I am a mixed-blood member of the Turtle Mountain Band of Chippewa, a tribal nation centered high in North Dakota, 10 miles from the Canadian border. My mother, Rita Gourneau Erdrich, sewed my clothes. Fashion starts in childhood. We instinctively love what is right for us. A dress of dark turquoise patterned with black flowers. A sparkling white pinafore with sunflower buttons. A pair of beaded moccasins made of tanned fawn skin, trimmed with red ribbon work. These were precious to me.
Like my background, my message has always been mixed. I went to college on a Native American Program scholarship wearing a denim miniskirt, brown tights, red cowboy boots, and my father’s knit oxblood teacher’s vest. In the ’70s, out of college, joining American Indian activists, I asked my mother for a ribbon shirt and a calico ribbon dress, which I wore with a treasured Borsalino hat from my Italian boyfriend. The hat was like the fedoras my Ojibwe grandfather, a tribal chairman, rocked in the 1940s. I wore the ribbon dress and hat to rallies in Fargo and marches in Washington, D.C., demanding that the United States, which has a government-to-government relationship with tribal nations, honor the treaties that our ancestors made in good faith. If it seems frivolous to dress in a certain way to register outrage or make a political point, just look at the Native leaders of that time. They knew then, and Indigenous protesters know now, that to display pride in our traditions is a powerful statement.
For a time, as a young mother and writer consumed by care, I let my husband choose my clothes and even my hairstyle. I became a sedate Catholic matron for a few years. But then my mother sensed I needed to return to her protection. She made a dark-green dance shawl for me, patterned with prairie roses and beaded vines. A Turtle Mountain friend painstakingly sewed a traditional jingle dress for me, black with embroidered dragonflies, for courage. More recently, another Turtle Mountain friend gave me a blue skirt patterned with water droplets and appliquéd with Ojibwe flowers, a water skirt. I wore the jingle dress to dance with my daughters and other Native women at the George Floyd memorial in Minneapolis, and the water skirt comes with me on book tours.
In our traditions, women are in charge of water. These calico skirts, made opulent with stripes of satin ribbon, visibly state our responsibility. Peggy Flanagan, White Earth Band of Ojibwe and our lieutenant governor here in Minnesota, proudly wears her water skirts and is loudly opposed to the Line 3 pipeline, which would disrupt our wild-rice beds, cross the headwaters of the Mississippi River, and contribute immeasurably to climate chaos.
Indigenous people create tribally specific clothing for many reasons—to express belonging, enter ceremony, show resistance, and to dance. Most important, I think our clothing makes a simple point. We are still here. There are 574 federally recognized tribal nations in the U.S. What we wear is unique to our particular tribal background. As I say, my look is always mixed but includes Chippewa, Ojibwe, or Anishinaabe influences, as well as Métis woodland-based patterns and complex flower beadwork. This style has been most beautifully interpreted by Métis artist Christi Belcourt, whose painting Water Song was used as the basis for several Valentino pieces in 2015.
In writing this, I don’t want to invite the careless to don Indigibberish outfits like fake eagle-feather headdresses or plastic–bone pipe breastplates. So I’m going to divide Native apparel into two categories: sacred traditional and contemporary Native fashion. In the first category, there is the jingle dress, a healing garment that incorporates metal cones. The shaking of the cones is mesmerizing; the sound is meant to heal. The Mille Lacs Indian Museum and Trading Post in Minnesota is hosting a show on the jingle dress, curated by Brenda Child, Red Lake Nation, that includes a dress made from a woman’s police uniform. The artist Maria Hupfield, Wasauksing First Nation, has created a jingle dress of regular blue-lined writing paper, printed with the names of over 500 North American Indigenous authors. Families all over Indian Country pool resources to outfit their powwow dancers in mind-blowingly elaborate regalia that is unrepeatable and impossible to mass-produce. How do you manufacture love?
In the second category, there’s cushy footwear, perfect for working at home. As I write this, I am wearing a pair of moccasins from Manitobah Mukluks, an Indigenous-owned company. The owner of Beyond Buckskin, Jessica Metcalfe, Turtle Mountain Chippewa, sources grassroots designers who incorporate Ojibwe language into objects available from her online store. The nonprofit Honor the Earth sells bold graphic designs that anyone can wear to show solidarity with the Native fight for climate justice.
