From the banks of the Mississippi River to the foothills of the Rockies, in the very heart of the North American continent, lies a vast green territory where sounds are lost in space. A huge plain arousing a deep feeling of loneliness and abandonment in the soul of these religious accustomed, in the old continent, to well-circumscribed urban areas, and to a much higher population density. In those days, it seems that no human being can fully appropriate these spaces that promote nomadic habits and the spirit of independence of native Americans that the white man does not hesitate to call "savages." For plains Indians, the world is, in essence, in continuous motion, like the incessant winds there, like the continuous migration of buffalo herds. In such an environment, clothing must correspond to the mobility of those who endorse it, and must also meet the brutal climatic variations that are the norm on this land.
The traditional fabrics of native Americans, full of visual elements that are usually symbolic, are not only decorative or utilitarian. Indigenous textile motifs - and sometimes fabrics in themselves - always carry messages, stories, values and beliefs. Over time, each indigenous tribe has developed unique techniques, styles and symbols that reflect their environment, way of life and more broadly their world view.
Indigenous textile motifs are rooted in ancient traditions, often thousands of years old. No one can question the fact that these reasons have always been appreciated for their aesthetic potential. But beyond being mere ornaments, they were also a means of visual communication, conveying important messages about daily life, spirituality, social relations or relation to nature.
Early indigenous civilizations used textile motifs to represent spiritual beliefs, founding myths and abstract concepts related to the cosmic order. Weavers, dyers and embroiderers often had a privileged position, and for good reason: they were responsible for the transmission of these complex motifs and the associated know-how. The Inca civilization, for example, envisioned ornate fabrics as more precious goods than gold. These sophisticated textiles were therefore strictly reserved for the elites and made specifically for them. The colours, geometric patterns and symbolic representations were inspired by natural or sacred elements (mountains, rivers, stars, mythical animals...).
In the United States, the most emblematic and recognized fabric of the indigenous peoples of North America, particularly the Navajo, is Navajo weaving. It is another example of the importance of symbols associated with traditional textiles in Aboriginal societies. The motives of these fabrics originally carried by the kingship were interpreted as messages of prosperity, spirituality, and strength. Bright colors and geometric patterns had a precise meaning, serving to distinguish members of society according to their hierarchical position. Navajo weaving is at the origin of blankets (sarapes) worn like coats. They have now become collectible pieces of art since the 19th century. His technique uses flat tapestry weaving, similar to kilims, using local sheep wool and cotton and often indigo dyes with strong geometric patterns symbolizing natural or sacred elements.
The textile arts of the indigenous peoples of the Americas are decorative, utilitarian, ceremonial or conceptual works made from vegetable, animal or synthetic fibres by indigenous peoples of America. Textile and fibre arts include fabrics made of flexible woven materials, such as felt, amate paper, knitting, embroidery, plumage, skin sewing, beading, and other similar materials. Textile arts are one of the first known industries. Basketry is associated with textile arts.
While human beings have created textiles since the dawn of culture, many are fragile and rapidly disintegrating. Old textiles are preserved only under special environmental conditions. The oldest known textiles on American continent are ancient fibres found in the Guitarrero cave in Peru, dating from 10,000 to 9,080 years before Christ. The oldest known textiles in United States are twine and canvas fabrics preserved in a peat basin on the archaeological site of Windover, Florida, the oldest dating back 6,000 years B.C.E. Eighty-seven pieces of tissue were found, associated with 37 burials. The researchers identified seven different tissues. One type of fabric had 26 strands per inch (10 strands per centimetre). There were also armors using two- and three-stranded frames. A round string bag was also discovered, as well as mats. The yarn is probably made from palm leaves. Cabbage palm, Florida palm and bearing are common in the area and would have been common 8,000 years ago.
