Tribal Headdresses From Around The World ~ Part IX

Chukchansi Tribe ~ California

(Photo by rwenzel [Randy K. Wenzel] ~ June 7, 2006)

(The above five photos are by Dante Bellotta ~ October 2, 2010)

The above six images are courtesy of: http://www.flickr.com

Haida Tribe ~ Canadian Northwest Pacific Coast

This is the only known photo of Haida shaman wearing masks | ca. 1881

Image courtesy of: http://www.vanishingtattoo.com

Members of the Tlingit Haida Indian Tribe | Alaska 

Image courtesy of: http://digilander.libero.it

Hereditary Haida chief & artist, James Hart

The above two images are courtesy of: http://www.ottawacitizen.com

James Hart

The above two images are courtesy of: The Epoch Times

The above three photos are by Cleo Lajzerowicz ~ July 28, 2010

(The above photo is by Donald E. Hurlbert, National Museum of Natural History)

Image & source are courtesy of: Smithsonian National Museum of Natural History ~ January 7, 2009

Before a ceremonial dance, the sea-lion whisker crown of the headdress was filled with swan or eagle down, which drifted out during the performance and fell onto the spectators like snow.

This carved centrepiece frontlet of wood & abalone shell is known as an amhalaayt & worn during potlatch and spirit-possession ceremonies performed by a high-ranking Haida woman or man.

The rest of the headdress is comprised of a floor-length train of ermine pelts & a crown or circlet of upright sea-lion whiskers.

Photo & source are courtesy of: A. Davey ~ June 14, 2008

 

Haida dancers at a pole-raising ceremony

Photo by QCL Shooter [Duane Foerter] ~ June 14, 2005

The above six images are courtesy of: http://www.flickr.com

Woven on a stand with a wooden form appropriate to each size & shape by Haida women (who excelled in basketry), hats were then painted with the crests of the commissioning family by Haida male artists.

The above two images & source are courtesy of: Canadian Museum of Civilization

(The above two examples were collected at Masset, British Columbia, in 1911 by C. C. Perry)

Hupa Tribe ~ Hoopa Valley Reservation, Northwest California

Above left, white deerskin dance costume ~ 1923 | Above right, an unidentified Hupa woman ~ 1923

Above left, a principal female Hupa Shaman ~ 1923 | Above right, a Hupa female Shaman ~ 1923

(The above four photos are by by Edward S. Curtis)

The above four images are courtesy of: http://www.old-picture.com

Hupa woman & child from the Edward S. Curtis Collection

Image courtesy of: https://tonykospan21.wordpress.com

Jicarilla Apache Tribe ~ New Mexico

 (The above seven photographs of Jicarilla Indians are all by Edward S. Curtis [1868-1952] | 1905)

 The above seven images are courtesy of: http://www.old-picture.com

(Photo provided by ..:: karlito ::.. [Karlito Delacasa])

Image courtesy of: http://www.flickr.com

Above left, Augustin Virgil ~ 1880 | Above right, Pacer ~ 1879

The above two images are courtesy of: http://www.firstpeople.us/

Derwin Velarde (Jicarilla Apache)

Image courtesy of: http://www.matoska.com

Klamath Tribe ~ Klamath Basin of Oregon

Above left, a member of the Klamath tribe in a traditional headdress | Above right, a Kalmath warrior

Above left,  a portrait of Modoc Henry's wife | Above right, an unidentified Klamath woman

A Klamath Chief

(The above five photos are by Edward S. Curtis [1868-1952] | ca. 1923)

The five images above are courtesy of: http://www.old-picture.com

 

Kwakiutl Tribe ~ Northeastern Shores of Vancouver Island, British Columbia

 Above left, Atlumhl ~ 1914 | Above right, Chief Hamasaka ~ 1914

 Group of Winter Dancers ~ 1914

 An Indian Wedding Party ~ 1914

 An unidentified Kwakiutl Indian ~ 1914

 Above left, Nakoaktok Chief's daughter seated on a blanket-covered board supported by two wooden carved images representing her slaves ~ 1910 | Above right, Yakotlus ~ 1914

