The high heeled tennis shoes, size 6, used for the base are made by shoe designer Steve Madden. Then the artist, Teri Greeves, hand sews all the beads and original design elements onto the canvas base. The design is inspired by the Great Lakes tribes’ designs, as Teri's husband, furniture designer, Dennis Esquival, is Anishinabe and she wanted to do something that reflects his region. Floral motifs, in complimentary colors are on the inside panel of each shoe with a coral, spiny oyster shell cabochon forming the center of each flower. The outside panels depict contemporary jingle dress dancers swaying to the throbbing drums and singing that accompanies these popular dances performed during powwows. During these dances each woman competes not only in dance performance but in over-all quality and beauty of their dance regalia. Before the 1830s the jingles on these dresses would have been made from porcupine quills but this material changed sometime in the mid-1800s to commercially traded tobacco can lids, rolled into cones. When prolifically sewn on to the dresses every movement would make them jingle. Each woman depicted on these shoes wears full regalia, inclusive of beaded dress, moccasins, and a belt with real silver conchos. This detailed beadwork melds traditional technique with modern day commerce into a lively, fun and remarkable sense of contemporary aesthetics. The shoes can stand alone as aesthetic sculptural works or as examples of creative change over time.

Consultants agreed this shirt was probably Metis or Santee (Eastern Sioux) made in the late 1800s. Style derived from Red River Métis sometimes called Eastern Sioux or Crow. Beadwork has long, spidery look i.e. Crow design where the flower sets in. So may be a mix- Métis inspired Eastern Sioux or Crow. Collar was originally navy blue now faded. The shirt might have been made for army personnel, as this was a popular souvenir to acquire.

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.

Shoulder cloth (selendang) of songket brocade. Hand loomed purple cotton cloth with continuous supplementary weft of silver wrapped cotton yarn creating rows of intricate floral motifs. Long fringe at both ends, one of which is finished off with a solid woven band of green.

Ceremonial skirt cloth (saput). Long maroon coloured cloth, hand woven on a back strap loom with discontinuous warp. The natural dyed silk is single sided and weft faced. Alternating rows of hand wrapped gold and silver thread designs decorate the central panel, framed within a gold border.

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.

Silver finger-ring with faint incised design. [CAK 26/05/2009]

Silver finger-ring with a central cross and floral motifs on the band. [CAK 26/05/2009]