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media artist Rose 90s Design Group Groupe Status Quo shirt . Simpson, a Santa Clara Pueblo, opens the show. With her work, Maria, she presents herself as a petrolhead—something viewed as a very masculine hobby—then gives it a native woman’s twist, outfitting the car with decals inspired by the lines found in Pueblo ceramics, which are often made and mastered by women.

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In another room, a large-scale painting, titled The Wisdom of the Universe, by Métis artist Christi Belcourt—painted in a dotted style, to give her canvas the appearance of being beaded—explores the relationship between indigenous people and nature 90s Design Group Groupe Status Quo shirt . Animals, plants, and water hold a sacred place in indigenous life, and Belcourt specifically refers to 21st-century climate change, only painting species that are on Canada’s endangered list. It’s an extremely beautiful piece with an ugly message at its core. Meanwhile, Legacy is a theme that runs through just about every piece in the show. A standout sample is the collaboration jewelry, titled Adornment: Iconic Perceptions, by Kiowa jeweler Keri Ataumbi and Shoshone-Bannock and Luiseño artist Jamie Okuma, both profiled for Vogue here. On a glimmering cocktail ring and necklace, Okuma beaded portraits of Pocahontas, based on historical illustrations of her in the 17th and 18th century; Ataumbi then set Okuma’s beading with precious metal, pearls, and stones. They are fabulous pieces of fashion that reimagine a historical figure who has long been misunderstood and stereotyped. In general, the fashion pieces show just how much indigenous art has evolved, and they cut through any myth of its homogeneity. An Anishinaabe jingle dress and beaded headband from the 1900s evokes the flapper-style silhouettes that dominated the time period, showing that a traditional garment can even reflect the current trends of the day. Another piece by Okuma, a hand-beaded pair of Christian Louboutin platforms, combines traditional craft with an ultramodern flourish.
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