Fifty years ago, a group of talented women in Talurjuaq, NU, began experimenting with natural dyes extracted from arctic plants, establishing a unique colour palette and a thriving enterprise that forever changed the community.

Nuna. The land on which we walk and live our lives. It is rich with plant life, offering a variety of colours that are wholly unique to the Arctic. In the early 1970s, a group of arnait in Talurjuaq (Taloyoak), NU, led by textile artist Judy McGrath, travelled out on the nuna to gather lichens and arctic plants. They discovered through Apply CSS Classexperimentation that they could create natural fabric dyes derived from the plants. The newly formed craft collective Arnaqarvik (“a place of women”) offered the group multiple creative outputs that not only included textiles and clothing but also resulted in the creation of a community photography darkroom.

(left) Eva Tirtaq with Mother Hubbard dresses, Talurjuaq, 1973 (right) White duffle side-closing parka with naturally dyed embroidery and waist tie, modelled by Arnaoyok Alookee, Talurjuaq, 1975

In October 2021, I was invited to travel with McGrath and a small group from the Pitquhirnikkut Ilihautiniq (Kitikmeot Heritage Society) from Iqaluktuuttiaq (Cambridge Bay), NU, to Talurjuaq to commemorate the 50th anniversary of Arnaqarvik and to gather community stories and memories from this enriching era. My trip to Talurjuaq was brief, but I’m grateful to have spent time learning about the history of Arnaqarvik and to have seen up close the wonderful garments and art pieces created some 50 years ago. Travelling with us was Iqaluktuuttiaq photographer Cora DeVos, who brilliantly captured family members wearing some of the clothing made by those involved in Arnaqarvik, signifying the enduring legacy of this time.

The original Arnaqarvik collective showing off some of their designs, Talurjuaq, 1972. (Front) Theresa Qaujuaq, Alice Aleekee, Karla McGrath (Back) Naluniaq Peetooloo, Melanie Hadlarena, Mona Paloosee, Arnaoyok Alookee, Juliana Ameralik, Nilaulaaq Igluqark and Judy McGrath

As the story goes, McGrath arrived in Talurjuaq only to have her idea scoffed at. She was told, “You will never obtain dyes from this environment!” Through some initial experimentation with certain plants and techniques, the naysayers were proven wrong and a crafting enterprise was soon established within the community. A close friend to McGrath was Arnaoyok Alookee, who became one of Arnaqarvik’s most prominent makers. 

Arnaluaq Totalik in her Mother Hubbard and sunburst, Talurjuaq, 1974

“I could pick flowers for dyes all summer,” Alookee says, reminiscing about that time. “Even if I didn’t like the colours, I would like to pick flowers and plants because it’s the most fun we’ve ever had here. Even the kids are already asking when we are going out picking flowers because they like to play near the water and make fires for fixing tea.”

Arnaoyok Alookee modelling a duffle cape parka with naturally dyed embroidery, New York City, 1973

 The colours produced were surprising and yielded a distinct colour palette. Pastel-blue hues and earthy browns—found, as an example, on a pair of mittens made by Kanayuk Aklak—were derived by boiling down a variety of lichen and flowers. Arctic poppies could produce a wonderful bright, nearly fluorescent yellow hue.

(left) Naturally dyed yarn samples produced by Arnaqarvik (right) Long pigskin vest with naturally dyed crocheted floral trim over a long floral print cotton-velvet dress, unidentified artist PHOTOS JACQUELYN HOLLAND 

“The most fun to pick is ‘popcorn’ lichen,” says Alookee. “It isn’t easy to pick, and it is hard to find them, but they’re the best to find. It makes purple dye, which is our favourite colour.”

Inuit values were vital to all aspects of Arnaqarvik’s production. The 1977 book Dyes from Lichens and Plants: A Canadian Dyers Guide produced by McGrath outlined the specific plants and ways to naturally dye fibres. She wrote, “Use the plant life of the land but treat it with respect.” Only what was needed was taken.

