Quilts that inspire

This New York Beauty heirloom quilt was made
 in the 1860s and is featured on Page 60
of the book Florida Quilts.

I'm fresh from a visit to the American Quilter's Society Daytona Beach Quilt Week. I saw beautiful examples of fiber arts - both traditional piecework and art quilts - got inspired, and also got thinking about the threads of continuity that bind quilters.

The fiber arts today are a hobby for most enthusiasts and a career for some. I'm an experienced seamstress but a novice quilter, with one quilt, one star-themed block for the NASA quilt, and one table runner to my credit. (2022 update: I've reached intermediate quilt status, with several more done since I first wrote this post!) 

For women on the Florida frontier, quiltmaking was a necessity. Homemakers crafted bedcovers for family members and young women stitched quilts for their trousseaus. One such person was Sarah Asberry Brown Anderson.

Sarah's story is told in the 1992 book Florida Quilts, by Charlotte Allen Williams (University Press of Florida). Sarah lived in Wakulla County in North Florida when she started making the New York Beauty quilt pictured with this blog post. She was 12, and she dyed her homespun cotton fabric with tree bark solutions before cutting the pieces and hand-sewing the quilt. Sarah began the quilt in 1865 and finished it in 1869.

Williams writes that New York Beauty was a popular pattern in the late 1800s. Other designs popular in the late 19th century included:

• Friendship quilts that included embroidered signatures

• Log Cabin

• Irish Chain

• Album block quilts

• Crazy quilts

• Applique quilts that featured stylized flower designs

Sarah's descendants reported that she was proud of her New York Beauty quilt and preserved it through the years. One look at the photo and the level of craftsmanship is obvious. I'd be proud, too, if I'd cut and sewn together those hundreds of pieces into a beautiful finished whole. Having experimented with natural dyes, I can also attest to the quality of the fabric's colors.

The care given the New York Beauty is why it survived long enough to be documented in Florida Quilts. The book profiles some of the women and quilts uncovered during the Florida Quilt Heritage Project. That project, which I've written about before, did a remarkable job of bringing many women's lost stories back to life through their quilts.

Today, quiltmakers receive their just due and are credited for their work. The fiber arts are celebrated. This post is to pay homage to all the unsung needlewomen of the past.

View the Florida Quilt Project digital collection at The Quilt Index website. The Quilt Index is an open access digital repository.

Stitching lives together

This 1899 image from the Library of Congress shows young
women in a sewing class at the Agricultural and Mechanical
College in Greensboro, N.C. The scene was similar at Florida 
schools. Women predominated in the needle trades in that era. 

Part 2 of 2

In my first post about the 1890 U.S. Census, I reviewed the primary fields of employment nationally and for Floridians. This second post addresses some of the other jobs held by Florida pioneers that year.

Because I come from a long line of women skilled in the needle arts, I'm especially interested in that line of work. My ancestors were plying the trade in Central and Southern Europe in 1890, and in New York City sweatshops and garment factories in the early 1900s. My grandmothers and great-grandmothers were tailors, seamstresses, and milliners. Not sure what the difference is between tailor and seamstress, but the former was a label held by my maternal great-grandmother in Sicily. From what I understand, it was a title of honor. She was specifically known as a tailor and not a tailoress. She was said to create fitted garments for clients without needing a pattern.

No matter where the trade was practiced, its elements and processes were similar. Women bent over needles in Florida the same time my ancestors did elsewhere, in much the same way. The heroine of my second novel, Stitching a Life in Persimmon Hollow, is a seamstress who works by hand and on a treadle sewing machine in late 1880s Florida. In the novel, she apprentices with the town dressmaker. Most towns had a dressmaker, sometimes known as a mantua maker in the earlier years of the 19th century. Many tradespeople took in apprentices.

No one reported being a milliner or dressmaker apprentice in 1890 Florida, although two men were tailor apprentices.  No one in the state was employed as a corset-maker, glove-maker, umbrella- and parasol-maker, or shirt-, collar- and cuff-maker. Instead, people in the Florida needle trades were doing the following:

• Hat- and cap-makers:  8 men, 4 women
• Embroiderers and lace-makers: 3 women, 0 men
• Milliners: 109 women, 0 men
• Dressmakers: Either 604 or 654 women (chart numbers are hard to read), 0 men
• Seamstresses: 924 women, 0 men
• Tailors and tailoresses: 130 men, 80 women

Women predominated in the industry, as it was one of the few respectable trades for women in that era. What about some of the less common jobs held by Floridians in 1890? A sampling of what people reported to the census-takers:

• Actors: 2 men, 2 women
• Authors, and literary and scientific persons: 18 men, 7 women
• Journalists: 108 men, 7 women
• Musicians and teachers of music: 138 women, 56 men
• Theatrical managers, showmen: 30 men, 1 woman
• Bartenders: 188 men, 0 women
• Auctioneers: 14 men, 0 women
• Hucksters and peddlers: 145 men, 5 women
• Bakers: 178 men, 10 women
• Bookbinders: 15 men, 4 women
• Confectioners: 48 men, 8 women
• Photographers: 90 men, 4 women

Knowing a little something about how people passed their days brings their lives into sharper focus for me. When I pick up a needle and thread, select fabric for a jacket or quilt, brush up on my crochet skills, or stitch a seam on my sewing machine, I feel a sense of kinship with past practitioners. And that's a good feeling to have.