Nuu-chah-nulth First Nations produce and create complex visual vocabularies through a range of mediums, including weaving, sewing, carving, painting, beading, embroidering, engraving, and silk screen printing, among others. Nuu-chah-nulth translates as “the people from the arc of mountains jutting out of the sea” and the name declares the centrality of Nuu-chah-nulth homelands, which include sea and land territories along the west coast of what is colonially known as Vancouver Island in British Columbia, Canada. Nuu-chah-nulth design work likewise asserts the centrality of haahuulthii (territories). As a form of visual sovereignty, crest images and design elements declare rights, sustain oral history traditions, create space, assert Indigenous presence, and resist oppressive and violent forces ignited by colonialism, capitalism, and racism. The longstanding history of exchange between Indigenous nations along the Northwest Coast and later, trade with Maatmalthnii/Mamalthnii (non-Indigenous people, directly translated as “people/person floating around on the water without a home”), has fueled dynamic and resplendent design work that continues to convey distinctive meanings and aesthetics of Nuu-chah-nulth nations and families. In this presentation, I draw upon ethnographic research that began in 2009, which included collaborative filmmaking, making and co-designing clothing and regalia, and travel to archives and museums across North America and Europe. I will discuss a series of documentary films about Nuu-chah-nulth design work, which are now part of the permanent display in the recently renovated American Museum of Natural History’s Northwest Coast Hall: Histakshitl Ts’awaatskwii (We Come From One Root) focuses on thliitsapilthim (large ceremonial screens); Mamuu (To Weave) explores survivance and intergenerational teachings about cedar and grass weavings amid environmental destruction caused by the logging industry; and Mapping Regalia in Hupacasath Territory, which examines the deep connections between material culture and specific places in Nuu-chah-nulth haahuulthii. I conclude by exploring the dynamic nature of Nuu-chah-nulth fashion and the complex ways it articulates with, challenges, produces and transforms relationships to places, people, and power.