The Kaleidoscopic World of Amish Women’s Quilts

This article, part of The Met’s podcast series '_Immaterial_,' explores the profound cultural significance of blankets and quilts, examining their role as totems of memory, community, and cultural survival. The discussion features insights from Gee's Bend, Alabama, a community renowned for its unique quilting tradition, and artist Marie Watt, who uses blankets in her sculptures to tell stories. The narrative begins with Loretta Pettway Bennett of Gee's Bend, sharing her experience of seeing her mother's quilts displayed in a museum. Initially, the community viewed these quilts as mere necessities for warmth, made from salvaged scraps like old clothes and fertilizer sacks. Loretta recounts her mother's desire to touch her own quilt, now a fine art piece under museum guard, highlighting the shift in perception from utilitarian object to art. The quilters' initial disbelief that their 'ugly quilts' could be considered art gradually gave way to understanding as they witnessed public admiration and emotional responses, including tears, from museum visitors. Marie Watt, a Seneca artist, also delves into the evocative power of blankets. She describes her childhood memories of wool blankets used for diverse purposes, from picnics to building forts, emphasizing their protective and comforting qualities. Watt's artistic practice involves collecting used wool blankets, valuing their worn appearance as a testament to their history and the lives they touched. Her early sculptures, towering stacks of folded blankets, symbolize collective stories. Over time, she began inviting individuals to share their blankets and personal narratives, which she then integrated into collaboratively realized sculptures. A poignant example is a Nazi-issued blanket from a concentration camp, illustrating how humble objects can convey profound historical narratives. Watt then evolved her process by cutting these collected blankets and piecing them into quilts during 'sewing circles'—a deliberate distinction from 'sewing bees,' which held colonial connotations for Native American women. These sewing circles foster community and create new narratives, with each stitch and story contributing to the final artwork. Textile conservator Ally Barlow highlights how the varied hand stitching in Watt's quilts visibly represents the diverse individuals who contributed. The article then returns to Gee's Bend, emphasizing the quilts' essential function in a community where homes lacked insulation. Loretta and Louisiana Bendolph recount sitting under quilts as children, learning the craft from their mothers and grandmothers, a tradition deeply embedded in their heritage. The economic hardship following the cotton crash and the isolation of Gee's Bend after the ferry closure during the Civil Rights Movement led to the formation of the Freedom Quilting Bee Cooperative. This initiative transformed quilting from a domestic skill into an economic lifeline, providing stable income for women and helping the community thrive. The quilts, made from available materials like burlap and flour sacks, were not just practical but also creatively assembled, showcasing an innate artistry that often went unrecognized by the makers themselves. The widespread recognition of Gee's Bend quilts began in 2002 with a major exhibition, followed by critical acclaim, media features like _The Oprah Winfrey Show_, and even U.S. postage stamps. This external validation helped the quilters, who once sold their works for modest sums, see their creations as valuable art. Their quilts, now part of major museum collections like The Metropolitan Museum of Art, represent a confluence of necessity, creativity, and resilience. The article concludes by reflecting on the many 'lives' of a quilt—from raw material to garment, then to a functional object, and finally to a celebrated work of art, each stage imbued with stories and histories. #quilting #blankets #GeeBendQuilts #textileArt #culturalHeritage #communityArt #MarieWatt #AfricanAmericanArt #materialCulture

