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Street Style From the Past: Edward S. Curtis's Native American Portraits

When thinking of classic American style as when thinking about classic American nearly anything we normally breeze right over the several centuries worth of Native American peoples looking awesome and go straight to European transplants looking, well pretty terrible for their first 100 years or so in North America. Thankfully Charles E. Curtis set out to remedy this situation by taking some of the most striking photographs of Native Americans throughout North America between 1900 and 1930. His stated goal was to document cultural traditions that were already well on the wane since most Native Americans had been forced onto reservations during the previous century. What he ended up with is an exhaustive collection of images reflecting the richly varied identity and the stunning dress of the first Americans.

[caption id="attachment_81587" align="aligncenter" width="600"]Native American portraits by Edward S. Curtis Which Way of the Crow dripping more ice than Rick Ross; We-Ton, an early adopter of the Pendleton and Opening Ceremony collaboration; Weasel Tail of the Piegan with some deadly accessorizing[/caption]

For me one of the most remarkable aspects of these gentleman's dress is the prominance given to natural forms that even when used in intricate ceremonial dress like this are not altered beyond recognition to fit a manmade notion of what art or costume should be. Feathers, bone, leather, and furs are all still very recognizable as such and thereby reflect much more intimately how these men, lived, hunted, and ate than the starched collars and wool suiting of the European settlers. As opposed to the European tradition that empthasizes fine dress as a beacon of civilization, unchanged by climate or immediate circumstances, here clothing is a reflection of and tribute to the realities of the unique American landscape.

[caption id="attachment_81589" align="aligncenter" width="600"]Native American portraits by Edward S. Curtis A Zuni man proving that ponchos aren't just for the Olsen twins; Black Hair showing a real flair for extensions; a Qahatika boy testing an early hoodie prototype[/caption]

Unlike white americans of the time who's stiff, wooden poses and studied blank stares were seen as befitting the dignified operation of having their picture made, Curtis's sitters directly engage the camera. Their natural poses and steady gazes say just as much about their confidence and distinct identity as their dress does.

[caption id="attachment_81590" align="aligncenter" width="600"]Native American portraits by Edward S. Curtis A Jicarilla cowboy taking Casual Fridays to their natural conclusion; a Jicarilla man who looks like he should own an artisanal whiskey bar in Portland; Curley of the Apsaroke engaged in courageous neckwear experimentation[/caption]

Photos like these where European tailored elements are mixed with traditional jewelry and hairstyles truly highlight these gentleman's flair for dressing. It shows an eclecticism and interest in clothing for its own sake rather than for the cultural or societal indicators that it carries with it. In it's easy appropriation of disparate elements it also anticipates hippie trends of the '60's and the driving impulse behind modern street wear by more than a century.

In conclusion don't ever let the man or anyone else tell you that real men don't wear their hair long and own jewelry and always remember that great hats and pinstriped vests will always look proper no matter the time or place.

Previously in Street Style From the Past: Workwear and the Lomaxes

Evan Widhu is a Men's Wear Buyer in New York. He wants the name of the Jacarilla's milliner.

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