The artist
Margaret Moses, a master beader.
His late grandmother. The hand the machine has to match.
The florals on the pillows, the vests, the Further throws: they are not a mood board. They are built to read as beadwork by Margaret Moses — Dene, of this family — and by his mother after her.
At Indigenous Fashion Arts, the Imbéh collection made the method public: computer-generated embroidery that has to look like a grandmother’s hand, then mixed with moosehide, northern fur, and a couture finish. Cahill’s Further uses the same inheritance on upcycled heirloom fur.
A master beader is not a footnote. She is the standard. The shop is the argument that her work belongs on a body and in a house, not only in a museum case.
Portrait from the family working file; NWT Archives credit on the original print (G-1995-001-1389). Confirm caption with him. Collection note after Indigenous Fashion Arts / Imbéh and Cahill’s Further.
Imbéh