Vintage quilts serve as tangible connections to the past, embodying a rich history through their diverse patterns and the human touch involved in their creation. In an era of rapid-fire decor trends, quilts stand out as products of meticulous handcraftsmanship, often born from necessity and a vivid imagination, designed to provide both warmth and aesthetic appeal to a living space. The history of quilting in America is deeply intertwined with social narratives, emerging as a democratic art form brought from England. Largely practiced by women, quilting transformed leftover fabrics from clothing and household items into functional and expressive pieces. Kate Owen, a textile artist from Colorado, notes that quilting has long been a medium for art, self-expression, and enterprise, often documenting a family's history through fabric scraps used for warmth or as gifts. The American Folk Art Museum (AFAM) highlights the ancient origins of quilting, dating back thousands of years. Early American quilts, known as “wholecloth” pieces, were considered luxury items in the 18th century when textiles were scarce. With increased fabric availability in the 19th century, pieced quilts became common, featuring classic designs like Flying Geese and Lemoyne Star, which are preserved in the museum's collection. Experts like Christopher Wilson-Tate, an antique quilt dealer, emphasize that older quilts tell stories of migration, community bonds, and resourcefulness, with every stitch conveying intention and forming a visual diary. American quilters adapted regional patterns using available materials, resulting in textiles that reflect local styles and domestic life. AFAM’s exhibition, ‘The Ecology of Quilts,’ positions quilts as more than decorative objects, describing them as “amazing storytellers and amazing survivors” whose histories are shaped by evolving materials, global textile trade, and numerous makers. Understanding these material histories reveals the deeper contexts behind design elements, such as botanical motifs rooted in quilters' interactions with local flora. Vintage quilts possess unique qualities that only time and use can impart, distinguishing them from contemporary creations. Christopher Wilson-Tate points to the “alchemy that happens only with time,” where colors mellow, cottons soften, and seams develop a subtle texture that new fabrics cannot replicate. These changes are not imperfections but rather integral to a quilt’s character and desirability. Ali Mahon, a designer and antique dealer, notes that 19th-century quilts, made from natural, homespun cottons, wools, and feed sacks, exhibit a “perfectly imperfect” quality. Their durability stems from natural fibers and handwork, allowing them to age gracefully and develop a rich patina. AFAM curators add that vintage quilts also hold ecological histories, offering insights into labor-intensive processes of fiber cultivation and dyeing before modern synthetic materials. For many designers, vintage quilts align with a renewed appreciation for heirlooms and handmade items. Laura Evans and Karie Reinertson of Mother Studio source vintage quilts and commission new ones with the intent that they, too, will become cherished vintage pieces, each tear or stain marking a family’s history. Hospitality brands, like Ash Hotels, also embrace vintage quilt aesthetics, with creative director Xavier Donnelly commissioning custom quilts inspired by historical designs, noting that antique patchwork adds texture, color, and a joyful, unstuffy feel to a room. The practice of repairing antique quilts, as done by Kate Owen, further reveals their evolving nature, sometimes uncovering older quilts used as batting within newer ones, illustrating their continuous life across generations. Vintage quilts are intended for practical use and are an excellent choice for those looking to incorporate vintage decor without worrying about fragility. Kate Owen advises homeowners to display quilts draped over furniture, spread across beds, or hung as wall art to honor the makers' hard work. Styling can range from subtle to expressive; Mother Studio uses quilts seasonally to add depth and softness. For smaller quilts, they suggest adding a sleeve and hanging them on walls, a method also favored by Ali Mahon who recommends mounting them on stretcher bars for gallery-style groupings. Christopher Wilson-Tate views quilts as combining “texture and narrative,” making them suitable for open shelving or as a focal point above a bed. Tori Jones Studio provides further inspiration for displaying quilts in lived-in spaces. The article concludes that vintage quilts impart a profound sense of depth to interiors, grounding a room with authentic material history and reminding us that the most engaging homes are built through layers of objects that have experienced lives before becoming part of our own. When sourcing a vintage quilt, the focus should be on character rather than flawlessness. Christopher Wilson-Tate suggests looking for minor fading, softening, and small repairs, as these details contribute to a quilt's narrative, while avoiding extensive damage. Natural fibers like cotton and linen tend to age best, and hand-quilted pieces are identifiable by the way their stitching interacts with light. Pattern preferences vary among collectors; Ali Mahon favors jewel tones, Double Wedding Ring, and Crazy Quilt designs, while Christopher Wilson-Tate observes renewed interest in chintz medallions, Amish geometrics, log cabins, and star motifs, all of which complement contemporary interiors. AFAM encourages buyers to consider the material provenance beyond just the pattern, asking about the origin of the fabric to deepen the quilt’s story. Vintage quilts can be found on online platforms such as eBay, Etsy, Chairish, and 1stDibs, with reputable textile dealers ensuring accurate information on fiber content, age, and condition. Additionally, estate sales, antique fairs like Brimfield or Round Top, and second-hand shops are excellent sources for unique pieces and even entire collections. #VintageQuilts #InteriorDesign #HomeDecor #TextileArt #QuiltingHistory #HeirloomDecor #SustainableDesign #CollectingAntiques #AmericanFolkArt

Textile artist Alyssa Ki, known by her Korean name SOLIP, creates permanent floral wall hangings through a combination of weaving, macrame, needle-felt, and crochet techniques. These unique art pieces offer a lasting alternative to cut flowers, ensuring their beauty endures without wilting. Ki, a Korean-American artist from Virginia who studied photojournalism and works full-time in corporate events in NYC, dedicates her freelance time to crafting these intricate floral designs from her New Jersey residence. Her artistic practice is deeply influenced by a love for beads, yarn, DIY projects, the outdoors, and thrift shopping. The artist's Instagram page, @solipdiy, and her website, showcase her work, with 'SOLIP' meaning 'pine needle,' a name chosen for its personal significance. Ki's process involves transforming yarn and raw wool, dyed with natural pigments, into vibrant, textile-based wall hangings that evoke the appearance of bouquets and wild botanical patches. Each piece is characterized by a thick, woven foundation from which various crocheted, needle-felted, and macrame botanicals emerge, rich in color and texture. These creations are often displayed hanging from knotty branches or secured with ribbons, adding to their natural aesthetic. Ki's work aims to immortalize the transient beauty of flowers, presenting a harmonious blend of delicate forms and durable materials. Her passion for her craft is evident in the meticulous detail of each piece, whether it is a sprawling floral tapestry or a finely woven wreath. She regularly shares her creative process on Instagram, allowing her audience to observe the evolution of her designs from loom to finished product. This transparency offers insight into her multi-faceted approach to fiber arts and her aspiration to expand her skills, with knitting being a future goal. The lasting nature of these floral wall hangings means they retain their charm indefinitely, enhancing any room with their perpetual bloom. The article encourages readers to explore Ki's Instagram for more examples of her woven and crocheted floral art, potentially inspiring them to engage in similar fiber art endeavors. Her work provides an enduring aesthetic solution for individuals who appreciate floral beauty but seek alternatives to fresh cut flowers. #FloralArt #TextileArt #AlyssaKi #WovenArt #Macrame #NeedleFelt #Crochet #HomeDecor #DIY

