The five large, community-stitched panels known collectively as the Women’s Tapestries have been removed from the members’ lounge of the Yukon Legislative Assembly in Whitehorse for restoration and protection while repair work is done on the lounge wall.
Community artwork, long on public view
Created in the 1970s and installed in the legislative building for roughly 50 years, the five woolen panels were designed to celebrate the strength of northern women. Each tapestry measures approximately 2.1 by 3.9 metres and represents a season — spring, summer, autumn, winter — with a fifth panel depicting the spring breakup season.
The series was led by designer Eve McBride and produced through the labour of thousands of volunteers across Yukon communities. For half a century the works have hung together on the members’ lounge wall, becoming a familiar backdrop to legislative life and a visual record of a community project that drew widespread participation.
“These are works of art. They're legacy. They're a history of women that hasn't been defined before,”
McBride, now 80, said she discovered the tapestries had been taken down when she phoned the legislature hoping to visit the artworks she helped design. The removal prompted concern among the creators and volunteers about when — and how publicly — the tapestries would be returned to view.
Restoration and return promised
The territorial government, which owns the tapestries, says they were taken down when the members’ lounge wall required repair in late June. Officials said the removal offered an opportunity for cleaning and conservation work.
To protect the wool during cleaning, conservators place a screen over the surface and use controlled-suction vacuuming to lift dust and particulate matter without abrading fibres. Yukon Legislative Assembly and territorial officials say the project is a conservation effort designed to ensure the textiles remain stable for future generations.
Carolyn Moore, manager of policy and communications at the Department of Economic Development, Tourism and Culture, said the government intends to return the tapestries to the members’ lounge by next spring once restoration is complete. The public will be invited to a celebratory event to mark their official reinstallation and the tapestries’ 50th anniversary, Moore added.
Creators press for public display and recognition
McBride and other volunteers marked the half-century milestone by organising a reception at the Kwanlin Dün Cultural Centre earlier this month. The event served both as a reunion and as an advocacy opportunity to request the territorial government keep the tapestries on public display, rather than in storage or in restricted spaces.
Those involved with the project emphasise the tapestries’ community provenance. Stitched in towns and villages across the territory, they are not only works of fibre art but also an archive of collective labour and local stories from across Yukon.
Why the tapestries matter to Yukoners
For many, the tapestries represent more than decorative history. They are a visual record of community collaboration at a time when women’s cultural contributions received limited public recognition. Their scale and public placement in the legislature has given them a symbolic status as part of Yukon’s cultural patrimony.
- Size: Five panels, each roughly 2.1 x 3.9 metres
- Theme: Four seasons plus breakup season, celebrating northern women
- Origin: Designed by Eve McBride; stitched by thousands of volunteers across Yukon communities in the 1970s
| Aspect | Detail |
|---|---|
| Number of panels | 5 |
| Dimensions (each) | 2.1 x 3.9 m |
| Current status | Removed for wall repairs and undergoing cleaning/restoration |
What to expect next
Officials say a public viewing and celebration will be planned around the tapestries’ rehanging next spring. In the meantime, the restoration team will undertake standard textile conservation measures to remove dust and stabilise fibres before the works are rehung.
Creators and community members who contributed to the tapestries have urged the territorial government to ensure the panels remain accessible to the public and to recognise their role as a distinctive example of Yukon community art. The promise of a public event marks a step toward that outcome, but some volunteers remain watchful for details on display arrangements.
The tapestries’ conservation underscores broader challenges for long-term care of community-made artworks: balancing building maintenance, conservation expertise and public access so that tangible records of local history remain visible and meaningful to future generations.
