-fashion is a symptom of colonial thought.”

• cites Niessen, 2020 sourceNot checked — no full text of the source

Classified as probably not a substantial claim.

Decolonial fashion discourse prompts a new definition of fashion that includes other ways of fashioning the body that exist outside of modernity, making space for Indigenous fashion to be celebrated as a fashion practice outside of colonial thought.

“Decolonial fashion discourse prompts a new definition of fashion that includes other ways of fashioning the body that exist outside of modernity, making space for Indigenous fashion to be celebrated as a fashion practice outside of colonial thought (Jansen, 2020).”

• cites Jansen, 2020 sourceNot checked — no full text of the source

May combine two claims.

Métis and Half breed Ancestors and grandmothers invented a new hybrid style of dress, visually identifying a distinct ethnicity that emerged at the seams of social and cultural interactive zones influenced by proximity, exchange, occupation, class, and materials.

“Métis and Half breed Ancestors and grandmothers invented a new hybrid style of dress, visually identifying a distinct ethnicity that emerged at the seams of social and cultural interactive zones influenced by proximity, exchange, occupation, class, and materials (p.64).”

May combine two claims.

The gashkididaagan is said to have originated from an imitation of American and European military ammunition pouches and has played an important role in Ojibwe trade, in dance as a component of regalia, as a marker of cultural identity and pride, and as an artistic accomplishment.

“A style of bag that is said to have originated from an imitation of American and European military ammunition pouches, the gashkididaagan has played an important role in Ojibwe trade, in dance as a component of regalia, as a marker of cultural identity and pride, and as an artistic accomplishment (Anderson, 2017).”

• cites Anderson, 2017Not matched

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

May combine two claims.

Dynamic new forms of fashion influenced Cree, Anishinaabe, and Dene fashions, such as beaded cloth fire bags that originated or were transformed by Métis makers and were later adopted by First Nations.

“In return, dynamic new forms of fashion influenced Cree, Anishinaabe, and Dene fashions, such as beaded cloth fire bags that”

Classified as probably not a substantial claim.

Fashion sacrifice zones are dress traditions and their makers associated with fashion's Other half that are destroyed for and by the expansion of industrial fashion.

“dress traditions and their makers associated with fashion's Other half, that are destroyed for and by the expansion of industrial fashion”

• cites Niessen, 2020 sourceNot checked — no full text of the source

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

Antifashion presents itself as an alternative to fashion and a voice within fashion's discourse, and a philosophy that wants to know what fashion is should understand its available alternatives.

“Antifashion… presents itself as an alternative to fashion and a voice within fashion's discourse, and a philosophy that wants to know what fashion is should understand its available alternatives”

• cites Pappas, 2011Not matched

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

May combine two claims.

When introduced to woolen cloth by European traders, women used it only sparingly on dresses; later, when hides became less available due to decimation of animal herds and confinement to reservations, cloth was used to make dresses that resembled hide, could be decorated similarly, and were easier to make.

“When introduced to woolen cloth by European traders, women used it only sparingly on dresses.Later when hides became less available due to the decimation of animal herds by Euro-American hunters and the lack of hunting opportunities caused by the confinement of tribes to reservations, cloth-which had become more plentiful-was used to make dresses that resembled those of hide, could be decorated in”

May combine two claims.

Arthur Beacham was a North Runner, part of a two-member dogsled team that delivered mail from Red River to Norway House in the wintertime; his jacket's fringe keeps out moisture from snow, leather trim surrounds stitches, keeping the wearer dry and protecting from wind, and its mink and caribou chest plate provides ventilation and keeps out drafts.

“Arthur Beacham was a”

• cites Prefontaine, 2023Not matched

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

May combine two claims.

Métis dress is relational, changing to negotiate a relative distinctness from First Nations and Europeans, a kind of middle ground, and has remained consistent over time, blending and merging elements to create unique assemblages.