The Gee’s Bend textile artists, including Loretta Pettway, Delia Bennett, Annie E. Pettway, Magdalene Wilson, and Mary Lee Bendolph, have inspired a new furniture collection. Their renowned kaleidoscopic quilt patterns are being translated into a vibrant home furnishing line by the Philadelphia Museum of Art and Cloth & Company, a Chicago-based firm. This collaboration marks a fresh approach to bringing the celebrated artwork of these Alabama artists into people’s homes, following various other reproductions like puzzles, notecards, and scarves. The Gee’s Bend quilts gained international recognition through an exhibition at the Museum of Fine Arts, Houston, in 2002. The current furniture collection is a direct outgrowth of the "Souls Grown Deep: Artists of the African American South" exhibition, which was hosted by the Philadelphia Museum of Art in 2019. Christine Kostyrka, the director of retail at the Philadelphia museum, was deeply inspired by the quilts during this exhibition and recognized their potential for furniture reproductions. Kostyrka initiated the collaboration by contacting Meganne Wecker, founder of Cloth & Company. Wecker embraced the concept, leading to engagement with the artists and their estates. The project also involved Dilys Blum, senior curator of costume and textiles at the museum, to ensure the quilters' narratives and the integrity of their handiwork were respected and accurately represented. The goal was to tell the quilters' stories and honor their traditional craft through this new medium. The collection comprises sixteen upholstered furniture and décor items, such as chairs, headboards, pillows, and ottomans. Each piece is adorned with reproductions of five specific quilts from the Philadelphia Museum of Art’s permanent collection. The nature of the quilt patterns lends itself particularly well to furniture upholstery, with the reproductions meticulously capturing the visual texture, including wrinkles and patinas, that characterize the original hand-stitched works. This attention to detail makes the furniture appear as if it is upholstered with the actual quilts. These exclusive pieces are retailed solely through the Philadelphia Museum of Art’s retail store. The store provides comprehensive biographies of the featured artists and historical context for each quilt design, enriching the consumer's understanding and appreciation of the art. Each furniture item is made to order by Cloth & Company in Chicago and typically delivered within three weeks of purchase. A significant aspect of this initiative is that every sale generates royalties for the artists, providing a direct benefit to the Gee's Bend community and acknowledging their invaluable artistic contributions. This collaboration not only celebrates the work of these talented women but also offers a unique way for individuals to incorporate these iconic designs and their rich cultural legacy into their living spaces. #GeeBendQuilts #FurnitureCollection #TextileArt #HomeDecor #PhiladelphiaMuseumOfArt #ClothAndCompany #AfricanAmericanArt #CulturalHeritage #HandcraftedDesign

This article explores the transformation of an unloved 1904 Edwardian house in Buckinghamshire, UK, into a comfortable and welcoming home by its owner, Chris Myers, and her husband, Neil. The couple undertook extensive renovations, including knocking through rooms to create an open-plan layout, adding an extension, and refreshing the downstairs, ultimately featuring a New England-style porch and an abundant cottage garden. Chris Myers, an author, crafter, and founder of The Cozy Club workshops, infused the home with a nostalgic and welcoming aesthetic, utilizing upcycled vintage furniture, chintzy fabrics, and handmade patchwork quilts, while Neil repurposed salvaged materials. The renovation began by interconnecting the kitchen, sitting room, and dining room. The kitchen, designed with a classic Edwardian feel, features a double Aga range cooker set into the original fireplace alcove with a nostalgic tiled backsplash. The original quarry tiles were retained, and the space is adorned with a patchwork quilt tablecloth and mismatched vintage china, contributing to a homey atmosphere. The dining room embraces a vintage Scandi style, incorporating layers of winter whites, Gustavian-style cabinets, and a handmade wooden picket-fence pelmet replacing a formal fabric one. This room serves both for entertaining and for The Cozy Club's crafting sessions. The living room maintains the property's historical integrity with an original wooden fireplace, while bay windows are dressed with Colefax & Fowler’s Bowood chintz curtains. The floor throughout the house is painted white to enhance natural light. Furnishings include a sofa covered with a homemade quilt and an armchair re-covered in vintage French linen sheets. A salvaged wood door cleverly conceals the television in an alcove, with a curtain below hiding other essentials, balancing comfort with practicality. A mud room, created as part of the new additions, features a simple brick floor, tongue and groove paneling, and storage solutions using shelves, baskets, and crates, all decorated with vintage fabrics to maintain the nostalgic theme. The bedrooms are a highlight, with exquisite schemes. A guest room showcases a snug sleigh bed layered with homemade cushions and quilts, wallpapered with a vintage Colefax & Fowler print, and complemented by wooden storage crates and an antique wall cupboard. A child's room, prepared for grandchildren, includes gingham fabrics and patchwork quilts, notably featuring a Second World War hospital bed. The attic room, with its dormer window, is adorned with floral wallpaper extending to the ceiling, painted floorboards, and a quiet reading nook. All four bedrooms and three bathrooms underwent vintage or period-style makeovers. The spacious en suite bathroom, formerly the main bedroom, is a standout feature, with a roll-top cast-iron bath placed in the bay window to offer scenic views. The significant challenge of moving the heavy tub upstairs required professional movers. Outside, the New England-style veranda, inspired by Chris's Canadian childhood, adds curb appeal. It features shiplap cladding, a handmade scallop-edged pelmet, cherished quilts, chintz fabrics, and vintage furniture, blending seamlessly with the house's overall design. The front of the Edwardian home is characterized by an abundant cottage-style garden, complete with a rose arch and a pebble and brick pathway. The original 1904 windows at the back of the house are preserved despite being draughty, underscoring Chris's commitment to maintaining the property's historical character. #EdwardianHome #VintageDecor #HandmadeQuilts #CottageGarden #HomeRenovation #InteriorDesign #NostalgicInteriors #UpcycledFurniture #CountryStyle #TheCozyClub

