AIC's 52nd Annual Meeting

Diné (Navajo) apparel design is constantly evolving, often in response to historical events. After Spanish colonists introduced Churro sheep to what is now the Southwest United States in the late 1500s, Diné developed a Navajo-Churro breed that produced wool ideal for weaving. By the 1800s, Diné women were creating wool blankets, mantas, and other forms of apparel. After the 1868 Treaty of Bosque Redondo subjected Diné to US federal government rule, forced assimilation, and American capitalism, Diné apparel transitioned from woven wool textiles to sewn commercial fabrics. As non-Natives began collecting Diné textiles, Diné weavers also created designs for hanging on walls. The patterns woven by Diné women in the 1800s reflect Diné aesthetics and beliefs.

This case study looks at the exhibition “Diné Textiles: Nizhónígo Hadadít’eh,” on view at the RISD Museum from September 2, 2023 - September 29, 2024. The featured blankets and mantas have been displayed flat in previous exhibitions, a method of mounting that distances the garments from their intended use. Seeing these blankets on mannequins communicates the humanity of their original wearers and draws attention to the skill and precision of the weaver. Custom display forms were created or adapted for this show to facilitate the safe, three-dimensional display of blankets. This process was a collaboration between curator and conservators, involving archival research and insight from scholars, weavers, and stakeholders.

Pre-exhibition XRF analysis also provided insight into dyes, which may help assign dates to Diné textiles, and pesticides, which may be found on blankets in many Museum collections. This presentation will discuss the concerns inherent in mounting heavy, woven textiles and the steps taken to prevent damage and mitigate risks. Seeing the garments embodied radically changes the viewer’s experience, and the symmetry of the mounted blankets communicates a core concept of Diné culture, hózhó (pronounced HOZH-oh), that encompasses balance, beauty, and harmony.

Despite hardship, Diné resilience drives creativity forward. These remarkable weavings were and continue to be sources of design inspiration and objects of cultural appropriation. Nizhónígo Hadadít’eh means “they are beautifully dressed,” and mounting Diné garments on forms creates a more profound opportunity for appreciation and understanding. We honor and appreciate the generations of Diné weavers who, through hózhó, have designed beautiful garments for beautiful people.