“Farrell Racette (2004) identifies Métis dress as”

• cites Farrell Racette, 2004Not matched

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

May combine two claims.

Ancestor beadworkers sought inspiration from the world around them, other Indigenous nations, quilt, rug, and bandana patterns, and European printed and embroidered textiles such as English chintz.

“Ancestor beadworkers sought inspiration from the world around them, other Indigenous nations, quilt, rug, and bandana patterns, and European printed and embroidered textiles such as English chintz (Hungrywolf, 2003;Anderson, 2017;Farrell Racette, 2023).”

• cites Hungrywolf, 2003Not matched

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

• cites Anderson, 2017Not matched

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• cites Farrell Racette, 2023Not 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). May combine two claims.

Indigenous fashion is an act of re-membering and of bringing hearts home.

“Indigenous fashion is an act of re-membering (Absolon, 2022;Smith, 2023) and of bringing hearts home (Mattes, 2021).”

• cites Absolon, 2022Not matched

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

• cites Smith, 2023Not matched

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

• cites Mattes, 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 S2 (checkable).

Our Ancestors were the original fashion designers.

“I've always believed our Ancestors to be the original fashion designers.”

• cites Slade and Jansen, 2020 sourceNot checked — no full text of the source

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

Decolonial fashion discourse is not about including other fashioning systems into contemporary fashion history and assimilating them into the canon of contemporary fashion's Euroamerican normativity, but about restoring, revaluing and acknowledging a diversity of ways of fashioning the body as well as their histories, genealogies and esthetics.

“decolonial fashion discourse is not about including other fashioning systems into contemporary fashion history, acknowledging them as contemporary fashion and assimilating them into the canon of contemporary fashion's Euroamerican normativity, but about restoring, revaluing and acknowledging a diversity of ways of fashioning the body as well as their histories, genealogies and esthetics”

• cites Jansen, 2020 sourceNot checked — no full text of the source

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Indigenous fashion is a material embodiment of Indigenous creative brilliance, innovation and resilience.

“Indigenous fashion is a material embodiment of Indigenous creative brilliance, innovation and resilience.”

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

The article uses Indigenous storywork as methodology, honouring reflexiveness, fluidity and non-linearity, and makes space for personal story, poetry and poetic prose, and expressive forms of writing.

“Honouring the reflexiveness, fluidity and non-linearity of Indigenous storywork as methodology (Archibald, 2008), the article makes space for personal story, poetry and poetic prose, and expressive forms of writing integrated and intertwined throughout.”

• cites Archibald, 2008Not matched

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

Classified as probably not a substantial claim.

Decolonial fashion discourse is a radical redefinition of fashion by delinking it from modernity and coloniality, redefining it as a multitude of possibilities rather than a normative framework falsely claiming universality.

“Jansen (2020) discusses decolonial fashion discourse as a”

• cites Jansen, 2020 sourceNot checked — no full text of the source

May combine two claims.

Ancestor makers were not passive recipients of introduced goods; they exerted pressure through market demand and brought their own clothing traditions into the dialogue.

“It is important to acknowledge that Ancestor makers”

• cites Farrell Racette, 2004Not 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), S4 (based).

Indigenous fashion encompasses the aesthetic plurality of Indigenous material brilliance, innovation, and resilience.

“Indigenous fashion encompasses the aesthetic plurality of Indigenous material brilliance, innovation, and resilience.”

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

There is a need to think of fashion in material terms, not just as a concept, belief, or value temporarily attached to clothing, but as material culture embedded in time and place and as a substantial part of human experience and everyday practice.

“In order to further help unsettle such binaries, we advocate a need to think of fashion in material terms, and not just as a concept, belief, or value that is temporarily attached to clothing, but more broadly as material culture that is embedded in time and place in various ways, as a substantial part of human experience and everyday practice”

• cites Jenss and Hofmann, 2020 sourceNot checked — no full text of the source

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

Amy Malbeuf's collection Kahkiyaw Kikway (all of everything), presented at Indigenous Fashion Arts in 2022, pays homage to home-tanned hide, celebrating its significance as a material embodiment of labour and love within Indigenous communities.