Emily Van Hoff, an artist renowned for her textile work, explores the potential of quilts beyond traditional two-dimensional forms, creating pieces that possess significant visual weight and object-like qualities. Her work encompasses a variety of textile forms, including geometric tapestries, faceted weavings, and sculptural constructions. Van Hoff emphasizes her preference for quilts that feel substantial and robust, distinguishing them from flat, decorative pieces. She achieves this by continuously experimenting with different methods to infuse her creations with a chunky, three-dimensional presence. Van Hoff's artistic process frequently involves revisiting and reinterpreting her initial sketches and repurposing offcuts from previous projects. This approach allows her to construct new works by meticulously combining diverse textures, colors, and arrangements. A notable example of her recent experimental endeavors is a piece composed of three interlocking chain links. This particular artwork offers versatility in display, as its components can be rearranged to reveal various orientations, showcasing a dynamic interplay of angles and color combinations. She views this chain link design as an evolution of her existing wall hangings, which often feature overlapping and interwoven elements, further pushing the boundaries of textile art. In addition to her sculptural works, Van Hoff has ventured into commercial design with a new line of quilting fabric named 'Groove,' developed for Moda Fabrics. This collection, set to be released in May of the following year, embodies her characteristic vibrant color palette and incorporates playful, sinuous motifs. Van Hoff reflects on her background in graphic design and her long-standing passion for textile design, highlighting her prior experience working in a fabric shop during high school. She describes the opportunity to design her own fabric line as a dream realized, underscoring her deep connection to the medium. The article showcases several of Van Hoff's creations, including a geometric wall hanging with woven fabric panels and colorful facets, a square quilt with a bright orange and pink circle at its center framed by geometric borders, and a sculptural chain link piece perched on a wooden base. Other illustrations feature a quilted wall hanging in orange and yellow with curving geometry, a loosely tied knot-like quilted wall-hanging with bright color facets, and an array of small, colorful quilted swatches adhered to paper. The collection also includes soft, quilted shapes stacked on a wooden table, a display rack with multiple geometric quilted wall hangings, and a series of colorful, geometric fabric designs presented in strips. These images collectively demonstrate her innovative use of textiles to create visually engaging and structurally complex art. #EmilyVanHoff #Quilts #TextileArt #SculpturalQuilts #DimensionalArt #FabricDesign #Craft #GeometricDesigns #ModernQuilting

This article serves as a comprehensive guide to selecting the best quilts for various needs and aesthetic preferences, covering a diverse range of materials, stitching styles, and sizes. It emphasizes that quilts, beyond their functional purpose of providing warmth, also hold significant artistic and cultural value, acting as decorative elements, storytellers, and embodiments of tradition. The guide begins by defining a quilt as essentially two fabric layers with insulation in between, highlighting the infinite possibilities in their creation. It notes that quilts can be purely functional bedding or decorative pieces, citing examples of vintage quilts used as sofa throws or intricate patchwork quilts displayed as wall art. The selection process for these top quilts involved consulting a dozen interior designers and individuals known for their tasteful selections, alongside leveraging expertise in textiles and amateur quilt collecting. The article also includes personal testing of several featured quilts, such as the Hawkins New York Simple Linen Quilt, which is lauded as the best overall choice due to its softness, quality, and versatile design. This quilt is described as weighty enough to provide a calming effect similar to a gravity blanket, suitable for year-round use, and available in a wide array of colors. Key considerations for choosing a quilt are meticulously detailed, starting with material. The "quilt top" or outer layer can be made from various fabrics, with cotton and linen being popular choices for their handfeel. Batting, the insulating layer, commonly uses polyester, cotton, or wool. The article acknowledges that while synthetics like polyester are generally avoided, their use in batting is acceptable given they are enclosed. Wool batting is recommended for those who prefer more warmth and weight. Stitch style is another crucial factor, ranging from simple machine-done box and channel stitches to complex, labor-intensive hand-sewn patchwork designs. The Quilt Index is introduced as a valuable resource for exploring various patchwork patterns and their historical significance. Quilt sizes are standardized into categories like throw, twin, queen, and king, with general dimensions provided to aid in selection. Beyond the top pick, the guide recommends other quilts, such as Parachute's Linen Box Quilt as a more affordable alternative to the Hawkins New York option, distinguished by its cotton back. For those seeking heirloom quality, the Linoto Quilted Linen Coverlet is presented, praised for its substantial linen, diverse color palette, and option for natural cotton or wool batting. Other categories include reversible quilts from Eastern European makers, luxurious velvet quilts, organic cotton pebbled quilts, silky Egyptian-cotton sateen quilts, and various patterned options like kantha, color-block, and modern patchwork quilts. The article also encourages exploring vintage quilts and highlights the artistic Gee's Bend quilts, emphasizing authenticity in purchasing directly from their makers. The article concludes by listing the experts who contributed to the selections, underscoring the collaborative and expert-driven nature of the recommendations. #HomeDecor #Bedding #Quilts #LinenQuilts #PatchworkQuilts #TextileDesign #InteriorDesign #ShoppingGuide #ProductReview

