Woman's ceremonial cloth (saput). The cloth consists of two panels of red silk, hand loomed on back-strap loom with discontinuous warp and dyed with a weft ikat resist technique-known as "endek", that are sewn together with the seam down the centre. A songket supplementary weft of silver covered threads divides the central design into four rows of rectangular shapes with tall tree-like cones at either end. Within the rectangles is a red, orange and cream weft ikat.

Patola ceremonial cloth of silk, dyed blue, red and cream with an ikat warp and weft resist technique. The geometric jewel motif (ratan chok bhat), runs down the centre of the cloth and there is a border of stripes on either side, one of which has been machine-sewn on. The long edges are machine-hemmed and the ends have been cut. A smaller piece (b) has been machine-hemmed on all sides.

Ceremonial altar cloth (tok wi). Long rectangle of green silk with imbedded floral patterning is hemmed on three edges and has a border sewn along the fourth edge, consisting of three different strips of fabric hand embellished with couching techniques and embroidery in gold, silver and blue thread. Two edges are lined at the back with strips of an orange coloured silk.

The cloth is black and silk. The thread is gold.

The wool cloth is dark purple. The button is silver and thread. The silk is dark purple.

'In the Spirit of the Ancestors'-In 1991, I commissioned Dorothy Grant to make me a coat. My nani coat, I called it, in honor of Florence Edenshaw Davidson, my teacher, collaborator, and surrogate grandmother (nani). The design tells of Florence's and my collaboration. On the front: Raven (nani Florence) telling the story; on the back: Frog (me) receiving it. I wore this coat to Florence's memorial potlatch in October 1994. - Margaret Blackman

The bear grass is red and orange. The ribbon is silk and brown.

The kilt is wrapped around the waist and tied in place, the lower fringe reaching below the knees. In full dress the performer wears similarly made leggings below the knee, a button blanket or Chilkat blanket over the shoulders, and the appropriate mask or headdress. The kilt is a rich visual and auditory part of the whole ensemble. (Holm, Crooked Beak of Heaven, 1972)