“Amy Malbeuf 's collection Kahkiyaw Kikway (all of everything), presented at Indigenous Fashion Arts in 2022, pays homage to home-tanned hide, celebrating its significance as a material embodiment of labour and love within Indigenous communities.”

May combine two claims.

Georg Simmel saw fashion as a signal and expression of European superiority, promoting a definition foregrounded by settler colonialism and in direct opposition against the Other.

“Niessen (2020) reminds us how German sociologist and social philosopher, Georg Simmel,”

• cites Niessen, 2020 sourceNot checked — no full text of the source

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

This statement provides an alternative understanding of the development of floral beadwork-one that is deeply intertwined with landscape, geography, and movement.

“This statement provides an alternative understanding of the development of floral beadwork-one that is deeply intertwined with landscape, geography, and movement.”

May combine two claims.

The gashkididaagan is also known as The Pony Bag as it was used in trade with the Lakota and Dakota, with one beaded bag equivalent to a pony.

“The gashkididaagan is also known as The Pony Bag as it was used in trade with the Lakota and Dakota, with one beaded bag equivalent to a pony (Anderson, 2017).”

• cites Anderson, 2017Not 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.

Through a body of six wearable artworks, Malbeuf honours ancestral design theory in a futuristic way, creating a collection that mixes both practical and impractical elements of dress to simultaneously bridge and exaggerate the distance between utility and fantasy.

“Through a body of six wearable artworks, Malbeuf honours ancestral design theory in a futuristic way, creating a collection that mixes”

• cites Indigenous Fashion Arts, 2022Not matched

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

May combine two claims.

Early forms of beaded gashkididaagan were embellished using a loom beading technique and contained design elements or motifs that can be traced back to patterns realized using sinew, leather, quills, and other natural materials to create simple lines in otter track, zigzag, and other repeating forms.

“Early forms of beaded gashkididaagan were embellished using a loom beading technique and contained”

• cites Anderson, 2017Not 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).

Indigenous fashion helps us to think about fashion within pluriversal means.

“Indigenous fashion helps us to think about fashion within pluriversal means.”

May combine two claims.

Our Ancestors moved fluidly with shifts to woolen cloth, creating garments imbued with new meaning yet still holding the memory of hide in their basic cut and construction.

“Our Ancestors moved fluidly with these shifts, creating garments imbued with new meaning yet still holding”

• cites Farrell Racette, 2004Not 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). May combine two claims.

Decolonial fashion discourse offers a critically informed framework to resist and refuse the dominant fashion system's role in upholding oppressive social structures that privilege heteropatriarchy, white supremacy and capitalism, and makes space to dream alternative worlds generated and built by our own pathways toward liberation.

“Decolonial fashion discourse offers a critically informed framework to resist and refuse the dominant fashion system's role in upholding oppressive social structures that privilege heteropatriarchy, white supremacy and capitalism, and makes space to dream alternative worlds generated and built by our own pathways toward liberation.”

• cites Jansen, 2020 sourceNot checked — no full text of the source

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

While techniques used in making Indigenous dress have been historicized, Métis fashions were always on the cutting edge of technology.

“Belcourt with reference to Farrell Racette reminds us how”

• cites Lau, 2022Not matched

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

Classified as probably not a substantial claim.

This statement re-situates Ancestor beadworkers' creative autonomy by indicating the genesis of floral beadwork as an aesthetic development existing outside of environments of trauma such as Indian Residential Schools and Boarding Schools.

“This statement also re-situates our Ancestor beadworkers' creative autonomy by indicating the genesis of floral beadwork as an aesthetic development existing outside of environments of trauma such as Indian Residential Schools and Boarding Schools.4”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Within this understanding we can re-articulate and re-situate fashion to an alternative standard that has the capacity to love and care for more than just one fashion world.