Patchwork, a centuries-old art form rich in history and familial sentiment, is experiencing a resurgence in popularity this summer, transforming from a once perceived 'fussy' style into a celebrated home decor trend. This revival is driven by a collective appreciation for nostalgia and a desire for interiors that feel lived-in and tell stories. Interior designers like Adam Greco highlight how patchwork perfectly taps into this craving for depth and personal narrative within living spaces. The trend's adaptability is evident in its diverse applications, moving beyond traditional quilts to include pillows, curtains, and wall tapestries. Patchwork designs typically feature repetitive geometric shapes, often created from excess fabrics, making each piece unique. A less conventional style, 'crazy quilts,' further exemplifies this by incorporating irregularly shaped offcuts that don't neatly align, adding to their distinct character and charm. Adam Greco implemented the patchwork aesthetic in the cottage-style rooms of The Six Bells Countryside Inn in New York's Hudson Valley. These rooms blend rustic charm with a sense of familiarity, drawing inspiration from English and American countryside traditions where patchwork is deeply rooted. The numerous patchwork details throughout the inn contribute significantly to its nostalgic and inviting atmosphere. Incorporating patchwork into home decor involves treating it as a statement piece due to its bold design and inherent storytelling capacity. Interior designer Ashley Stark advises making patchwork the focal point of a room. This can be achieved by allowing the vibrant colors and patterns of a patchwork item to stand out. When styling, balance is key: a patchwork quilt can be complemented by decor in a color scheme drawn from its design, or a bold patchwork can be balanced with neutral colors to allow it to truly shine. Despite its ancient origins, patchwork remains a timeless design, capable of feeling both traditional and fresh in contemporary interiors. Its sentimental appeal resonates with individuals seeking to create comfortable, familiar, and deeply personal spaces. The growing popularity of patchwork has led many brands to embrace the trend, offering a wide array of new patchwork items in their spring/summer collections, such as the Shaker Meadow Quilt, Aubrey Velvet Patchwork Quilted Sham, Jacquard Quilted Bed Blanket, Delaney Handcrafted Patchwork Cotton Quilt, Harrietta Patchwork Cotton Reversible Pink Quilt Set, and Patchwork Curtain Panels. These products offer varying styles, from subtly muted grays to vibrant floral patterns, allowing for diverse applications in different home aesthetics. Regardless of a home's existing design style, introducing patchwork elements can instantly impart a warm, charming, and inviting cottage-like ambiance, making spaces feel authentically personal and comfortable. #PatchworkTrend #HomeDecor #NostalgiaCore #InteriorDesign #CottageStyle #Quilts #TextileArt #SummerTrends #StatementPiece

Susan “Rabbit” Goody, founder of Thistle Hill Weavers in Cherry Valley, New York, has dedicated her life to the meticulous reproduction of historic textiles. Her workshop, established in 1989, specializes in creating fabrics that faithfully replicate the weave, texture, weight, and color of historical materials for a diverse clientele including filmmakers, television producers, historic houses, and high-end furniture and clothing companies. Goody’s unique skill set makes her an indispensable resource for costume designers seeking unparalleled historical accuracy in their productions. Goody's journey into textiles began in her teenage years, driven by a fascination with the weaving process. After earning a degree in cultural anthropology and ethnomusicology from Bennington College in 1972, she moved to rural New York, where she initially supported herself through farm work. In 1975, she purchased a 150-acre farmstead and, with her first husband, built a home inspired by a 1690 Connecticut house. She developed a successful hand-weaving business, selling cashmere-and-silk scarves to stores like Saks Fifth Avenue. Her expertise grew during her tenure as head of the domestic arts program and curator of textiles at the Farmers’ Museum in Cooperstown, where she became a recognized authority on early American textiles. Goody also founded the Textile History Forum, an annual conference that convenes researchers, museum professionals, and scholars. In 1989, she moved her operation into an old feed mill, later expanding to a purpose-built facility next to her home. Today, Thistle Hill Weavers employs seven individuals trained by Goody to operate nine mechanized shuttle looms, some dating back to the 1890s, alongside archaic equipment like warp winders and quillers. Goody’s commitment to authenticity is evident in her approach to acquiring and maintaining machinery. She has salvaged looms from closing textile mills across several states, often from the legendary industrial loom-maker Crompton & Knowles, and has taught herself to repair and operate them. This dedication ensures that her workshop can produce textiles with historical integrity. Her fabrics have graced numerous film and television productions, including "The Gilded Age," _Cinderella Man_, _Master and Commander_, _No Country for Old Men_, _Noah_, "John Adams," and "Turn: Washington’s Spies." She even hand-wove a replica of a fragment of the original Star-Spangled Banner for a Smithsonian event. When a costume designer approaches Thistle Hill, Goody employs a blend of historical knowledge and modern technology. She uses a computer-attached loom to experiment with weave patterns and selects threads to match specific weight, texture, and color requirements. Her process involves creating small woven samples, which are then expedited to clients for review. This meticulous attention to detail is crucial, as even subtle changes in yarn weight or color can significantly alter a fabric’s character, impacting an actor's movement and the overall authenticity of a period piece. For instance, a fabric she produced for Tom Hanks’ overcoat in _Road to Perdition_ had to be re-woven with lighter materials for rain scenes due to its original, historically accurate weight making it too heavy when wet. Goody’s reputation as a historian and her practical skills make her an invaluable collaborator. Costume designers like Joanna Johnston, who worked with Goody on Steven Spielberg’s _Lincoln_, praise her weaving abilities and extensive historical knowledge. Goody recreated Abraham Lincoln’s shawl for Daniel Day-Lewis based on a detailed study of the original held by the Smithsonian. Beyond film, her work extends to historic preservation, such as creating delicate white dimity curtains for Emily Dickinson’s bedroom and a brightly striped Venetian carpet. She also produces custom fabrics for diverse applications, including a 'Mandalorian' cloak, demonstrating the versatility of her workshop. At 72, Goody remains actively involved in her mill and farm, displaying no plans for retirement, driven by her passion and the unique, irreplaceable skills she possesses in bringing the past tangibly to life through textiles. #TextileHistory #HistoricTextiles #CostumeDesign #FilmProduction #ThistleHillWeavers #RabbitGoody #LoomWeaving #TextileConservation #CulturalHeritage

