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‘ In our world, it is understood that you cannot separate the land from the water; they depend on each other to make the whole. In the same way, you cannot separate art from our way of life, for without this context it has little meaning. Haida art is a part of Haida culture, introduced by the supernaturals and developed by the Haida people over thousands of years. In its truest function, our art represents who we are and where we come from.’ Jisgang (Nika Collison), of the Ts’aahl Eagle Clan. “Raven Travelling, Two Centuries of Haida Art”

Án hl dánggat! Smile!

Artist Statement

Most fashion pieces are created from pre-patterned 2 dimensional yardages cut and sewn into a finished sculptural form. Yáahl, Gúud, Tsai starts with the sculpture. Recycled curtain sheers, once diaphanous boundaries between our homes’ inner and outer worlds, are shaped to become transparent boundaries between the bodys’ inner and outer worlds.

This relationship inspired our idea to layer Haida crests onto these structures. Haida formline animals, depictions from the landscape of Haida Gwaii, also illustrate stories of their supernatural relationship with the Haida people. For thousands of years, Haida storytellers/carvers/painters/weavers have illustrated depictions of the relationship between all living beings from under the surface of the water, through the surface of the sky or upon the earth. We aspire that our layering of these beings upon diaphanous clothing further illustrates this relationship. Everything is one, together.

Áatl’aan uu dáng íijang . You are here.

The blank structure is the canvas. The imagery of the entire construct is in one piece, passing through seams and over neck holes, around arms and under hems; there is no limit to where the image, the story, can go. The woman’s body brings the story to life through her shape and movement.

It is our mandate to fulfill the ethical consumers’ desire for uniquely designed clothing by transforming discarded materials into art structures for women. We want to provide wearable art within which women can celebrate the Haida culture.

The clothing is intended to illustrate the layers of women’s experiences within, on and outside their body; reflections of self, processes of transformation, foundations of cultural identity. We wish to inspire metaphors for healing and acceptance; inviting new ways to interpret oneself and how one wants to be seen in the world.

Wear and Care

Yáahl,  G̱úud, Tsai pieces are  long lasting because the material, although translucent, is tough; stain/sun/fade resistant. Wash by hand, hang dry, no ironing necessary.

  • Clothing lasts longer and uses less energy when hand washed and hung dry.  However, a machine wash and dry will not harm your new Yáahl, Gúud, Tsai piece. Nor will dry cleaning.
  •  If you choose to iron your Yáahl,  G̱úud, Tsai garment, you may use a hot iron with steam.
  • To maintain the back pleat on the Smock or the many pleats of the Piano Pants, ensure you press the pleats closed at their crease/s. Polyester has a heat memory and the pleats are permanent through many washings and dryings but will ‘soften’ if pressed open, losing the designed integrity of the piece. 
  • Your new piece will arrive in a scarf made from offcuts (leftover fabric from when structured pieces are cut) and printed with imagery or a recycled scarf printed with 14 ways to wrap a bundle.  The wrapping style is called furoshiki, a Japanese technique that uses square cloths to create bundles.

“Wendy and Reg’s collaboration is an elegant fusion of contemporary fashion and Haida artistry. Their pieces become a part of significant areas of our lives in a beautiful way.”

Marilyn Slett,

Heilksut Chief

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