These days, the only way I have to express Indigeneity in public life is to wear jewelry, especially beaded earrings, on Zoom appearances. Wheels of antique beads made by Pe Hin Sa Win, Red Hair Woman, give me the comfort of a family friend. Josef Reiter’s heavy Anishinaabe silverwork cuff gives me strength. Sweetgrass-trimmed birchbark circle earrings from my oldest daughter remind me to use our language. Another daughter made me a golden eagle–winged medallion that illustrates my Ojibwe name.
I know who makes the special things I wear. I know the history of each design. Each piece has meaning that gives depth to the moment, to the day, to my life. I wear adornment that keeps me close to my origins and to the earth; I have a rich connection with the people who make my favorite garments and jewelry. And I feel extra satisfaction when I wear something that expresses that relationship and also expresses me. Isn’t that supposed to be what fashion is about?
Louise Erdrich is the author of over 20 books, including the National Award-winning novel The Roundhouse.
Indigenous fashion is more than tradition. Louise Erdrich of the Turtle Mountain Band of Chippewa reflects on how Indigenous garb, from calico skirts to traditional jingle dresses, has encouraged expression throughout her life. “Indigenous people create tribally specific clothing for many reasons—to express belonging, enter ceremony, show resistance, and to dance. Most important, I think our clothing makes a simple point. We are still here.”
The Great Northern celebrates our cold, creative winters through ten days of diverse programming that invigorate mind and body. In an era of changing climate that threatens our signature season, we seek to create community, inspire action, and share the resilient spirit of the North with the world.
Due to COVID-19, the activities will span two weekends to better spread participants out on the courses. There will also be hybrid/virtual options for some of the events. Please check Loppet’s Event Updates Page for more information.
City of Lakes Loppet: Luminary Loppet
City of Lakes Loppet: Luminary Loppet*
Jan 29-31, 6pm-10pm
Feb 5-7, 6pm-10pm
The Trailhead – 1221 Theodore Wirth Parkway Golden Valley, MN, 55422 United States(map)
The non-competitive, Luminary Loppet is the Twin Cities’ most magical event of the season, as well as the primary financial driver that enables the Loppet Foundation to pursue its mission of creating a shared passion for year-round outdoor adventure in the Minneapolis area, focusing on underserved youth and families. Walk or snowshoe over Theodore Wirth Park’s groomed ski trails alongside candle-lit luminaries outlining a serene landscape of glowing ice celebrating winter in the Bold North.
*Registration is full. Please understand that spots are quite limited at this time due to current state COVID guidance. This guidance may change January 10. If that is the case, registration may open a few days after that with new caps. Learn more and sign up for the waitlist.
Eleven, a Ryan Companies US, Inc. and Arcadia LLC project, is the first residential development in Minneapolis designed by world-renowned architecture firm, Robert A.M. Stern Architects (RAMSA). When completed in 2021, the 41-story condominium project, located in the Mill District along the Mississippi riverfront, will join the city’s globally recognized array of signature buildings by the world’s most revered architects.
RAMSA has a highly regarded portfolio of projects worldwide, including residential towers in New York City, Chicago, Toronto, Shanghai, China, Taipei, and Taiwan. Eleven, RAMSA’s first Minneapolis project, will add to an architecturally significant skyline that includes cultural and office buildings by Philip Johnson/John Burgee Architects, Herzog & de Meuron, Jean Nouvel, Steven Holl, Cesar Pelli, Michael Graves, and Antoine Predock. At 550 feet and 41 stories tall, Eleven will be Minneapolis’ tallest residential building. Eleven’s timelessly classical design contextually reflects the industrial vernacular of the extant and repurposed mill buildings in the area. Durably constructed of masonry and glass, the elegant building tapers to a slim tower, with floorplates of 12,500 square feet near the base and 6,800 on the top floor. The podium on floors one through seven includes parking and 12,500 square feet of commercial space.
Private and secure, Eleven’s tower floors each have five units or fewer; some have only one. Most residences include a private corner terrace that’s at least 14 x 14 feet. Every unit provides panoramic views of the river and the city.
