This Haida spruce root hat, dating to around 1900, is both a work of technical mastery and an object of practical necessity. Woven with a diagonal twined weave along the band, the hat is structurally segmented by a crisp row of three-strand twining, visually and materially separating band from brim. The brim itself features a skip-stitch twining technique, forming a rhythmic vertical zig-zag—or what is often referred to as a “snail’s track” pattern—offering both visual texture and structural integrity.

The composition is finished with an intricate three-strand braided edge, a detail that speaks to the maker’s precision and care. Yet beauty here is inseparable from function: the tight weave forms a near-waterproof surface, a crucial defense against the relentless rain of the Pacific Northwest Coast. Inside, remnants of strap fastenings suggest a hat made not just to endure the elements, but to stay firmly in place through them. It is, in the truest sense, a garment designed for both resilience and grace.

—First Arts with Sarah Raven