The study of the surviving trade masks from the 19th century suggest that the first masks made strictly for sale to Europeans and Euro-Americans were first created by the Haida in the 1820s (Macnair et al. 1998: 53-60). These masks are similar to those created for ceremony, however, they lack the rigging that would allow them to be worn during a preformance. Common features of performance masks being a bite piece that a dancer would grip between their teeth, and cordage that would fasten it to a dancer's face. In addition to them not being used in the traditional fashion, scholars have concluded that these masks are representative of a shift towards a new tradition of mask making (MacDonald 1996; Macnair et al. 1998: 56).
There are many portrait masks that depict women with labrets, however scholar Bill Holm recognizes that a group of these masks all with similar features are particularly unique, and the work of the same Haida carver during the early to mid 19th century. These masks have large open eyes, a small narrow nose, a wide mouth with a large labret, and are carefully painted with red and blue designs, possibly representing facial tattooing or painting. This mask, belonging to the "Jenna Cass" type, was made for sale and was not used during ceremony. This style of mask may have been one of the earliest that was produced exclusively for trade and continued to be produced by artists into the 20th century. The name "Jenna Cass" is suggested by Holm to be the anglicized interpretation of the Haida word Djilakons, the name of an ancestress of the Haida Eagle moiety (Macnair et al. 1998: 66-75).