In the mid-twentieth century, growing North American textile and ready-to-wear industries vigorously appropriated Native American aesthetics to cultivate a commercial and design identity apart from Europe. 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. This paper contributes by raising Indigenous and non-Indigenous use of Northwest Coast design forms during the politically turbulent 1940s–1960s and analyzing the impact of this aesthetic vocabulary within broader North American textiles and fashion. Throughout, I engage with the approaches of critical fashion theory and multiple modernisms, considering the frictions of property and power relations within settler-colonial states, then and now. Drawing from study of objects, periodicals, and archival materials as well as first-person perspectives, I contextualize these representations within entangled art, museum, and design worlds in the Northwest Coast, New York City, and the Southwest. 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.

中文翻译：

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当地面料：中世纪现代主义、纺织和时装设计以及西北海岸，1940-1967 年

二十世纪中叶，不断发展的北美纺织和成衣行业大力采用美洲原住民美学，以培育欧洲以外的商业和设计特征。大多数对这些行业中土著习语流通的研究都集中在西南或南太平洋地区主义上，而对二十世纪西北海岸工作室和商业面料和时装设计的学术研究是有限的。本文提出了 20 世纪 40 年代至 1960 年代政治动荡期间土著和非土著对西北海岸设计形式的使用，并分析了这种美学词汇在更广泛的北美纺织品和时尚中的影响。自始至终，我都采用批判时尚理论和多元现代主义的方法，考虑当时和现在定居者殖民地国家内部财产和权力关系的摩擦。根据对物品、期刊和档案材料的研究以及第一人称视角，我将这些表现形式置于西北海岸、纽约市和西南部错综复杂的艺术、博物馆和设计世界的背景中。我的研究表明，西北海岸的艺术家和艺术思想在本世纪中叶的纺织品和时尚中发挥了外围但定位的作用，促进了西北海岸当今强大的土著时尚网络及其文化政治的发展。