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Specific Techniques

The fur used in the decorative trim is shaved to make a more clear and crisp pattern. The pieces of the coat are sewn together with an overcast stitch.

Description

Men’s outer coat, or parka, of brown caribou fur. The coat is thigh length, flared at the bottom and the back is slightly longer. The coat has a close fitting hood with white side panels that extend down into the front in triangular gussets. The hood is trimmed with a band of white fur that is facing inward. The sleeves are trimmed with a band of white fur. The hem of the coat is decorated with alternating strips of white fur, green cloth and black and white checkerboard bands. In the shoulder seams two white bands are inserted. On the back of the coat at the base of the hood a tiny pouch is created by using more fur than is needed. A triangular piece of white fur is attached under the chin.

History Of Use

This type of men’s outer coat came into use in the 1920’s. This style was probably influenced by north Alaskan/MacKenzie region style clothing. The decorative band along the hem is known as “Delta trim”. This type of decoration spread east from the MacKenzie Delta area and is now found all over the north. Later these types of decorations were made with coloured cotton bias tape. 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

White gussets in front of coat refer to walrus tusks.

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.