An Interview With Yolonda Skelton Jackson, Indigenous Artist and Fashion Designer of The Gitxsan Nation

This spring, Fairmont Waterfront is proud to present Winterbourne as the inaugural installation in the hotel’s Artist-in-Residence series, welcoming guests to experience a six-piece showcase by visionary Gitxsan designer Yolonda Skelton Jackson ahead of its debut with Ballet Vancouver’s After the Rain & Other Works, April 23–25, at Vancouver Playhouse.

Yolonda Skelton Jackson (Sugiit Lukxs) has been designing since 2001, drawing on the teachings of her late grandmother, Lily Jackson (Na-Gwaa), to create works that beautifully intertwine Gitxsan heritage with contemporary form. Internationally acclaimed for redefining Indigenous fashion across global runways, film and theatre, Yolonda now brings her powerful storytelling into the world of ballet through this meaningful collaboration.

The name Winterbourne evokes both seasonality and transformation. What does the title represent to you creatively or culturally?

The title Winterbourne represents a powerful metaphor for transition and rebirth. A winterbourne is a stream that flows only during winter or after heavy rainfall, drying up in summer. This natural cycle symbolizes endurance and the temporary nature of hardship. It also speaks to boundaries and destinations, suggesting a journey from one state to another—much like the Indigenous experience of survival, revitalization, and cultural resurgence.

For this collaboration, Ballet Vancouver’s Artistic Director, Joshua Beamish, and I drew inspiration from Cree cellist and composer Cris Derksen’s track of the same name, whose powerful music is woven throughout the piece. Winterbourne beautifully intertwines all three artistic mediums of music, dance, and fashion/art, bringing them boldly to life. Being “borne” from winter into new beginnings connects deeply with the use of my traditional coats in the early parts of the piece, visually grounding the narrative in heritage while signaling forward movement. This concept also extends to reconciliation and the celebration of Indigenous creativity, emphasizing renewal through acknowledgment and artistic expression.

As a Gitxsan fashion designer, my work deeply intertwines cultural heritage, transformation, and contemporary Indigenous expression. The concept of Winterbourne resonates with me because it embodies themes of cyclical change, resilience, and renewal, which are central to my creative vision.

If you could describe Winterbourne in three words, what would they be and why?

If I were to describe Winterbourne in three words, they would be: Resilience: The strength to endure and flow despite obstacles, like the winterbourne stream. Renewal: The rebirth and revitalization that comes through cultural reclamation and creative expression. Journey: The movement through boundaries and transformation toward new beginnings.

What does it mean to present Winterbourne at Fairmont Waterfront as the inaugural installation in the hotel’s Artist-in-Residence series?

Presenting Winterbourne at Fairmont Waterfront as the inaugural installation in the hotel’s Artist-in-Residence series is deeply meaningful to me. It provides a prominent platform for Indigenous art and storytelling within a contemporary, public space, fostering visibility and dialogue. This opportunity symbolizes a bridging of worlds—bringing Indigenous narratives into mainstream cultural venues and inviting diverse audiences to engage with themes of reconciliation and creativity. It honors my role as a cultural bearer and innovator, positioning my work as a vital contribution to both Indigenous and broader artistic landscapes.

Your late grandmother Lily Jackson played a pivotal role in passing down cultural knowledge. How does her influence continue to shape your work today?

My late grandmother, Lily Jackson (Na-Gwaa), profoundly influenced my work by imparting cultural knowledge and values. Her legacy continues to shape my design philosophy, infusing my creations with ancestral wisdom and a commitment to preserving Gitxsan heritage. Her teachings serve as a guiding force, ensuring that each piece carries the spirit and stories of our people. The most important piece I ever created for my grandma was a Chilkat wrap, unfortunately she passed before I could give it to her. The piece is in the American Museum of Natural History and it teaches people from around the world about our people. I know she would be happy that it is there educating the visitors.

Your designs honour Gitxsan traditions while embracing contemporary form. Can you tell us a little more about how these traditions show up in your work and in this collection in particular? 

Gitxsan traditions show up in my work through the use of symbolic motifs, storytelling elements, and techniques that honor Indigenous craftsmanship. In the Winterbourne collection specifically, these traditions are woven into the fabric of the designs—both literally and metaphorically—balancing respect for cultural protocols with innovative forms that speak to contemporary audiences.

What responsibility do you feel – if any – when presenting Indigenous design to audiences who may be encountering it for the first time?

When I present Indigenous design to new audiences, I embrace a responsibility to educate and inspire. I aim to challenge stereotypes, invite curiosity, and foster respect for Indigenous artistry. This responsibility involves truthful representation and creating spaces where Indigenous stories and aesthetics are celebrated authentically. My core belief is that art in all its many forms is helping to heal the world one artistic endeavour at a time.

What does representation in spaces like ballet, fashion, and hospitality mean to you as a Gitxsan designer?

Representation in spaces like ballet, fashion, and hospitality holds profound meaning for me as a Gitxsan designer. It signifies recognition, inclusion, and the breaking of barriers that have historically marginalized Indigenous voices. Such visibility affirms Indigenous identity and creativity, opening doors for future generations to thrive in diverse artistic fields.

How do you hope guests of Fairmont Waterfront will feel when they encounter this six-piece installation?

I hope that guests encountering the six-piece Winterbourne installation at Fairmont Waterfront will feel a connection to the stories and spirit embedded in the work. I envision an experience that evokes curiosity, respect, and a deeper appreciation for Gitxsan culture and the broader Indigenous presence in contemporary art.

Beyond the pieces included in the Winterbourne collection, what else can attendees look forward to seeing on stage at Ballet Vancouver’s After the Rain & Other Works performance in April?

Beyond the Winterbourne pieces at Fairmont Waterfront, attendees of Ballet Vancouver’s After the Rain & Other Works performance can anticipate a rich program that highlights Indigenous narratives through movement and more innovative pieces of my costume design. My involvement in costume design brings another layer of cultural storytelling to the stage, complementing the visual impact of my fashion work.

Audiences can also look forward to Wen Wei Wang’s Swan, inspired by imagery from the iconic Swan Lake; Annabelle Lopez Ochoa’s Redemption, a striking portrait of a fallen angel; and Christopher Wheeldon’s masterwork After the Rain, which premiered at New York City Ballet. The program features celebrated Canadian dancers alongside guest artists from American Ballet Theatre.

What are your hopes for future Indigenous designers entering fashion and costume design?

My hope is that young creatives will see Winterbourne as a transformative collection that bridges Gitxsan tradition with contemporary fashion. Presented on a meaningful platform that amplifies Indigenous voices, I hope it shows them that they can do this too. Above all, I hope they see that my work honours my grandmother’s matrilineal legacy, embraces cultural responsibility, and inspires future generations of Indigenous creatives to carry this work forward.

As an educator of youth for more than 21 years, I have worked to open doors for future generations, and this is just another door I hope emerging designers will have the courage to walk through. For Indigenous designers entering the fields of fashion and costume design, I hope to see greater access to resources, mentorship, and platforms that honour Indigenous perspectives. I envision a future where Indigenous designers lead with confidence, innovate boldly, and continue to enrich the fashion landscape through their cultural expressions.

Guests of Fairmont Waterfront are invited to experience Winterbourne from March 5 – April 1, 2026, located alongside the escalators between the Lobby and Concourse levels. Ballet Vancouver’s After the Rain & Other Works, featuring Winterbourne, will take place April 23–25, 2026, at the Vancouver Playhouse.

Photo credit – David Cooper