‘When does innovation become tradition?’

Dorothy Grant: An Endless Thread
by Dorothy Grant (in collaboration with the Haida Gwaii Museum)

Vancouver: Figure 1 Publishing, 2024
$50  /  9781773272412

Reviewed by Amy Tucker

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In 1989, Dorothy Grant took a bold step that would redefine Indigenous fashion. Her Feastwear collection—an unprecedented fusion of Haida formline and contemporary haute couture—was a declaration that Indigenous artistry belonged on the world’s most prestigious runways. Over three decades later, Grant’s influence remains as strong as ever, her designs continuing to challenge the boundaries between cultural tradition and modern fashion. Dorothy Grant: An Endless Thread is a long-overdue monograph chronicling this remarkable journey, weaving together personal reflections, scholarly insights, and breathtaking visuals that highlight her pioneering career in Indigenous fashion.

Much like the Raven Comes Full Circle exhibition at the Haida Gwaii Museum, this book celebrates Grant’s artistic achievements and a broader commentary on Haida’s cultural resilience and innovation. Central to Grant’s philosophy is the idea that fashion is more than fabric—it is a living, evolving reflection of identity. As she states, “Fashion moves through time and is a reflection of where our culture is at that time. My vision during my entire career has been to honour Haida art and my Ancestors, to help keep it alive from one generation to the next.” This theme sets the foundation of the book’s exploration of Grant’s work, from her groundbreaking Feastwear collection to her meticulously crafted garments worn at global events.

Grant has always defied expectations, refusing to conform to mainstream notions of Indigenous fashion. Early in her career, she faced resistance from an industry that sought to define Indigenous art through a colonial lens. Her rejection of stereotypical imagery is evident in her response to those who dismissed her work: “We must eliminate the days when we are all expected to wear beads, feathers, bows and arrows, and fringe to please your ideal image of what Native dress should look like!” 

Instead, she redefined Indigenous couture, seamlessly integrating Haida formline into contemporary silhouettes. Her garments are not mere adornments; they are declarations of cultural pride, visual manifestations of a living tradition. This idea is reinforced by the Haida concept of liis—the ancestral thread that ties past and present. 

The book’s stunning visuals bring Grant’s work to life. Archival images from the 1989 debut of Feastwear, alongside photographs from the Haida Gwaii Museum’s 2023 shoots, provide a tangible sense of how her designs have evolved. The book also includes sketches, close-ups of intricate beadwork, and behind-the-scenes shots to immerse readers further in Grant’s creative process. Her Raven capelet, famously worn by Governor General Mary Simon during a state visit with King Charles III, exemplifies her continued impact on contemporary fashion.

Reflecting on this moment, Grant writes, “Seeing photos of them together, him in his traditional white cape, I was struck by the similarity of the silhouettes (and how her cape stood out loud and clear). This was another full-circle moment, and it brought me to tears.” 

A central question throughout Grant’s career is: “When does innovation become tradition?” Her garments are innovative and deeply personal, imbued with the transformative power of self-expression. Grant describes this experience: “I made people feel good about themselves, I let them know that they can walk in any door and claim whatever they were asking for… That sense of who you are and where you come from is the anchor to everything.” 

This philosophy shaped her approach to fashion, particularly in the 1990s, when Indigenous professionals sought attire that reflected their cultural heritage and leadership positions. “Fashion is about positive feelings and what we project out to the world. For a business owner, a lawyer, or any serious professional woman in the 90s who was taking control of her career destiny, a power suit was an absolute must-have. It was about making a confident entrance… A power suit can be transformative, filling the wearer with pride.” 

Beyond personal empowerment, Grant’s work has also served as a powerful statement of Indigenous sovereignty. Juliette Sicotte contextualizes this within broader political movements: “There is a parallel between Dorothy’s fashion and all of the advances in Indigenous rights and self-governance that were going on in the courts in the 90s. It was more than just fashion. You were making a political statement wearing a Dorothy Grant.” 