 Above left, a Kwakiutl Indian wearing a mask of the mythical creature Pgwis (man of the sea) ~ 1914

Above right, a woman wearing a Tluwulahu Costume consisting of fringed Chilkat blanket, a Hamat'sa neckring & mask which represents a deceased relative who had been a shaman ~ 1914

Above left, a Kwakiutl Indian wearing a Tluwulahu-Mask depicting a loon ~ 1914

Above right, a Kwakiutl Indian wearing a Hamat'sa costume ~ 1910

The Hamat'sa (or "Cannibal Dance") is the most important - and highly represented - ceremony of the Kwakiutl (Kwakwaka'wakw) First Nations people of British Columbia.

(Source: http://www.der.org)

Masked Kwakiutl Dancers ~ 1914

(The above twelve photos are all by Edward S. Curtis)

The twelve images above are courtesy of: http://www.old-picture.com

 

An old postcard showing two Kwakiutl Indians in ceremonial coats

(Photo by Henry S. Wellcome [1853-1936])

Image courtesy of: http://commons.wikimedia.org

A still from the 1951 documentary, Dances of the Kwakiutl, by Robert Gardner

Image courtesy of: http://www.der.org

Kwakiutl bridal group

(Photo by Edward S. Curtis | ca. 1914)

Image courtesy of: http://en.wikipedia.org

Kwakiutl performers in ceremonial dance attire

(Photo by Edward S. Curtis | ca. 1914)

Image courtesy of: http://www.britannica.com

Image courtesy of: http://www.voydanoff.net

 

Lummi Tribe ~ Washington State & British Columbia

The three photographs above show members of the Lummi Nation wearing thunderbird dance costumes & headdresses at a traditional Lummi spirit dance ~ Bellingham, Washington | ca. 1930-1933

A woman holds a spirit dance rattle at a traditional Lummi dance ~ Bellingham, Washington | ca. 1930-1933

A Lummi Native American woman wearing traditional dress ~ Bellingham, Washington | ca. 1930-1933

(The five photos above are all by Eugene H. Field)

(The above five photographs are the property of the University of Washington Libraries, Special Collections Division)
The five images above are courtesy of: University of Washington Libraries, Special Collections Division

(Photo by Evergreengirl ~ May 23, 2009)

“We are the Lhaq'temish, The Lummi People. We are the original inhabitants of Washington's northernmost coast and southern British Columbia. For thousands of years, we worked, struggled and celebrated life on the shores and waters of Puget Sound.” (Quoted from: Lummi Nation)

Above left, Lummi elder Ted Solomon, holds a traditional cedar bark hat | Above right, A young woman wears a similar cedar bark hat on the Lummi Indian Reservation ~ Stommish Beach, Washington

(The above three photographs are by Ethan Welty ~ July 30, 2007)
The above four images are courtesy of:  http://www.flickr.com







Coast Salish Tribe ~ Georgia Basin (British Columbia) and Puget Sound (Washington State)

Chief Eagle, a Salish Indian, wearing a majestic headdress of eagle feathers.

(Charcoal drawing by S. Campos based on a photo by Edward H. Boos | ca. 1910)
(Image from steeelll [S. Campos] ~ uploaded on June 13, 2011)
Image courtesy of: http://www.flickr.com

Salish Childhood

(Photo by Edward S. Curtis | ca. 1910)
Prints and Photographs Division, Library of Congress
Image courtesy of: http://bbs.voc.com.cn

Batchese ~ 1902

Image courtesy of: http://www.ebay.com






Squamish Tribe ~ British Columbia

(The above twelve photos, 2011)

(The above two photos, 2010)

The Squamish Nation is comprised of descendants of the Coast Salish Aboriginal peoples who lived in the present day Greater Vancouver area.

