This is a dark blue wool cloth dress with three bands of ribbon trim, red and white, along the bottom hem and sleeves. Individual teeth are tied in a yoke pattern on the front and back of the dress. The dress has rows and circles of brass and tin sequins on the skirt. Purple, ribbed silk binds the neck. The bottom hem has geometric cut edge so that it dips lower on each side than the front and back, a reference to historical hide dresses where the legs of the animal would be kept and oriented to the sides of the dress.

This kachina represents the Fire God Kachina.

The front of the headdress has a beaded headband in blue and white. From under the headband, trailing down the back is dyed red horse hair. Two long horns (beef horns) are on either side. A roach of bird skin and feathers is fastened to center of horsehair trailer. Four bands of dyed feathers are attached to a red wool trailer faced with cotton fabric that hangs down the back of the headdress. According to Sean Standing Bear 10/24/2000) the small concentric beaded circles on either side of the headdress are 'eyeballs.'

Three cut fragments of a ceremonial wrap skirt made of silk, with purple and red dyes. Two of the fragments are ends (b,c) with a thick red border along one edge; the larger fragment is from the centre. The design is a weft ikat resist technique (known as endek).

Ceremonial altar cloth in shades of brown and copper-gold. Black cotton warp, bronze metallic filament weft. Continuous and discontinuous supplementary weft with silk single filament yarn. Adat house motif, with buffalo heads.

Ceremonial women's wrap skirt. The two panels of hand dyed purple silk, hand-loomed with a discontinuous warp, are stitched together at a horizontal seam that runs across the middle of the skirt. The continuous and discontinuous supplementary weft of silver thread creates a band of triangular temple-like motifs along the bottom and one side edge of the skirt and several lines of silver stars within the body of the fabric.

Paisley wool shawl. Square of dark brown wool has a thick border of printed paisley motifs in gold, red, and blue. Two paisley tear-drop motifs are placed at opposing corners. The ends are left loose and fringed. Three small rectangles of black silk are hand stitched onto one edge of undersurface, at sides and centre.

Turquoise silk cloth with an overlaid purple centre panel and a looping gold filament border stitched on around the edge. The top surface of the runner-like cloth is covered with a decorative hand embroidery of mixed gold and copper filaments attached in a couching-technique known as stumping, with the resultant cross hatching of the ivory coloured thread covering the under surface. Cloth has long twined strands that hang out beneath metal fringe at both ends.

Long silk shoulder cloth (selendang). Dyed, using plangi and trikit resist technique, to produce a red ground covered with white squares, some large and filled pink, green and purple star bursts, others small and filled with red, green and/or yellow, all within a double white lined border.

Cloth fragment with a floral pattern of hand embroidery. Silky threads of red, pink, brown, gold, white and several shades of blue and green are stitched into a cream coloured fragment of fabric. Long edges are folded back and handstitched to the underside, one side with the addition of a piece of seam binding.