While Dorothy Grant: An Endless Thread excels in celebrating Grant’s artistic and cultural contributions, it does not engage as deeply as it could with the challenges she faced. Indigenous designers often struggle with funding, industry exclusion, and the appropriation of their work, yet these structural barriers are only briefly acknowledged in the book. A more critical analysis of how Grant navigated these issues—and how they persist for Indigenous designers today—would have strengthened the book’s broader impact.

Similarly, while the book solidly positions Grant as a trailblazer, it does not fully explore her place within the more considerable resurgence of Indigenous fashion. Her influence on the work of contemporary Indigenous designers would have provided a richer understanding of her lasting legacy.

While engaging, the book’s structure occasionally feels fragmented. Some transitions—such as the shift from Grant’s reflections on the Raven Creation Tunic to a discussion of Haida trade practices —could be smoother, making it more accessible to readers unfamiliar with Haida art. A more cohesive framework would have allowed the narrative to flow more seamlessly.

Despite these minor shortcomings, Dorothy Grant: An Endless Thread remains essential for those interested in Indigenous fashion, cultural storytelling, and Haida artistry. Grant states: “We are still here—and we are not just surviving, we are thriving. We continue to add beauty to our world.” This book is more than just a monograph—it is a visual and cultural treasure. The book’s brilliant photography elevates it beyond a traditional fashion retrospective, offering an immersive experience that captures the essence of Grant’s artistry. The stunning imagery—from archival photos of her early designs to recent Haida Gwaii photoshoots—brings her garments to life, allowing readers to fully appreciate the precision, elegance, and storytelling embedded in each piece. Close-ups of intricate formline details, rich textiles, and expertly tailored silhouettes ensure that the book is an academic and historical resource and a work of art.

For those passionate about Indigenous fashion, art, and cultural preservation, this book is an essential addition to any collection. Whether you are a fashion scholar, an artist, or simply someone who appreciates beautiful books, Dorothy Grant: An Endless Thread offers a compelling blend of stunning visuals, insightful narratives, and a celebration of Indigenous creativity. It is, in every sense, a testament to Grant’s enduring influence on fashion and Haida culture—one that will continue to inspire future generations.

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Amy Tucker is an educator and researcher with more than two decades of experience in post-secondary education. Since 2001, she has worked as a University Instructor and Open Learning Faculty Member at Thompson Rivers University (TRU). Her primary areas of focus include education, training, recruitment, career development, and management. Her research emphasizes decolonizing education, promoting reconciliation, and advancing principles of equity, diversity, and inclusion (EDI) in both academic and community settings. In addition to her academic work, Amy enjoys outdoor activities such as running, swimming, cycling, hiking, and kayaking. Her adventurous spirit shines through in her participation in various athletic events and her passion for exploring the natural beauty of British Columbia. Amy shares her experiences as an athlete in her newspaper column, “The Accidental Athlete,” which appears in the Kamloops Chronicle. Kukwstsétsemc. [Editor’s Note: Amy Tucker has reviewed books by Melissa Hafting, Theo Dombrowski, Margaret V. Ostrowski, Sara Ellison, Jody Wilson-Raybould, and Peter Edwards & Kevin Loring for The British Columbia Review.]

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The British Columbia Review

Interim Editors, 2023-26: Trevor Marc Hughes (non-fiction), Brett Josef Grubisic (fiction)
Publisher: Richard Mackie

Formerly The Ormsby Review, The British Columbia Review is an on-line book review and journal service for BC writers and readers. The Advisory Board now consists of Jean Barman, Wade Davis, Robin Fisher, Barry Gough, Hugh Johnston, Kathy Mezei, Patricia Roy, and Graeme Wynn. Provincial Government Patron (since September 2018): Creative BC. Honorary Patron: Yosef Wosk. Scholarly Patron: SFU Graduate Liberal Studies. The British Columbia Review was founded in 2016 by Richard Mackie and Alan Twigg.

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