“Within this understanding we can re-articulate and re-situate fashion to an alternative standard that has the capacity to love and care for more than just one fashion world.”

May combine two claims.

The band of cut ribbon work on the cuff of a pair of sleigh mittens indicates Anishinaabek influence on Métis material culture, remembering earlier connections to the Great Lakes Region.

“An example of this is seen in a pair of sleigh mittens featured on pages 68-69 in Scofield's (2023), kôhkominawak ocihcîwâwa-Our Grandmothers' Hands: Repatriating Métis Material Art, where”

• cites Farrell Racette, 2023Not matched

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

May combine two claims.

At the heart of Ancestor designers' design thinking was a consideration and intention of keeping the Indigenous body warm, keeping the Indigenous body dry, keeping the Indigenous body safe, and keeping the Indigenous body alive.

“At the heart of our Ancestor designers' design thinking was a consideration and intention of keeping the Indigenous body warm, keeping the Indigenous body dry, keeping the Indigenous body safe, and keeping the Indigenous body alive.”

May combine two claims.

Indigenous makers (both Ancestor makers and contemporary makers) who designed, crafted, and assembled these bags made their own choices about their designs, asserting Indigenous creative sovereignty.

“This is important to highlight as it indicates that Indigenous makers (both Ancestor makers and contemporary makers) who designed, crafted, and assembled these bags made their own choices about their designs, asserting Indigenous creative sovereignty (see Fig. 1).”

May combine two claims.

Fashion as a concept has been historically allied with the idea of modernity and progress as a unique feature of Western civilization, a narrative that aided in constructing the West as superior and more advanced than the rest.

“Fashion as a concept”

• cites Jenss and Hofmann, 2019Not 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). May combine two claims.

Indigenous fashion cannot be singularly defined, nor should it be.

“Because of this, Indigenous fashion cannot be singularly defined, nor should it be.”

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

The style presents a deep aesthetic influence in relation to Cree and Anishinaabe kin.

“The style presents a deep aesthetic influence in relation to Cree and Anishinaabe kin.”

Classified as probably not a substantial claim.

These terms perpetuate continual fragments of Othering through the use of dualistic terminology (fashion vs. defashion) similar to fashion vs. non-fashion.

“However, I worry how these terms perpetuate continual fragments of Othering through the use of dualistic terminology (fashion vs. defashion) similar to that of fashion vs. non-fashion.”

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

Indigenous fashion is decolonial fashion discourse in practice.

“Indigenous fashion is decolonial fashion discourse in practice.”

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing).

The concept of defashion is an expansive way to think about the ways in which Indigenous fashion can be defined as a fashion practice, or as a defashion practice.

“The concept of defashion is an expansive way to think about the ways in which Indigenous fashion can be defined as a fashion practice, or as Niessen is suggesting, a defashion practice.”

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

Otter track is one of the oldest line motifs found in Indigenous embroidery and beadwork techniques, consisting of a double row of zigzag lines forming a series of two, three, or four diamonds interrupted by elongated hexagons.

“Otter track is one of the oldest line motifs found in Indigenous embroidery and beadwork techniques, consisting of “a double row of zigzag lines [forming] a series of two, three, or four diamonds that are interrupted by elongated hexagons” (Anderson, 2017, p. 58) (see Fig. 3).”

• cites Anderson, 2017Not 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).

The clothing we wear allows us to mediate our relationships with the external world, mobilizing being in relation.

“The clothing we wear allows us to mediate our relationships with the external world, mobilizing being in relation.”

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

Indigenous fashion is a gift from spirit.

“Indigenous fashion is a gift from spirit.”

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

Baerg follows medicine wheel teachings to inform the colour palette, materials, and design attributes of the garments for each collection.

