A display of quilts made by members of the Lincoln, Nebraska Modern Quilt Guild at American Quilt Study Group’s October 2019 Seminar. Photo by Jeanine Head Miller.
The 400 quilts in The Henry Ford’s collection, dating from the 1700s to the 2000s, represent quilting traditions of nearly 300 years--all reflecting the resourcefulness and creativity of their makers. Quilts were among the objects of everyday life that Henry Ford collected as he gathered objects for his museum. Since Ford’s time, The Henry Ford’s curators have continued to add to the collection, gathering quilts that represent diverse quilting traditions.
Quilts serve a practical purpose as warm bedcovers. Yet they are also inherently about design--from a simple traditional pattern to a unique motif crafted through the expert manipulation of pattern and color. While many quiltmakers have no formal training in design, they instinctively create attractive quilts that display their innate talents.
Quiltmaking has continued to evolve, reflecting new aesthetics and influences. An exciting, robust trend of the past 20 years has been the Modern Quilt Movement—a style of quiltmaking we are eager to add to our collection.
A display of quilts made by members of the Lincoln, Nebraska Modern Quilt Guild at American Quilt Study Group’s October 2019 Seminar. Photo by Jeanine Head Miller.
A wonderful opportunity arose. While giving a paper at the American Quilt Study Group’s October 2019 Seminar, I met Kristin Barrus, who was presenting a poster session on “Why Women Under 45 Quilt.” (Silent Generation and Baby Boomers created the quilt revival of the post-Bicentennial era. They were followed by GenX and Millennial quilters, many of whom have shaped and embraced the Modern quilt aesthetic.)
Kristin Barrus’s poster, presented at the American Quilt Study Group Seminar in 2019. Photo by Jeanine Head Miller.
Kristin, a graduate student studying Material Culture and Textile History at the University of Nebraska-Lincoln, is not only knowledgeable about the Modern Quilt Movement, she’s a modern quiltmaker herself. We were delighted to have Kristin join us this Spring for a remote practicum experience at The Henry Ford, conducting research on the Modern Quilt Movement to help us more fully understand its vibrant landscape. Her research will inform strategic additions to our collections: examples of modern quilts, printed materials reflecting the movement, and books on the topic. Part of Kristin’s research involves a survey of modern quilters.
Here’s Kristin to tell you more about the Modern Quilt Movement, and her research survey.
Jeanine Head Miller is Curator of Domestic Life at The Henry Ford.
Kristin Barrus. Photo by Alisha Tunks.
Hi, I’m glad to have this opportunity to tell you about my quilt research project! I started quiltmaking around 2003 in my twenties and got swept up with this new aesthetic called Modern quilting. I co-founded the Utah County Modern Quilt Group, which ran monthly for seven years in Lehi, Utah. While I taught at meetings, quilt shows and retreats, I realized I was more interested in watching the quiltmakers make connections with each other than with what came out of the other side of my sewing machine. (Although I do still love to make quilts!) The topic of my thesis for the University of Nebraska-Lincoln is the first study of QuiltCon, an annual convention for Modern quiltmakers.
Modern Trends, Kristin Barrus, 2017. A sampler quilt turned Modern by joining several popular quilt blocks together in a new layout. Photo by Kristin Barrus.
There is much to celebrate and investigate in 21st century quiltmaking. The Modern Quilt Movement is a sub-category within quiltmaking, bracketed at years 2000–2020 for the purposes of my research. Modern is a very broad and sometimes contested term, not just a new aesthetic. It’s also a new kind of experience in the contemporary quilt world. People come to Modern quilting not only to make quilts, as traditional quiltmaking guilds do, but to be a part of the energetic vibe that happens at Modern meetings, both online and in person. Often people who do not consider themselves Modern quiltmakers join because they love the inclusive comradery, mini quilt swaps and inspiration of the Modern Quilt Movement. Thus this popular phenomenon is identified not only by what Modern quilts look like, but also the type of person and the community involved.
The main design philosophy of Modern is exploration through bending or breaking unspoken—and sometimes spoken—traditional quilt rules. It relies on the use of technology such as blogs, Instagram and digital publications to connect across distances, initially building a vibrant community online. Because of the variety and dispersed nature of these makers, Modern quilting is complicated. The look of Modern quilts can include brighter color palettes in solids or prints, or quiet neutrals to create quilts with a strong graphic feel. Or it could just be a new twist on a traditional pattern. Other common aspects include, but are not limited to, large use of negative space, asymmetrical design and straight-line, rather than curvilinear, quilting.
Group Improv, Kristin Barrus & Sew Night Friends, 2018. An example of collaborative quilt design by seven women, using popular colors and fabrics. Photo by Kristin Barrus.
For my practicum at The Henry Ford, I will present a paper on “The Landscape of the Modern Quilt Movement, 2000-2020” next Spring. I will also recommend specific quilts from the movement to consider acquiring for The Henry Ford’s collection, as well as books on the topic. In the meantime, I will be conducting recorded interviews with key individuals from the movement to be included in The Henry Ford’s archives, as well as future research.