(The above fourteen photos of 2010 & 2011 Squamish Nation Pow-Wows are all by RayVanEng ~ July: 2010 & 2011)

(The above eleven photos of a 2008 Squamish Nation Pow-Wow are all by shuttermountain ~ July 13, 2008)

The above twenty-five images are courtesy of: http://www.flickr.com




Squamish chief & carver, Joe Capilano (Mathias Joe) [1840-1910] ~ 1930
Image courtesy of: Vancouver Art in the Sixties

Map of California is courtesy of: S.R.I. Chievres 

 

Map of Washington State is courtesy of: http://www.westernexpress.in

 

Map of Oregon is courtesy of: NationMaster

 

Map of British Columbia is courtesy of: Canada Maps

 

Map of New Mexico is courtesy of: NationMaster

Map of the Lummi Nation courtesy of: wikipedia.org

Suggested readings:

American Indians Today (1972), by Olga Gruhzit-Hoyt: Abelard-Schuman

The Kwakiutl: Indians of British Columbia (1986), by Ronald Preston Rohner & Evelyn C. Bettauer: Waveland Press

Indians of the Pacific Northwest: A History (1988), by Robert H. Ruby & John A. Brown: University of Oklahoma Press

The Earth Is Our Mother: A Guide to the Indians of California, Their Locales and Historic Sites (1989), by Dolan Eargle: Trees Company Press

California Indian Country: The Land & The People (1992), by Dolan H. Eargle: Trees Company Press

A Guide to the Indian Tribes of the Pacific Northwest (1992) by Robert H. Ruby & John Arthur Brown: University of Oklahoma Press

Aboriginal Peoples and Natural Resources in Canada (1994), by Claudia Notzke: Captus Press

The Raven Steals The Light: Native American Tales (1996), by William Reid & Robert Bringhurst: Shambhala

Haida Art (1996), by George F. MacDonald: Craftsman House

The Spirit of Haida Gwaii: Bill Reid's Masterpiece (1997), by Ulli Steltzer: Douglas & McIntyre

Celluloid Indians: Native Americans and Film (1999), by Jacquelyn Kilpatrick: University of Nebraska Press

Sacred Legacy: Edward S. Curtis and the North American Indian (2000) by Christopher Cardozo: Simon & Schuster

The Native American: The Indigenous People of North America (2000), by Colin F. Taylor & William C. Sturtevant: Salamander Books

Native Nations: Cultures and Histories of Native North America (2001), by Nancy Bonvillain: Prentice Hall

The Great Mystery: Myths of Native America (2001), by Neil Philip: Houghton Mifflin Harcourt

The Native Americans: An Illustrated History (2001), by David Hurst Thomas, Betty Ballantine, Jay Miller & Richard White: World Publications, Incorporated

British Columbia 100 Years Ago: Portraits of a Province (2002), by Fred Thirkell & Bob Scullion: Heritage House Publishing Co.

Native Peoples of the Northwest: A Traveler's Guide to Land, Art, and Culture (2002), by Jan Halliday & Gail Chehak: Sasquatch Books

A Forest of Time: American Indian Ways of History (2002), by Peter Nabokov: Cambridge University Press

God Is Red: A Native View of Religion (2003), by Vine Deloria & Vine Deloria, Jr.: Fulcrum Publishing

Edward S. Curtis: The Great Warriors (2004), by Christopher Cardozo: Bulfinch Press

Haida Gwaii: Journeys Through the Queen Charlotte Islands (2004), Ian Gill & David Nunuk: Raincoast Books

Edward S. Curtis (2008), by Barry Pritzker: World Publications, Incorporated

The North American Indian: From the Edward S. Curtis Collection (2008), by Wayne Youngblood: Compendium

Haida Gwaii: The Queen Charlotte Islands (2009), by Dennis Horwood: Heritage House Publishing Co.

All That We Say Is Ours: Guujaaw and the Reawakening of the Haida Nation (2010), by Ian Gill: Douglas & McIntyre

Indian Nations of North America (2010), by National Geographic, Rick Hill, Herman Viola, George Horsecapture & Teri Frazier: Random House of Canada

Close To Perfection IV: Givenchy Haute Couture - Spring/Summer 2012

Riccardo Tisci

Image courtesy of: http://imageshack.us

“When I arrived a few years ago, there was the legacy of Givenchy himself—a genius—I had to close the doors in order to appropriate the company, get comfortable with my position...”