“Additionally, Baerg follows medicine wheel teachings to inform the colour palette, materials, and design attributes of the garments for each collection.”

May combine two claims.

With the introduction of European trade materials, Ancestor designers engaged with new tools such as steel needles and included new materials such as glass beads and woolen cloth as part of their design process.

“With the introduction of European trade materials, Ancestor designers engaged with new tools such as steel needles and included new materials such as glass beads and woolen cloth as part of their design process.”

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

Because Indigenous fashion embodies Indigenous epistemology, ontology, and cosmology, Indigenous fashion is a material bridge that reconnects Indigenous ways of being and knowing back to the Indigenous body and thus re-stitches Indigenous bodies back to land.

“Because Indigenous fashion embodies Indigenous epistemology, ontology, and cosmology, Indigenous fashion is a material bridge that reconnects Indigenous ways of being and knowing back to the Indigenous body and thus re-stitches Indigenous bodies back to land.”

May combine two claims.

The Wichi collection embodies a 'care of nature,' honouring Wichi survival and worldview through a deep material collaboration between the Wichi body and land.

“Blending both traditional and contemporary aesthetics, the collection embodies a “care of nature,” honouring Wichi survival and worldview through a deep material collaboration between the Wichi body and land (IFA, 2022).”

• cites IFA, 2022Not matched

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

Classified as probably not a substantial claim.

Dress is the way in which individuals learn to live in their bodies and feel at home in them.

“According to Entwistle (2015), “dress is the way in which individuals learn to live in their bodies and feel at home in them” (p. 7).”

• cites Entwistle (2015)Not 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).

Within an Indigenous worldview everything is interconnected through relationships.

“This is particularly important within an Indigenous worldview where everything is interconnected through relationships (Wilson, 2008).”

• cites Wilson, 2008Not 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), S4 (based).

Indigenous fashion is wearing our homelands.

“Indigenous fashion is wearing our homelands.”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Indigenous fashion is a remembering of bodies to land.

“Indigenous fashion is a remembering of bodies to land.”

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

Indigenous fashion is an embodiment of ancestral knowledge and worldview.

“Indigenous fashion is an embodiment of ancestral knowledge and worldview.”

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

Our worldview is embodied within Ancestor and grandmother fashion designs that we can listen to and learn from.

“Our worldview is embodied within Ancestor and grandmother fashion designs that we can listen to and learn from.”

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

Ayimach Horizons' collections follow natural cycles of the earth-the Spring and Autumn Equinox and the Summer and Winter Solstices-instead of Western fashion seasons.

“Instead of following Western fashion seasons of spring/summer and fall/winter, Ayimach Horizons' collections follow natural cycles of the earth: the Spring and Autumn Equinox and the Summer and Winter Solstices.”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Indigenous fashion is a material bridge that re-stitches Indigenous bodies back to land.

“Identifying the ways in which Indigenous fashion embodies Indigenous epistemology, ontology, and cosmology, the article concludes by situating Indigenous fashion as a material bridge that re-stitches Indigenous bodies back to land.”

May combine two claims.

Ancestor fashion designers maintained ancestral techniques and aesthetic knowledge while simultaneously responding and adapting to shifts in material access through new interactive zones-the influx of European materials through trade versus the destruction of Indigenous materials through settler-colonial greed.

“Ancestor fashion designers upheld an important recognition in maintaining ancestral techniques and aesthetic knowledge, while simultaneously responding and adapting to shifts in material access through new interactive zones-the influx of European materials through trade versus the destruction of Indigenous materials through settlercolonial greed.”

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

If making practices are considered a form of material language tied to spirit, then our language of making is a reciprocal and respectful gesture that communicates and shares love.

“If we consider our making practices as a form of material language tied to spirit, our language of making is a reciprocal and respectful gesture that communicates and shares love.”

May combine two claims.

The acquisition of land is most valued because settlers make Indigenous land their new home and source of capital, and because the disruption of Indigenous relationships to land represents a profound epistemic, ontological, cosmological violence.