The Ditchling Museum of Art + Craft in Ditchling, England, is currently hosting an exhibition titled "Double Weave: Bourne and Allen’s Modernist Textiles," which aims to reintroduce the British textile company Bourne and Allen, and its founders Hilary Bourne and Barbara Allen, into the annals of design history. Active in the mid-1900s, Bourne and Allen produced a range of iconic woven fabrics, yet their contributions have largely faded from public memory. This retrospective seeks to correct that oversight by highlighting their innovative craftsmanship and personal story. Hilary Bourne and Barbara Allen were partners in both life and business, and their company was known for blending modernist aesthetics with traditional craft techniques. They frequently utilized natural materials and plant dyes, sourcing wools from across the United Kingdom. Their products, which included woven scarves, tweeds, and furnishing fabrics, were carried by prestigious department stores and design houses such as Liberty of London, Heal’s, and Fortnum and Mason. Bourne and Allen also played a significant role in major theatrical and film productions of their era. Notably, they designed expansive stage curtains and furnishing fabrics for the Royal Festival Hall in London, built for the 1951 Festival of Britain. Their work extended to Hollywood, where they produced 52,000 yards of custom-woven fabric for the costumes of 452 actors and 25,000 extras in the epic film *Ben-Hur*. The exhibition, which is the culmination of extensive archival research conducted by a team of ten, delves into the duo’s work, their lives, and their four-decade-long relationship. Various sections of the show explore their distinct weaving techniques, the materials they employed, their global inspirations, their personal backgrounds, and key career achievements. The displayed fabrics, encompassing both swatches and longer lengths, illustrate Bourne and Allen’s unique aesthetic, characterized by bright primary colors derived from natural dyes like indigo (blue), madder (red), and weld (yellow), contrasted with the natural hues of undyed sheep’s wool. The use of Lurex alongside dark yarns and varied weaving techniques such as plain weave, double weave, chenille, ikat, and floats of thick hand-spun yarns, created alluring textures. The exhibition contextualizes Bourne and Allen within a vibrant, women-centered community of craftspeople in England that predated World War II. A display titled “Map of intimacies: Women’s networks of love, friendship, and textile practice” visually charts the collaborative and intimate relationships among the women—friends, lovers, companions, business partners, and sisters—who influenced Bourne’s and Allen’s lives and work. To demonstrate the enduring relevance of Bourne and Allen's legacy, the exhibition incorporates commissions from two contemporary artists, Poppy Fuller Abbott and Omeima Mudawi-Rowlings. Abbott, a weaver from Sussex, created a piece inspired by the mid-century designers' techniques using indigo-dyed linen with silk floats, and also wove textile samples that replicate Bourne and Allen's fabrics for visitors to handle. A film in a dedicated viewing room documents Abbott’s weaving process. Mudawi-Rowlings's site-specific installation, "Drawn to the Light (نور)," features long swathes of silk dyed with plant materials and printed with personal symbols, reflecting themes of interconnectedness and personal identity amidst global events. Ultimately, "Double Weave" serves as a meditation on themes of love, loss, home, and land. It underscores how the act of weaving, both literally and metaphorically, involves intertwining traditions across time and place, fostering a continuous dialogue through generations in the form of fabric. #TextileHistory #MidCenturyDesign #ModernistTextiles #BritishDesign #Craftsmanship #QueerHistory #DitchlingMuseum #TextileArt #ExhibitionReview

Emily Van Hoff, a Chicago-based artist, creates vibrant wall hangings that seamlessly blend her background in graphic design with traditional quilting techniques. These pieces are a contemporary homage to the craftswomen of past generations, showcasing a distinct fusion of digital design principles and tactile artistry. Van Hoff's work is characterized by geometric patterns and bold color palettes, including shades of bubblegum pink, lavender, and cobalt. Each wall hanging incorporates design elements such as thick stripes, bisected circles, and meticulously arranged rows of stitches, reflecting her stated goal of translating digital design into tangible art objects. Working from her home studio, Van Hoff meticulously constructs these textile art pieces, imbuing them with a modern aesthetic while respecting the heritage of quilting. The choice of colors is deliberate, creating a striking visual impact that makes her work highly sought after. Her creations are not merely decorative items but expressions of a creative process that bridges two distinct disciplines: the precision and visual communication of graphic design with the warmth and texture of textile art. The quilts serve as a testament to the enduring appeal of handcrafted goods and the potential for traditional crafts to evolve through contemporary influences. Van Hoff's artistic practice highlights the intersection of fine art and craft, demonstrating how everyday materials can be elevated into sophisticated visual statements. The tactile nature of her wall hangings invites viewers to engage with the art on a deeper level, appreciating the intricate stitching and the interplay of colors and shapes. Her success in quickly selling out her works underscores the demand for unique, handcrafted items that offer both aesthetic beauty and a connection to artisanal traditions. Her process involves a careful consideration of composition, color theory, and material choice, echoing the deliberate decisions made in graphic design. By applying these principles to textiles, Van Hoff creates pieces that are both visually dynamic and structurally sound. The wall hangings serve as focal points in any space, bringing a burst of color and a sense of thoughtful design to interiors. They represent a harmonious balance between structured design and the organic nature of fabric, offering a fresh perspective on how art can integrate into daily living. #EmilyVanHoff #TextileArt #Quilting #GraphicDesign #WallHangings #ModernCraft #FiberArt #ColorBlocking

