The Bayeux Tapestry, a 70-meter medieval embroidery created in England at the end of the 11th century, is currently on display in a major exhibition at the British Museum. Though its origins are unclear, most historians believe it was designed by monks from St Augustine’s Abbey in Canterbury and made by skilled female embroiderers. It may have been commissioned by Bishop Odo of Bayeux, who was the half-brother of William the Conqueror. The first recorded mention of the tapestry appears in an inventory from the Bayeux Cathedral in 1476, nearly 400 years after its creation. How it arrived in Bayeux remains unknown. The tapestry has continued to inspire artists, creators, and even political figures in the 20th and 21st centuries. In the 1880s, Elizabeth Wardle, a leader in the Leek Embroidery Society, worked with about 35 women to create a replica of the tapestry. This version was displayed in 1886 and later shown in the United States, eventually ending up in Reading Museum. In 1944, American artist Rea Irvin reimagined the tapestry for the cover of The New Yorker magazine to commemorate the D-Day landings, blending historical scenes with modern symbolism. The tapestry's influence extends into film and contemporary art. It has appeared in movies such as Bedknobs and Broomsticks (1971), Robin Hood: Prince of Thieves (1991), and Shrek the Third (2007). In 2010, artist Fiona Banner created an installation titled 1066, which reinterpreted the tapestry as a "still film," encouraging viewers to engage with its history in new ways. The tapestry has also taken on political significance, such as when Reform UK leader Nigel Farage wore a tie featuring scenes from the tapestry during the Brexit referendum campaign. The Sun newspaper also produced a version of the tapestry with a Brexit theme, dubbed the "Bye-EU tapestry." The Bayeux Tapestry will remain on display at the British Museum until July 2027, offering visitors a chance to see this remarkable piece of medieval art and history up close.