“This makes the acquisition of land most valued because of how “settlers make Indigenous land their new home and source of capital, and also because the disruption of Indigenous relationships to land represents a profound epistemic, ontological, cosmological violence” (Tuck and Yang, 2012, p. 5).”

• cites Tuck and Yang, 2012Not matched

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

Classified as probably not a substantial claim.

Our worldview is embodied through the maker, who makes material culture come to life.

“Our worldview is embodied through the maker as the one who makes our material culture “come to life” (Bushman Olsen quoted in Anderson, 2017, p. 118).”

• cites Bushman Olsen quoted in Anderson, 2017Not matched

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

May combine two claims.

Ancestor fashion designers incorporated new materials into their lives long before the arrival of Europeans in North America, and intertribal networks supplied makers with highly prized goods such as dentalium shells, elk teeth, beads made from shells, and paints, which they used to ornament dresses or trade as goods.

“Her Many Horses (2007) reminds us how Ancestor fashion designers “incorporated new materials into their lives long before the arrival of Europeans in North America,” where “intertribal networks supplied [makers] with highly prized goods such as dentalium shells, elk teeth, beads made from shells, and paints, which they used to ornament dresses or trade as goods” (p.24).”

• cites Her Many Horses (2007)Not 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 story gifts important knowledge relating to the deep intentions of the design construction and material choices that sit at the heart of Indigenous fashion practices.

“This story gifts us important knowledge relating to the deep intentions of the design construction and material choices that sit at the heart of Indigenous fashion practices.”

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

Garments are akin to a second skin: a two-sided surface, touching the body-self and the world.

“Garments are also “akin to a second skin: a two-sided surface, touching the body-self and the world” (Sampson, 2020a, p. 94).”

• cites Sampson, 2020aNot 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). May combine two claims.

Language situates our worldview and embodies how we know and be in the world.

“Language situates our worldview and embodies how we know and be in the world (Little Bear, 2000;Young, 2017).”

• cites Little Bear, 2000Not matched

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

• cites Young, 2017Not 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.

Women's dress encapsulates information about the world of animals and exemplifies the web of relationships among relatives.

“Women's dress encapsulates information about the world of animals (how to skin a deer and tan its hide; how to pluck, dye, and shape porcupine quills into ornament) and exemplifies the web of relationships among relatives.”

• cites Berlo (2007)Not matched

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

Classified as probably not a substantial claim.

For many women, the skills used in making a dress are thought to be conferred from the spirit world.

“In the context of Indigenous women's dressmaking, Berlo (2007) shares: “For many women, the skills used in making a dress are thought to be conferred from the spirit world” (pp.101-102).”

• cites Berlo (2007)Not 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), S3 (load-bearing).

This cyclical relationship carries the capacity to affect deeply and effect change.

“This cyclical relationship carries the capacity to “affect deeply and effect change” (Sampson, 2020b, p. 65).”

• cites Sampson, 2020bNot 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).

Indigenous epistemology, ontology, and cosmology are held in the spirit of each bead stitched and folded into the seams of each garment made.

“Our epistemology, ontology, and cosmology as Indigenous peoples are held in the spirit of each bead we stitch and folded into the seams of each garment we make.”

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing), S4 (based).

We communicate and share love with our families through the incredible amount of beads we stitch onto the creations we make for them.

“We communicate and share love with our families through the incredible amount of beads we stitch onto the creations we make for them.”

May combine two claims.

In these interactive zones, clothing evolved along circular rather than linear paths, with the adoption of imported cloth and clothing co-existing with the persistence of ancient garment forms and the development of new forms that combined aesthetics, techniques and materials.

“In these interactive zones, clothing “evolved along circular rather than linear paths” with the “adoption of imported cloth and clothing [co-existing] with the persistence of ancient garment forms and the development of new forms that combined aesthetics, techniques and materials” (Farrell Racette, 2004, p. 64).”