Sophie Stone, a textile artist based in Long Island City, Queens, is known for her intricate textile works that blend classic crafts with contemporary narratives. Her studio is a treasure trove of fabrics, ranging from 19th-century crazy quilts to vintage napkins and even stretchy strings, all serving as material for her creations. Stone's artistic journey began at the Rhode Island School of Design, where she studied painting but gravitated towards unconventional surfaces. She collected various found objects and materials, pondering how to integrate them into her art. The turning point came with a dream about crafting large rugs from bedsheets. This vision materialized when artist Jessi Reaves invited Stone to participate in a 2016 two-person exhibition at Del Vaz Projects in Los Angeles. For this show, Stone created unique, mesmerizing composites for floors and walls by cutting and weaving plastic mats, industrial carpeting, and everyday fabrics. Her process is largely intuitive; she describes entering a trance-like state as she selects materials and begins to work. Stone’s versatility is evident in her diverse commissions and projects. She has created bespoke rag rugs from salvaged and new materials for a Brooklyn project with AD100 designer Adam Charlap Hyman, who also commissioned a slipcover for a Hudson Valley fireplace. For a recent group show, "The Loving Cup," at Manhattan’s Jacqueline Sullivan Gallery, Stone reimagined antique doilies, traditionally used to cover open glasses, by decorating them with sparkly fishing lures, adding a modern and whimsical touch. Her studio reflects her creative ethos, filled with textiles sourced from eBay and estate sales, alongside beads, dried flowers, charms, and other decorative elements. This eclectic mix consciously or subconsciously links womanhood and traditional crafts, reminiscent of quilting circles and slumber party bracelet-making. Stone values the slow, manual nature of her work, which she finds grounding. She notes that the time-consuming process of using her hands, away from digital distractions, keeps her engaged in the present moment. Stone’s work, which combines historical textiles with contemporary artistic expression, has garnered attention, with her creations being featured in AD’s June issue. Her ability to transform disparate materials into cohesive and compelling art pieces highlights her unique approach to textile art, giving new life to old threads and infusing them with personal and contemporary narratives. #SophieStone #TextileArt #ContemporaryCrafts #TextileArtist #QueensStudio #RagRugs #FoundObjects #ArtisticProcess #HomeDecor #HandmadeArt

The article presents an interview between Joy Moyler and Esha Ahmed, focusing on Ahmed’s journey into textile design and the philosophy behind her brand, Makrosha. Esha Ahmed, born in Bangladesh and raised in New York, recounts her early introduction to textiles through her mother’s extensive sari collection in Jackson Heights. These early experiences, including playfully repurposing saris into costumes, sparked her interest in fabrics and fashion. Ahmed's formal education at the Fashion Institute of Technology, where she studied fashion design and later costume preservation and textiles for her master’s, further solidified her passion. Her initial career involved managing designer Peter Marino's extensive textile collection, an experience that broadened her understanding of textiles within interior design, covering commercial, residential, and hospitality projects. This role provided insight into both the creation and application of textiles, exposing her to numerous vendors and artisans. Following her tenure with Marino, Ahmed launched Makrosha, a business specializing in fabric, rugs, and throw pillows. A core mission for Makrosha is to preserve and support vanishing traditional weaving arts globally, ensuring the survival of high-quality, handcrafted textiles. Ahmed collaborates with weavers worldwide, each contributing unique methods and aesthetics to her designs. She also partners with designers for custom textiles and represents Aïssa Dione Tissus, a Senegalese master weaver known for handwoven fabrics. Ahmed draws inspiration from historical fashion design, particularly medieval styles, and shares an affinity for late 18th-century Europe and medieval Spain, periods known for their ornate, colorful, and detailed designs that resulted from cultural fusions. She acknowledges the historical influence of the fashion industry on luxury home textiles, observing how trends from designers like Dries Van Noten often translate into the home market. However, Ahmed expresses concerns about the modern culture of disposability and emphasizes the importance of sustainability and longevity in design. She advocates for investing in high-quality items, such as hand-knotted rugs that can take months to create, intending for them to last generations rather than being treated as disposable goods. Her design process involves starting with inspirations from her antique collection, developing renderings with mills, and collaborating closely with individual makers across different cultures, such as those in Laos, Nepal, and England, to ensure the essence of craftsmanship is maintained. Ahmed stresses that true quality and craftsmanship come from this collaborative, hands-on approach. The conversation highlights the critical need to protect traditional weaving practices from extinction due to increasing mechanization, underscoring Makrosha's role in keeping these artisanal skills alive. #TextileDesign #GlobalWeaving #EshaAhmed #Makrosha #InteriorDesign #SustainableDesign #ArtisanalCraftsmanship #FashionHistory #HomeDecor

