The visual aid presented with my speech on the rise of Western wear in mainstream fashion, its origins, and popularity.

1. Presented by Reem Ameiche

2.  Unique significance in history
 Lassos, leather, and fringe are not trademark American.
 The birthplace of Wild West garb: Spain.
 "Cowboys," "vaqueros," "gauchos"

3. Gaucho Vaquero Cowboy

8. New Additions:
-Armas (chaps)
-Chaparejos (encloses rider’s
legs)
-Chaqueta (leather jacket)
-Sotas (knee breeches)
-Long drawers
-Leather leggings
-Spurs

9. Chaparerras
to
Chaparejos +
higher crown,
hatband,
ready-made
shirt and pants

10.  The main differences derive from a matter of function
 Vital in American culture, especially to those who live in the West
 Development due to changes in technology and culture

11. Individuality
Symbol of American heroism
Identity politics

12.  Traced back to Raf Simons
 Ralph Lauren is a long time
contributor
 Gianni Versace 90s archives

13. RAF SIMONS

14. RALPH LAUREN

15. GIANNI VERSACE

17. Pop Culture
 #MeToo Movement
 Female empowerment
 Rise in clothing traditionally associated with work uniforms and power-dressing
 Artists of color are using the cowboy trend to challenge and expand upon what it
means to be “American.”
 Lil Nas X, Cardi B, Solange
 Lil Nas X is reimagining who can be a cowboy in America

21. “In 2018, Dallas-native Bri Malandro
coined the term the “Yee-Haw Agenda” to
capture this trend of black artists
reacting to the cowboy narrative. By
updating the stereotype of the cowboy to
be more diverse, people of color reclaim
the term “American” and expand who is
allowed under this umbrella. This
reimagining of who is an American feels
very fitting at a time when the current
President has a violently racist vision of
what America should be and who is
welcome in it. The “Yee-Haw Agenda”
works against this. Through this Western
aesthetic, people of color are re-imagining
the notion of who is an “American”. ”
Via Mia Risher for Wesleyan Artifex

22.  Coachella was packed with over-the-top cowboy hats, boots, and
chaps (consequently nicknamed CHAPCHELLA).
 While the cowboy is masculine and hard-working, it is also flexible
and “meme-able”, and has therefore permeated into every corner of
the internet.
 All of these media forms are impacting each other and fueling the
country’s growing obsession with the Western aesthetic.

23. “ The Western aesthetic
has been reimagined to
be more polished,
elevated, and refined. As
British Vogue described
it, the trend is “less rodeo
cowboy, more Rodeo
Drive.” To do this, it is
easiest to pair one
statement Western piece
with more traditional
garments. ”
Via Mia Risher for Wesleyan Artifex

24. ….WELCOME TO THE
NEW FRONTIER.

25. 
https://fashion-history.lovetoknow.com/fashion-history-eras/cowboy-clothing
 https://www.fashionbeans.com/article/western-cowboy-trend-menswear/
 https://www.thedailybeast.com/western-duds-are-beguiling-city-dudes
 https://www.americancowboy.com/ranch-life-archive/history-rodeo-cowgirl
 https://www.wideopencountry.com/women-of-the-wild-west-10-legendary-women/
 https://www.refinery29.com/en-us/cowgirl-style
 https://www.newyorker.com/culture/photo-booth/black-cowboys-busting-one-of-americas-defining-myths
 https://www.dazeddigital.com/music/article/44018/1/musicians-cowboys-yeehaw-lil-nas-x-cardi-b-orville-peck-rdr2
 https://time.com/5652803/lil-nas-x/
 http://wesleyanartifex.org/all-articles/2019/5/12/why-the-wild-wild-west
 Books:
 Bisko, Charles. "The Peninsular Background of Latin American Cattle Ranching." The Hispanic American Historical Review 32, no. 4 (November 1952):
491-506.
 Cisneros, Jose. Riders Across the Centuries: Housemen of the Spanish Borderlands. El Paso: University of Texas, 1984.
 Dary, David. Cowboy Culture. Lawrence: Kansas University Press, 1989.
 Slatta, Richard. Cowboys of the Americas. New Haven, Conn.: Yale University Press, 1990, p. 34.
 Taylor, Lonn, and Ingrid Marr. The American Cowboy. Washington, D.C.: Library of Congress, 1983.
 Wilson, Laurel. "American Cowboy Dress: Function to Fashion." Dress 28 (2002): 40-52.