The spindle whorl is an important symbol for the Salish people, even though spinning wool and plant fibres into wool is no longer a great part of Snuneymuxw life. The job of spinning dwindled when factory-spun wool became available and trade blankets replaced Snuneymuxw weaving. Women who would have spun the wool went to work in the fish canneries in the early 20th century. Hand-held spindles were replaced by converted sewing machines, for faster, easier wool spinning.

The importance of the blanket, and therefore the spindle whorl, has remained. Much as other coastal First Nations have chosen specific masks or totems to represent their people through logos, clothing and internet graphics that represent their people through specific masks or totems, the Snuneymuxw have looked to their great heritage of spinning and intricately carved spindle whorls as a symbol of their culture. The Snuneymuxw First Nation uses the image of a spindle whorl carved with a human figure on their letterhead and business cards. The Band Office, which is the community and administrative centre for the health, education and community planning of the Snuneymuxw, has a large circular window over the main entrance. The glass of this round window, which looks out upon their traditional territory, is etched with the image of the spindle whorl.

Contemporary artists have found new ways to use the spindle whorl image in their work. Although some carvers still create the beautiful whorls, others are using the carved surfaces as printing blocks. By applying ink or paints to the wood and using printmaking techniques, they can transfer the pattern from the whorl onto paper. The silkscreen work of Snuneymuxw artist James Johnny is in the Royal British Columbia Museum and other collections.