Since his official appointment as creative director of the storied House of Givenchy on February 28th, 2005—and his Fall-Winter Haute Couture debut presentation in the house’s Avenue George V headquarters in July of that year—Riccardo Tisci has not only brought dynamism and romance to the brand but modernity and innovation—a re-invented concept of what the hallowed craft of couture in the twenty-first century is capable of. As with any young designer brought in to reinvigorate a staid but venerable design establishment with a long history and bearing the indisputable signature of its founding creative director and name-sake, Mr. Tisci struggled to imprint the House of Givenchy with his own stamp. (It is a dilemma faced by every designer entrusted with the task of breathing new life into a well-known and eminent House: how to infuse his own identity and design aesthetic with that of his [founding] predecessor's; how to make it marketable enough to attract a new, younger clientele base while generating not only much-needed sales but to make it a viable brand once more; how to overcome an atelier's reticence about departing from its accustomed long-standing, conventional methods of doing things and embarking on, and readjusting to, new ones; how to marry tradition with novelty and progress—these are only some of the challenges faced by every new designer.) Mr. Tisci hinted as much in a very recent interview with Vogue's Hamish Bowles about his latest couture collection, which the designer described as his “very sparkle collection”: “for seven years I urged the ateliers to be experimental.” For the Spring/Summer 2012 Haute Couture collection, however, he wanted the Givenchy ateliers to explore the possibilities of more conventional haute couture embellishments. (Quotes: Bowles, H., vogue.com, January 2012)

It is precisely that combination of forward-looking innovation along with a simultaneous nod to tradition that has set Mr. Tisci's collections for Givenchy apart from other Houses; it is also what keeps the House of Givenchy, which is owned by the luxury brand conglomerate Louis Vuitton Moët Hennessy (LVMH), relevant where other brands may be floundering. (Riccardo Tisci is the last in a series of young British designers appointed to the helm after the House's founder, Hubert de Givenchy, retired in 1995: John Galliano in January 1996, followed shortly thereafter by Alexander McQueen in October of 1996; Julien MacDonald was designated in March of 2001. As with two of his predecessors, Mr. Tisci, who was born in the Italian city of Taranto, is also a [1999] graduate of Central Saint Martins in London.)

(Sources: givenchy.com, undated; vogue.com.au, 2012)

The above two images are courtesy of: http://www.anothermag.com

Image courtesy of: http://heycrazy.wordpress.com/

Great fashion, like great art, architecture, and design of all forms, is based on harmony and balance, composition, and linear rhythm; it elicits an emotional response in its viewer—emotional response being one of the strongest forces there is. During his tenure at Givenchy, coming close to seven years now, Riccardo Tisci's collections for the label have shown a growing sense of sophistication and strength not only in the Haute Couture collections but also in the Prèt-a-Porter lines as well—their emotional intensity has also increased, becoming more refined, particularly in the intimate haute couture  presentations.

Through the years, Riccardo Tisci seems to have found his stride: “To me, the mark of a successful designer is having an identity,” he has been quoted as saying. (Mr. Tisci's couture collections have been honed over the years, becoming, particularly in the last few seasons, concentrated—to the point of distillation—in no more than ten perfect, and perfectly executed, pieces in each collection; his identity—and identifiable aesthetic—clearly distinct and imprinted upon each piece.) His latest presentation, shown on January the 24th and set to the music of Yakov Protazanov’s 1924 proto sci-fi classic Aelita: Queen of Mars, took its inspirational cue specifically from Fritz Lang's 1927 masterpiece, Metropolis, and from the streamlined Art Deco period of the 1920s and 1930s—in general—as is evident in the embellishment designs. (Quote & source: Phelps, N. style.com, January 24, 2012)

Crocodile jackets in detail

Above left, (See Look No. 2) | Above right, (See Look No. 3)

Above left image,  courtesy of: http://leighdevries.posterous.com/ | Above right image, courtesy of: Riccardo Tisci

