In stark contrast to the brass-laden grandeur of its companions, this Botolo hat from the Ekonda tradition radiates power through restraint. Forgoing frontal ornamentation, its strength lies in its architectural symmetry, subtly variegated patina, and the commanding presence of its base—encircled with geometric earth-toned pigment work. Acquired in the early 1970s in Kinshasa from a young Ekonda noble, this hat offers a rare glimpse into the quieter, perhaps more introspective side of chiefly regalia.

The headdress rises in a stately series of concentric brims, tightly coiled and layered with refined proportionality. Each tier is accentuated by time-worn flecks of ochre and camwood pigment—remnants of ritual application. The base displays a continuous band of chevron-like motifs painted in faded white, red oxide, and clay brown, likely symbolizing territorial lineage, river deities, or protective spiritual thresholds.

Though it lacks the commanding brass medallions that adorn many Botolo hats, this example aligns with Ekonda traditions of object rotation—where certain regalia were reserved for intimate rites or transitional ceremonies, often pertaining to inheritance, divination, or mourning. According to Biebuyck and Van den Abbeele (1984), the visual grammar of Ekonda regalia is not merely decorative but dialogic—communicating status, spiritual affiliation, and the wearer's active role within a cosmological system.

Its restrained elegance and rich surface texture make this piece especially appealing to collectors, scholars, and contemporary designers interested in minimalism rooted in spiritual complexity.