Before the arrival of the white merchants, the Indians had already acquired a remarkable technique for making their clothes from skins of beasts that they scavenged, before removing them and washing them. They then lay it on a chassis and coat it with deer brains, oil and wood ash. They wash it again, test it and soften it. Finally, to make it more resistant and prevent it from molding, they smoke it.
The Great Lakes and Prairie tribes are known for their ribbons, found on their clothing and blankets. Strips of silk ribbons are cut and applied in layers, creating patterns defined by a negative space. The colors and drawings may reflect the clan or sex of the wearer. The pow-wow and other dance costumes of these tribes are often adorned with ribbons. These tribes are also known for their hand-woven belts.
Experimental contemporary textile artists include Martha Gradolf (Ho-Chunk), whose work addresses historical injustices against indigenous peoples, and Marie Watt (Sénécas), who creates interactive installations and works of art using covers as a metaphor.
On these plains there is no shortage of animals, and the Indians have only the embarrassment of choosing between suede, antelope, momentum, moose, sheep, otter and beaver. However, they prefer to hunt buffalo and bison whose fur becomes the raw material of their clothing. Here too, the clothing of the Indian princes reflects their divinity. The sun thus adorns their chest reflecting a spiritual symbolism vibrating in perfect harmony with their way of being, and this "art of putting" extends by analogy to other tribes as well.
For example, the feather of the eagle evokes the Great Spirit, and the coarse eagle feather or pike prick also represents the sun. To endorse an eagle feathered headgear means to identify with the sun as the centre of spiritual life, and confers a royal spiritual dignity on the person wearing it. It is by no means permissible for any individual to display such a hairstyle that spiritually transforms the Indian into a rapacious bird that moves towards the radiant sun and the heavenly worlds. It would be a real sacrilege, for war adornings, whose plumage metaphorically refers to birds and heavenly deities, are reserved only for warriors who have accomplished exceptional feats. The Hermine Strip embodies the qualities of this animal which, like the ferret, is very agile and thus represents the warrior's ability to escape the enemy. Warriors also display their hunting trophies as bear teeth or the head of an animal they are proud to style with.
The male costumes can vary considerably from north to south, but the pagne remains the base. This piece of leather is either wound around the body or fixed to a belt. The leather legs are also attached to it. The fringes, in tapered leather, suggest the symbol of rain of paramount importance to these peoples. They can also represent, according to some, the symbolic prolongation of the soul, beyond the habit. The exterior seams are sometimes enriched with painted graphic elements or embroidery of pork-epic and pearls.
The Natchez, a tribe of four thousand souls established along the Mississippi River, have particularly unusual social characteristics. Organized into a hierarchical and authoritarian system, the Natchez honors a leader called the Great Sun, a direct descendant of the celestial star, whose power is absolute.
The traditional textiles of the Northwest Coast tribes have also undergone a spectacular revival. Chilkat weaving and crow tail weaving, for example, are considered to be one of the most difficult weaving techniques in the world. A single chilkat cover can take an entire year to weave. In both techniques, wool from dogs, mountain goats, sheep and shredded cedar bark are combined to create textiles with patterns of curvilinear lines. Jennie Thlunaut (1892-1986), Tlinite weaver, contributed to this renaissance.
Button blankets are wool blankets with mother-of-pearl buttons worn on great occasions, such as potlatches.
Indigenous textiles and their contemporary adaptation
Today, indigenous textiles continue to have a significant influence in the fields of art, design and modern textiles. These traditional motifs and techniques, derived from a rich culture and a unique heritage, now inspire contemporary creations while perpetuating their origin and history. In France, for example, many designers are interested in traditional geometric motifs, such as Navajos, Andes or Amerindian communities, to design high-end fabrics for fashion and furniture.
In the world of textile design, the authenticity of traditional designs is often combined with modern printing and production methods. Cotton, wool and natural textiles are thus transformed with innovative techniques to meet the expectations of the world market while respecting the cultural values of indigenous communities. The display of a colorful fabric, for example, may evoke both a work of art and a timeless ethnic heritage.