The collection was presented in three rooms: the first of which was the 'Crocodile Room,' devoted to crocodile skins, in what Nicole Phelps of style.com could only describe, “...what the Givenchy atelier has done to the precious skin is positively jaw-dropping.” And, once the process is fully described, it is not difficult to understand the reason behind Ms. Phelps's remark—crocodile skin (one of the most difficult and unyielding materials to work with) was cut, scale by scale, bleached, dyed, then carefully numbered, and finally reassembled—one individual scale at a time—into correct formation and embroidered with metal studs onto a fine nude silk tulle body-stocking to create an ensemble that required a laborious three-hundred-and-fifty hours of hand-work to create (see Look 1 below). Other ensembles featured swallow-tailed jackets embellished with three-dimensional Soviet stars (the same star motif that Mr. Tisci used in his menswear show) and quilted sleeves. (See Looks 2 & 3 below and the photo above.) (Quote & sources: Phelps, N. style.com, January 24, 2012; Bowles, H., vogue.com, January 2012)

The second room was the 'Crystal Room': silk satin halter gowns and blouses were held together by rings at the neck and bejeweled with sparkling crystals and opaque beads, the hems of which were edged with rhinestone raindrops. (See Looks 4, 5, 6, & 9 below.) Even some of the gowns' linings were not spared the couturier's touch of haute luxe—the linings of some ensembles were embroidered with transparent paillettes and gold micro-studs (see Looks 4 & 8).

The third and final room was the 'Black & White Room': here, beaded sheer blouses and gowns were effortlessly worn with casual black and white silk jersey tank tops piped in nappa, one of which, the final ensemble, was also embroidered and beaded (Look 10). (Nappa refers to leather that is derived from either sheep, lamb or goat-kid. It is not, as some are misled to believe, cowhide. As such, nappa leather tends to be softer and more pliable than many cowhides). Nor was the collection confined to couture hallmarks such as (jet) crystals and bugle-beads, micro-studs and paillettes—Mr. Tisci gave his collection a hard edge with the usage of industrial zippers that snaked seductively and asymmetrically up one black silk cady skirt (Look 8) and off of the shoulder of one sheer black silk organza top (Look 10). One skirt, made of white chiffon embroidered with scales of transparent micro-paillettes and crystal fringes was suspended by a heavy metal chain across one shoulder (Look 7). (Sources: Phelps, N. style.com, January 24, 2012; Bowles, H., vogue.com, January 2012)


Riccardo Tisci's 'sparkly' Givenchy collection is at once fragile and tough. The secret to Haute Couture's survival into the twenty-first century (and beyond) lies in finding such a balance between two polar opposite—the union of subtle, refined age-old couture techniques with an advanced, progressive visionary design talent. It is an intelligent collection, designed by one of the most talented  and accomplished designers working today; it is a collection that is obviously aimed towards a discriminating, sophisticated client, one who is able to discern and appreciate its nuances. In the closing words of Hamish Bowles, “Tisci’s thoroughly modern collection makes couture an exciting proposition for the thoroughly modern woman.” (Quote: Bowles, H., vogue.com, January 2012)

La robe Givenchy video courtesy of: http://www.lemonde.fr

Look No. 1: Nude silk-tulle gown embroidered with matte brown crocodile scales

and adorned with metal studs. Two intertwined crocodile skins form the bodice belt.

Look No. 2: Silk crêpe-de-Chine gown embroidered with matte brown beads and worn

with a silk jersey tank top trimmed with nappa (leather) and a silk organza jacket.

The jacket is embroidered with matching matte brown beads and shiny black crocodile,

with studs inserted underneath the crocodile scales. Floral elements cut in crocodile are

fixed with metal rings passed through tiny eyelets. 

Look No. 3: Full-length beaded silk crêpe-de-Chine gown of shiny black beads

and worn with a silk jersey tank top trimmed with nappa (leather) and a silk organza

jacket. Like the gown, the jacket is also embroidered with shiny black beads. It is also

worked with matte brown crocodile and features sleeves of quilted crocodile skin.

The back is embellished with three-dimensional crocodile elements in the shape of wings. 

Look No. 4: Beige silk chiffon halter gown embroidered with encaged smokey

quartz crystals and bronze-coloured beads. The gown is lined with silk

crêpe-marocain embroidered with gold micro-studs.