Woven fabrics contribute significantly to interior design by introducing softness, warmth, and a subtle textural element that printed cloths cannot fully replicate. The inherent tactility of woven textiles often gets lost in two-dimensional images, making it challenging to distinguish them from printed patterns. However, woven cloth possesses superior strength and offers a comforting quality due to its integrated design, ensuring its longevity. Ireland, with its rich history in weaving, continues to host several long-standing companies that are adapting to modern demands. Foxford Woollen Mills, established in 1892 in Co Mayo, exemplifies this adaptation. While traditional blankets have seen a decline in popularity due to the rise of duvets, throws have experienced a resurgence, particularly during the Covid-19 pandemic. Joe Queenan of Foxford Woollen Mills notes an increased demand, attributing it to both a surge in outdoor dining and a consumer desire to support Irish businesses. He highlights that in times of crisis, consumers gravitate towards reliable, ethically produced goods, willing to pay a premium for quality. This trend is evident in the popularity of Foxford’s high-end cashmere throws, as well as the renewed interest in mohair products. Similarly, John Hanly, a family-run business since 1893 in Ballyartella, Co Tipperary, primarily known for supplying international fashion houses, also offers a contemporary homeware range. Their collection features throws in lambswool, cashmere, and mohair, showcasing vibrant colors. While they rarely receive requests for upholstery fabric, Brian Hanly, the current head, expresses openness to exploring such opportunities, acknowledging the rigorous testing required for durability and fire resistance in upholstery. The viability of short production runs for upholstery fabric, however, remains a challenge. Mourne Textiles in Co Down stands out as one of the few Irish weavers providing upholstery fabric by the meter. As an artisan company specializing in hand-woven products, they accommodate smaller production runs, which impacts pricing. In contrast, Botany Weaving, founded in 1934 with factories in Dublin and Donegal, caters to large-scale contracts. They supply woven textiles for aircraft upholstery, curtains, and carpets for over 120 airlines. Recognizing a shift in market demand, Botany Weaving has expanded into contract furnishing. David Lawson of Botany Weaving mentions that some of their durable, well-designed, and predominantly wool fabrics could be suitable for residential use, often sold under other furniture brands rather than their own. Interior designer Oisín MacManus of Ollas Design emphasizes the role of woven textiles in adding texture to interior spaces. He notes that woven items, typically incorporating multiple colors and materials, invite interaction and add depth to a room, unlike flat surfaces. MacManus uses a sofa upholstered in Glen Marsh from Botany Weaving as an example, highlighting how its varied colors create visual interest and texture. Margo Selby, an English weaver and textile designer, collaborates with industrial mills while also creating her own woven artworks. She stresses the craft inherent in setting machines to produce fabric and the skill of textile technicians. Selby is launching a collection of 23 curtain and Roman blind fabrics with Hillarys, a British brand known for its fitting and consultation services. Her designs are geometric, featuring a mid-century color palette, and are specifically tailored for contemporary homes. Selby observes that people often struggle with selecting window dressings for modern builds, often opting for generic solutions. Her collection, available in ochre and silver, teal and green, and indigo and ink, offers strong yet minimal patterns designed to complement contemporary architecture and add a vibrant touch to interiors. The collection is set to launch on October 12, with prices starting from €289 for curtains and €189 for Roman blinds, inclusive of measuring and fitting services. #WovenFabrics #InteriorDesign #TextileDesign #IrishWeaving #HomeDecor #MargoSelby #FoxfordWoollenMills #JohnHanly #BotanyWeaving

Ashley Morrill, a prominent figure from the Magnolia Network show "Maine Cabin Masters," has officially introduced her new home decor brand, Rustic County. This launch follows her emotional announcement earlier in the year, generating anticipation among fans of the show. Rustic County's initial product offering focuses on throw pillow covers, showcasing Morrill's original artwork inspired by florals, nature, and the distinctive aesthetic of Maine. The brand's inaugural collection, the "Garden Collection," features four distinct pillow cover designs, each available in five color options. This allows for personalization and easy integration into various home decor styles, enabling customers to mix and match patterns. Complementing this, the "From Maine With Love" collection presents three pillow covers, all of which draw inspiration from Morrill's home state, reflecting a deep connection to her roots and the rustic charm of Maine. The pricing for these pillow covers begins at $40, with the flexibility to purchase either the cover alone or with an accompanying insert. Morrill's venture into creating her own home decor line stems from a long-standing desire to pursue a personal creative endeavor separate from her work on "Maine Cabin Masters." While she values her design collaborations with the show's crew, she has found enjoyment in developing Rustic County alongside close friends. Her aim with the brand is to allow fans to incorporate a piece of the "cabin experience" and the show's spirit into their own living spaces, catering to both dedicated viewers and general enthusiasts of rustic-chic design. Beyond the initial release of throw pillow covers, Rustic County also offers a range of merchandise, including koozies, trucker hats, and T-shirts, designed to appeal to the brand's growing fanbase. Morrill's team has indicated plans for future product expansions, with forthcoming additions such as tea towels and note cards already in development. The successful launch marks a significant milestone for Morrill, fulfilling a long-awaited vision for her independent design brand. #AshleyMorrill #MaineCabinMasters #HomeDecor #RusticCounty #ThrowPillows #MagnoliaNetwork #InteriorDesign #RusticChic #MaineInspired