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Specific Techniques

The pieces are sewn together with an overcast stitch.

Description

Man’s outer coat, or parka, with a narrow, close-fitting pointed hood. Two rounded chest panels of white fur are inserted in front of coat. Hood, sleeves and hem are trimmed with white fur. Coat is waist length with long rectangular tail on the back. Form of tail is repeated with small band of white fur on tail. On the front and around the hood small bands of white fur are inserted. Two white bands are inserted in the upper part of the sleeves. White fur fringes are attached to hem and shoulders, and a tuft of white fur is inserted on the back between the shoulders. A metal button is attached to the back of the coat.

History Of Use

This style of clothing was worn by Copper Inuit men until the 1920’s. The button on the back was used to suspend a bag with small hunting tools. A narrow strip of skin was sewn on the inside of the hem to prevent it from rolling up. The insulating capability of animal skins is enhanced by the practice of wearing two layers of skin clothing, especially in winter. One layer of clothing is worn with the fur on the inside and a second layer is worn with the fur on the outside. The clothing also is designed so as to minimize ingress of wind and cold. During winter men and women wear two hooded waist-length coats, two pairs of trousers, two pairs of stockings and boots, and mittens. Men often wear a longer, heavier outer coat when outdoors in winter. While mass-produced clothing from the south is now commonly worn, the making of skin clothing is being revived. In the Arctic, the making of clothing is considered as important as the creation of sacred objects. Aside from its important function as protection against the cold, clothing is imbued with power and spirituality. Women as seamstresses play an extremely important role in the expression of cultural value and meaning. The clothing of each group is cut and decorated according to distinctive cultural aesthetics. In addition to expressing the group’s identity, seamstresses express the beliefs and values of the group through clothing, which marks social identities like gender, age, childbearing status, and geographical origin. Clothing also expresses the special relationship of people in the Arctic with the animal world. People, animals, and spirits are subject to metamorphosis. Clothing often refers to this ability to transform, and could effect such a metamorphosis.

Iconographic Meaning

The white bands on upper arms signify a man’s upper arm and shoulder muscles that are so important while hunting. The outline of white fur on the back tail is indicative of an animal’s tail. The white tuft of fur on the back refers to a caribou’s tail. By incorporating all these references the hunter identified with the animals. The paired narrow fringes along the tail were replaced each spring in anticipation of the return of the caribou.

Narrative

Pierce donated this collection to the UBC Geology Museum in 1932, from which it transferred to the newly-opened Museum of Anthropology in 1948. Michell Pierce put together this collection of examples of Copper Inuit clothing and implements, while working in the area for the Hudson’s Bay Company. Before going to the area, he interviewed Dean Brock and M.Y. Williams about the possibility of collecting for UBC while there. This was the second collection he assembled, as the first was lost when the ship carrying the materials was caught in the ice.