Look No. 5: White washed silk satin halter gown held at the neck with a silver ring

and draped open sleeves, gathered low at the back to form a ruffle. The gown

is embellished all over with small, white opaque crystals with larger crystals

forming a cross on the front of the gown.

Look No. 6: White washed silk satin halter blouse held at the neck with a silver ring

and draped open sleeves. The blouse, embroidered with crystals and flowers made of

micro-paillettes and white opaque crystals, is worn with full black wool beaded trousers

embellished with three-dimensional flower elements made of caged jet crystals and studs.

Look No. 7: White chiffon skirt, suspended by a metal chain, is embroidered

with scales of transparent micro-paillettes and crystal fringes. A white jersey tank

top edged with nappa and a pair of white elbow-length leather gloves complete the look.

Look No. 8: A white silk organza blouse embroidered with paillettes and crystals

which form a three-dimensional floral motif at the low waistline. The edges of the blouse

neckline and sleeve cuffs are ornamented with triangular crystal studs and caged crystals;

the blouse is worn with a nappa-trimmed silk jersey tank top underneath. A black bias-cut

and seamed silk cady skirt, featuring a long metal zipper and lined in organza embroidered with transparent paillettes (along with elbow-length black leather gloves), completes the ensemble.

Look No. 9: Long white silk organza gown embroidered with crystals. Transparent

and silver paillettes create an asymmetrical three-dimensional floral motif along the

waistline. Triangular crystal studs and caged crystals follow the neckline and sleeve

cuff edges. The sheer gown is worn with a nappa-trimmed silk jersey tank top underneath.

Look No. 10: Long black gown with a silk crêpe-de-Chine skirt embroidered all

over with micro-paillettes and floral elements of encaged jet crystals and micro-studs.
A silk organza top featuring an asymmetrical metal zipper embellished with triangular
crystals worn with a black silk jersey tank top, also embroidered with jet crystals and
micro-studs to form the same floral elements as the gown.
(Worn with elbow-length black leather gloves.)

 

The above twenty-two images are courtesy of: Fashion Gone Rogue

(Details & descriptions cited from: http://www.givenchy.com)

(N.B.: It must be noted that, as a confirmed animal lover and animal welfare supporter, Ŧhe ₵oincidental Ðandy does not, in any way, shape or form, condone or endorse the use of animal skins and/or furs—especially the exotic kind. The inclusion of sartorial images in this posting or anywhere else on this site, for that matter, is strictly based on merit of design and in appreciation—and admiration—for the skills and craftsmanship necessary to create masterpieces of haute couture; it is as much an homage to the countless artisans who patiently toil endless hours in Parisian ateliers in a dauntless effort to meticulously realize a designer's vision as it is to the designers themselves.)

Video by afp-fashion & courtesy of: http://www.dailymotion.com

“In spite of the fact that everyone thinks I am very much a rottweiler—that I am very dark and everything—I have a side that is very romantic that I show to very few people.” ~ Riccardo Tisci

 

 

 

 

Riccardo Tisci & Mariacarla Boscono

(Elle US ~ February 2012 | Photo by Karim Sadli)

Image courtesy of: Givenchy

Suggested readings:

The History of Haute Couture: 1850-1950 (1980), by Diana De Marly: Holmes and Meier

Haute Couture Embroidery: The Art of Lesage (1988), by Palmer White: Vendome Press

Haute Couture (1995), by Richard Harrison Martin, Harold Koda & Metropolitan Museum of Art (New York, N.Y.): Metropolitan Museum of Art

The Art of Haute Couture (1995), by Victor Skrebneski & Laura Jacobs: Abbeville Press

Lesage (2000), by Lydia Kamitsis: Universe

The Golden Age of Couture: Paris and London 1947-57 (2007), by Claire Wilcox: V&A Publications

Producing Fashion: Commerce, Culture, and Consumers (2008), by Regina Lee Blaszczyk: University of Pennsylvania Press

Fashioning Society: A Hundred Years of Haute Couture by Six Designers (2009), by Karl Aspelund: Fairchild Books