Building amenities will include a large landscaped rooftop deck with a 25-yard lap pool, a private motor court with 24/7 doorman service, an expansive fitness suite, a demonstration kitchen with dining, a library, a golf simulator, and a kids’ splash pad. RAMSA designed one of three curated design options for the residences.
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When completed, Eleven will infuse Minneapolis’ architectural legacy, housing stock, and cultural scene with a vibrant new master architect-designed building. Eleven will also join RAMSA’s ever-expanding registry of superlative urban apartment houses that enhance their cities with portraits of place, including 15 Central Park West in New York for Zeckendorf Development, and One Bennett Park in Chicago for Related Midwest. Like those luxury residential buildings, Eleven’s design reflects RAMSA’s singular architectural methodology. RAMSA’s deep research into and study of design precedents, and the inventive application of the principles of Classicism, have resulted in strategies for the organization and massing of tall apartment houses. In Minneapolis, RAMSA will create a sculpted tower with terraces that express a positive, open relationship to downtown Minneapolis, the Mississippi River, West River Parkway, and adjacent streets. The result is an exemplary intersection of style and content.
About Arcadia LLC
Luigi Bernardi serves as president of two real estate development and investment companies, Arcadia LLC and Aurora Investments which began developing Twin Cities commercial real estate in 1987. Now, focusing on medical-related facilities and multi-family residential development, recent projects include the Velo luxury apartments in downtown Minneapolis’ North Loop neighborhood and Aurora on France in Edina.
About Robert A. M. Stern Architects
Robert A.M. Stern Architects is a 265-person firm of architects, interior designers and support staff that has earned an international reputation as a leading design firm with wide experience in residential, commercial, and institutional work throughout the U.S. and around the world. The firm’s extraordinary portfolio of residential buildings, combining its longstanding dedication to the design of private residences with its deep commitment to urban place-making, includes such record-setting landmarks as 15 Central Park West in New York for Zeckendorf Development and residential towers in Boston, Philadelphia, Washington, Atlanta, Dallas, Chicago, Los Angeles, Toronto, and Vancouver. “Eleven” is the firm’s first project in Minneapolis.
Robert A.M. Stern, FAIA, practicing architect, teacher, and writer, served as Dean of the Yale School of Architecture from 1998 through June of 2016. As founder and Senior Partner at Robert A.M. Stern Architects, he directs the firm’s architecture, planning, interior design, and landscape design projects. Mr. Stern was the 2011 Driehaus Prize laureate and has received both the Athena Award from the Congress for the New Urbanism and the Board of Directors’ Honor from the Institute of Classical Architecture & Art.
Paul L. Whalen, FAIA, is a Partner and Studio Leader at Robert A.M. Stern Architects whose work includes the design of record-setting multifamily residential buildings across the United States as well as in Canada, South America, Europe, and Asia. Along with Mr. Stern, Mr. Whalen is co-author of the 2016 monograph City Living: Apartment Houses by Robert A.M. Stern Architects. He currently serves as the President of Sir John Soane’s Museum Foundation.
Minneapolis History: The First Kentucky Fried Chicken in Minnesota at 2500 Hennepin Avenue (1978)
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Thrillist: We Tried KFC’s New & Improved Chicken Sandwich to See if It’s as Good as Popeyes’. So who’s it gonna be? Popeyes or KFC?
When Popeyes first debuted its now-famous chicken sandwich back in early 2019, few could have predicted the fried poultry arms race that quickly ensued. To this day, other fast food chains—from Church’s Chicken to McDonald’s—have been attempting to topple the reigning champ with upgraded chicken sandwiches of their own, but with little success. That is, until KFC threw its hat in the ring.
KFC recently announced that it’s finally rolling out an all-new and improved fried chicken sandwich at its restaurant locations nationwide over the next few weeks, following a successful test launch in the Orlando area last spring. The sandwich features all the staple ingredients: a double-breaded and extra-crispy chicken breast filet, thick-cut pickles, and your choice of mayo or spicy sauce—all on a toasted, buttery brioche bun. The ensemble is nearly identical to that of the Popeyes sandwich, so we couldn’t help but put the rookie sandwich up against the GOAT.