(left) Arnaoyok Alookee modelling finger-woven hooded poncho, Talurjuaq, 1975 (right) A portfolio cover made from strips of finger weaving with naturally dyed yarn and pigskin suede PHOTO JAQUELYN HOLLAND 

Armed with their uluit and scrapers, arnait would head out on the nuna during the summer to collect what they could. The 24-hour sunlight during the summer months helped tremendously in gathering materials and possibly aided in retaining the colour intensity in some of the dyes. Winters were the time for dyeing and for the women to craft their work. Wool yarn was dyed and then added as embroidered details to new coats or mitts incorporating a variety of designs.

Detail of naturally dyed embroidery on cape coat, Talurjuaq, 1975

This new and exciting endeavour helped grow the community’s economic development as artists could now produce a variety of items using these naturally dyed fabrics and wools. Garments were unique to the community, but were influenced by colours and other patterns from the 1970s era: for instance, a long, Mother Hubbard–style dress with a paisley pattern paired with a tanned vest, which was accented with an embroidered floral motif using the dyed thread.

Full-length green duffle coat, front view, New York City, 1973

As ordering materials into communities was costly, Arnaqarvik offered creators an opportunity to produce their own sets of colours and then to make profits for themselves and their families. It also provided entrepreneurial skills and knowledge. Eventually the collective would grow their Southern audiences to include a 1973 visit to New York City where they showcased their wares during Spirits, an exhibition of sculptures at the American Indian Arts Centre by Talurjuaq artist Karoo Ashevak (1940–1974), who wore a parka adorned with Arnaqarvik’s natural dyes. 

(left) White stroud vest by Eeteemunga using her style of fleece and yarn embroidery with natural dyes  PHOTO JACQUELYN HOLLAND (right) Eeteemunga’s stroud vest modelled by family member Louise Aqqaq PHOTO CORA DEVOS 

Arnaqarvik also created a unique set of garments, including long duffle cape coats with naturally dyed embroidery, for athletes and dignitaries at the 1974 Arctic Winter Games in Anchorage, Alaska, where the collective members participated in a fashion show. Talurjuaq’s craft shop flourished during this time, with the artists creating designs for the now-famous “packing dolls”—mother-and-child dolls made from coloured duffle, so named because the mother “packs” their child in the amauti—that are still being produced today.

Karoo Ashevak in a parka with naturally dyed embroidery made by the project for the trip to New York City, 1973 

At the same time the arnait were experimenting with dyes, a related project popped up in the community. In 1972, American-Canadian photographer Pamela Harris visited McGrath in Talurjuaq and documented the arnait as they travelled out onto the land to collect their plants.

Naturally dyed embroidery on the back of a cape made for John McGrath by an unidentified Arnaqarvik member, New York City, 1972

Harris, based in Toronto, ON, at the time, noted that there were those within the community who owned cameras but needed to wait two to three months to see their final photos developed due to mailing them down south to have them processed. She set her mind to creating a darkroom and to teaching the community the steps to develop their own photos. After some challenges, Harris acquired the necessary supplies to set up a space within the craft workshop. Although the darkroom was open to the public, the majority of participants ended up being the women who were crafting in the shop, with their photos focusing on the naturally dyed garments that the arnait were creating.

Items made by Eeteemunga with naturally dyed yarn, fleece, fur and fish fins PHOTO JACQUELYN HOLLAND

Arnaqarvik created a deeper sense of community that can be found within both the garments and photographs from this time period. From the tundra to the runway, 50 years later the project continues to highlight the legacy of intergenerational teaching and knowledge passed down from grandmothers and mothers to the children of Arnaqarvik. 

Jocelyn Piirainen is an urban Inuk, originally from Iqaluktuuttiaq (Cambridge Bay), NU, and is currently working as the Associate Curator at the National Gallery of Canada in Ottawa, ON. When not working as a curator, her artistic practice involves experimenting with Polaroids and Super 8 film, as well as honing her crochet and beading skills.