II. "Southwestern chic" became a national trend in the early 1950s. In 1951, New was the only Native American designer who participated in the Atlantic City International Fashion Show, winning national recognition. He began to consult with artists and incorporated silk screened fabrics using native motifs, such as Pima basket weaving designs, Hopi pottery patterns, Navajo and Zuni yei elements, drawing from a variety of tribal aesthetics. As with designers who followed him, his sacred symbols and iconography were modified to become secularized. To encourage other indigenous artists to enter fashion design and safeguard cultural traditions which he feared might be lost, in 1959 New turned his attention to education, sponsoring a summer design project, known as the Southwest Indian Arts Project. The experimental project eventually resulted in the founding by New and other artists of the Institute of American Indian Arts (IAIA) in 1962. The purpose of the school was to provide an education which fostered pride in students' indigenous heritage and featured the development of skills designed to improve their economic opportunities. New taught a printed textiles course focused on dying techniques, and Azalea Thorpe (Cherokee) taught weaving. Josephine Myers-Wapp (Comanche) was hired to instruct students in the traditional techniques used to make garments and accessories, laying the groundwork for the aesthetic appreciation of tribal traditions. She taught students to use traditional materials like feathers, leather and shells, and methods including beadwork, ribbonwork and weaving to create garments. By 1965, IAIA was hosting local fashion shows and within three years, the students had begun showing their works in other venues in Arizona, New Mexico, Texas, and New York. Within ten years, the reputation of the textile design programs at the school had gained international acclaim. In Mexico, before 1950 many indigenous communities were isolated and produced their own traditional clothing. As roads improved and people began moving from the countryside to cities, many put aside their traditional clothing, to blend in with their new cosmopolitan neighbors. In 1965, Gilberto Ortiz (Mixtec) moved from San Andrés Lagunas, Oaxaca, to Mexico City and began training as a tailor under German businessman, José Schroeder. Acquiring traditional European styling, his first major client was movie icon, María Félix. In 1978, Ortiz left Schroeder and partnered with the Italian businessman, Edmundo Calanchini. He designed mainly for businessmen and politicians until 1997, when he opened his own shop aimed specifically at the haute couture