We ordered both spicy and classic chicken sandwiches from Popeyes and KFC to answer some serious questions in the name of journalism. How do the two sandwiches differ? Which chain uses the best pickles? How do the sauces stack up? We broke it all down.
Where can you get KFC’s new sandwich?
As of this writing, KFC’s new chicken sandwich isn’t as easy to get as Popeyes’ chicken sandwich, which after a month’s long shortage, has been available at the Louisiana-style chain’s locations nationwide without interruption since November 2019. KFC’s sandwich is making its debut on city-by-city basis—beginning with Chicago, Kansas City, Louisville, Portland, St. Louis, Sacramento, San Francisco, Seattle, and Tulsa. You can expect a full, nationwide rollout by the end of February. Until then, Popeyes has a clear edge on this front.
The Overall Sandwich
Yes, KFC’s sandwich formula sounds a lot like Popeyes, with its crispy chicken breast (like Popeyes) stacked on a buttery brioche bun (like Popeyes) with thick pickle slices (like Popeyes), and your choice between classic mayo or spicy sauce (yep, you guessed it, like Popeyes). But just because the sandwiches sound similar, doesn’t mean KFC’s is a copycat. We can all agree that this combination of ingredients is pretty standard for a fast food fried chicken sandwich. We’ve got to break down each element.
The Bun
With both sandwiches positioned next to each other bun-to-bun, it was immediately evident that Popeyes’ sandwich was a tad taller. The Popeyes sandwich I received had a slightly thicker piece of chicken and a thicker brioche bun, though it’s worth noting that both of those things can naturally vary in size from order to order. Despite the size of Popeyes’ bun, I found KFC’s to be much lighter (in a good way, like a potato bun), fluffier, and softer. This bun allowed KFC’s chicken to shine.
The Chicken
Off the bat, Popeyes’ chicken appeared to have a more golden-brown breading and a crunchier texture. Bites from both sandwiches confirmed my suspicion. While KFC’s chicken was certainly crispy on the outside and delightfully tender on the inside, I didn’t detect quite the same crunch as with the Popeyes sandwich. Popeyes’ chicken still pulled ahead.
As far as flavor goes, the chicken on the sandwiches featured the respective chains’ unique, signature seasonings that are instantly familiar. Both are tasty in different ways. KFC’s secret 11 herbs and spices give the juicy chicken a big pop of flavor, while Popeyes’ Louisiana-style seasonings provide a nice kick.
COURTESY OF KFC
The Pickles
A great fried chicken sandwich is nothing without its great pickles. So, it should come as no surprise that KFC dedicated serious time and effort to getting its pickle selection right. A spokesperson for the chain told Thrillist that its culinary development team tested eight different pickles before it landed on a winner. My expectations were understandably high going into my first bite.
I was not disappointed. The crinkle cut pickles were not only thicker than Popeyes, but had a notable crunch that was missing from its competitor’s briny cucumbers. Popeyes’ pickles are exceptional—Thrillist awarded them MVP (Most Valuable Pickle) at its annual fast food awards in 2020)—so I can’t emphasize enough how big of a deal it is that KFC’s are better.
The Sauce
KFC’s spicy sauce had a brighter orange color than Popeyes’, which led to me to hope that it would translate into a hotter sandwich overall (Popeyes’ spicy chicken sandwich offering doesn’t bring much heat in my opinion). That it did. KFC’s sauce was creamy, rich, cajun-flavored, and decidedly spicy.
The two regular, non-spicy sauces are pretty straightforward. Both KFC’s and Popeyes’ respective mayos add smooth finishes to every bite you take, but you’re missing out if you don’t order the spicy version.
Is KFC’s chicken sandwich better than Popeyes’?
Short answer: no. Popeyes’ sandwich is still on top. Though, as of now, KFC is the only other fast food chain to come remotely—remarkably—close to knocking Popeyes from the top of the fast food chicken sandwich pecking order, thanks to its superior sauce and perfect pickles. For that, I commend the Colonel. KFC’s chicken breast—with its inferior breading and relative lack of crunch—is what holds this sandwich back.