• cites Farrell Racette, 2004Not 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.

We communicate and share love with our Ancestors by making a garment that recalls their deeds and wearing it as an occasion to remember and recount their generosity of spirit.

“We communicate and share love with our Ancestors by “making a garment that recalls their deeds [and] the wearing of it…as an occasion to remember and recount their generosity of spirit” (p.130).”

• cites Berlo, 2007Not 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), S4 (based).

Indigenous fashion is a refusal of settler-colonial displacement of Indigenous ontologies.

“Indigenous fashion is a refusal of settler-colonial displacement of Indigenous ontologies.”

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing). May combine two claims.

We communicate and share love with land by choosing to work with natural materials that have a high material vibration such as hide, wool, or linen-materials that will care for the land in return when their life cycle ends.

“We communicate and share love with land by choosing to work with natural materials that have a high material vibration such as hide, wool, or linen-materials that will care for the land in return when their life cycle has come to an end (DeMontigny, 2023).”

• cites DeMontigny, 2023Not matched

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

Classified as probably not a substantial claim.

Cree-Métis artist and designer Jason Baerg embodies Cree cosmologies and kinship with land in his design process through his brand, Ayimach Horizons.

“Cree-Métis artist and designer Jason Baerg embodies Cree cosmologies and kinship with land in his design process through his brand, Ayimach Horizons.”

May combine two claims.

Each piece of Wichi clothing is woven by hand using vegetable fibres from the designer's homelands and is visually informed by the mountains, plants, and animals found within these territories.

“Each piece of clothing is woven by hand using vegetable fibres from the designer's homelands and is visually informed by the mountains, plants, and animals, found within these territories.”

• cites IFA, 2022Not matched

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

May combine two claims.

Land sits at the heart of material choices, reflecting a deep, spiritual relationship between the maker and the natural world.

“Land sits at the heart of material choices, reflecting a deep, spiritual relationship between the maker and the natural world.”

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

This love and care for the landscape, non-human relatives, and cosmologies, embodied in Ancestor design intentions and details and carried to the present, acknowledges Indigenous fashion's deep kinship with land.

“This love and care for the landscape, our non-human relatives, and our cosmologies, embodied in the design intentions and details found in our Ancestors' work and carried through to the present day, acknowledges Indigenous fashion's deep kinship with land.”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Indigenous fashion gifts us with the ability to wear our home territories on our backs, even home territories that we have been displaced from.

“Indigenous fashion gifts us with the ability to wear our home territories on our backs, even home territories that we have been displaced from.”

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

Our worldview is embedded in our intentions and activated through wear or use; a piece of clothing or decorative item is only an object until it becomes animated through use or infused with memory and story.

“Our worldview is also embedded in our intentions and activated through wear or use as Farrell Racette (2004) shares: “A piece of clothing or decorative item is only an object until it becomes animated through use or infused with memory and story ” (p. 191).”

• cites Farrell Racette (2004)Not 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). May combine two claims.

Indigenous fashion carries and transmits cultural knowledge from the past that guides us to live a good life in the present and move in ways that care for the future.

“Indigenous fashion carries and transmits cultural knowledge from the past that guides us to live a good life in the present and move in ways that care for the future.”

May combine two claims.

Language is deeply intertwined with Indigenous materials and making, and our materials and making are understood as deeply spiritual and sacred.

“These examples not only exemplify the important ways in which language is deeply intertwined with Indigenous materials and making, but also presents an understanding of our materials and making as something that is deeply spiritual and sacred.”

Classified as probably not a substantial claim.

Indigenous material culture is considered objects with agency, animacy, and spirit.

“Because Indigenous knowledges are spiritual and relation-based systems, we consider our material culture as objects with agency, animacy, and spirit.”

• AssumptionRests on an assumption: Indigenous knowledges are spiritual and relation-based systems.