My project also includes a survey for Modern quilters. I am hoping to hear from anyone who has participated in Modern quiltmaking in any way, via an anonymous survey. I hope to capture what Modern means to the people who play a part in it: What do they feel Modern is? What are the trends and people that have influenced them? This data will help academia study what the Modern Quilt Movement is, as well as its impact on the lives of many people all over the world. The survey is anonymous, contains 15 questions and takes about 5–8 minutes to complete.
Tula Pink Millefiori, Kristin Barrus, 2017. A hand applique medallion quilt using motifs from popular fabric designer Tula Pink. Photo by Kristin Barrus.
Let Your Modern Voice Be Heard
If you have participated in Modern quiltmaking in any way, please consider taking the survey, or sending it to someone you know who makes Modern quilts. The lines between Modern and Modern-traditional quiltmaking are blurred and intersect often. As you answer each question, please reflect on what Modern means to you specifically, regardless of how anyone else defines Modern quiltmaking. You can access the survey here, or using the QR code below.
Kristin Barrus is a graduate practicum student at The Henry Ford.
Studio artist Dean Allison is our August Artist in Residence at The Henry Ford. Looking forward to a week of new ideas and exploration, Dean joins our artists in the Greenfield Village Glass Shop Aug. 13-17. Follow him on Instagram and learn more about his background below.
Tell us a little bit about you and your work. My work deals with portraiture and documenting people in glass. I’m interested in the figure and physical details that translate identity and the human condition. Most of my work is cast and utilizes molds and processes like bronze casting.
How did you get started with glassblowing? I took an elective in glass when I was an undergraduate in college. I wasn’t interested in 3D work at the time, but that swiftly changed, and glass became a material I grew to love.
What piece are you most proud of that you’ve created to date? That is a difficult question because each piece has differing challenges and obstacles. The most ambitious piece was titled “The Boxer.” It is a piece that I worked on for more than three years, ultimately made in five parts. I designed and built specialized equipment to make the piece. I mixed and melted all the glass from scratch and learned a great deal from the many processes involved.
Where do you find inspiration for your work? People, memories, conversations, human interaction, and social concerns.
What are you most looking forward to as being an Artist in Residence this year? Creating a new body of work that involves experimenting with the figure on a smaller scale and finding inspiration in gesture and form.
This month we’re excited to welcomeShelley Muzylowski Allen to the Greenfield Village Glass Shop at The Henry Ford as our July Artist in Residence. You can see Shelley in action July 9-13; get to know a little more about Shelley in this Q&A.
Tell us a little bit about you and your work. I was born in Northern Manitoba in a small mining town. I believe that its open skies and barren landscape fostered imagination. I spent a lot of time outside in the long summer light playing outside - on the railroad tracks and on large rock slabs, sometimes finding fossilized stone. During the extreme winter days, my sister and I would dig tunnels through the snow and at night, I would watch the aurora borealis create light up shapes on the snow and on our curtains inside. Here I started to paint at a very early age and eventfully studied the medium at the Emily Carr Institute of Art.
My work then and now was directly influenced from my experiences and environment that surrounded me. I layer glass powder colors and use a reverse carving technique to achieve detail, texture and a painterly style on my blown sculpture. I hope that by leaving ambiguity and creating gesture in the recognizable natural forms, that they become universal, creating their own story and sparking an emotion or a memory in the viewer.
How did you get started with glassblowing? After I finished my BFA, I worked at a nonprofit arts center in Vancouver, B.C. One of my co-workers saw my paintings and suggested that my work would translate really well to glass. She had been to the Pilchuck Glass School and gave me their catalogue. I had only seen perfume bottles and functional ware being created on the pipe, so I didn’t understand why she thought I should go there. I applied out of curiosity.
The second I walked in the Pilchuck hot shop my life changed completely. I became obsessed with the medium and that fall drove to Seattle to take lessons at night and then back to Vancouver the same night. In retrospect I realize that because I was so open to and intensely focused on working and learning this medium the path I was to follow unfolded before me.
I was extremely fortunate that both Rik Allen and Karen Willenbrink Johnsen (friendships that began during the Pilchuck session) asked me to assist them during that winter season. A couple of years later, Rik and I got married. I was regularly assisting Karen which led me to work with Bill and the Morris team. I was in awe of and had great respect for the passion and fearlessness that every member of that team had working with glass. It is a way of seeing and working that I strive to continue in my own shop and work.
What piece are you most proud of that you’ve created to date? One of my most recent pieces, See, Swan, that is currently on exhibit at the Habatat Galleries, in Royal Oak, Mich., and focuses on a nearly life-size swan and its reflection, has opened up a new dialogue and direction with glass and my subject matter.
Focusing on a local and magnificent natural phenomena — the northern migration of the swans through the Skagit Valley — See, Swan, is a meditation on this fragile existence.
See, Swan (2018) Blown, hand-sculpted, and engraved glass, steel, 39”w x 80”H x 12”d
Where do you find inspiration for your work? Inspiration is all around me in the natural world. I watch the weather and the seasons, the flora and the fauna, and how they respond to each other and connect to us as humans.
What are you most looking forward to as being an Artist in Residence this year? I am looking forward to working and being in the presence of such a magnificent and important collection of history. Stepping out of my familiar work environment, I can let go of my everyday routine stimulating and allowing space for growth and ideas. I’m excited to work with more transparent pieces utilizing the shop’s color pots and am designing some new pieces regarding this. I’m also really looking forward to working with The Henry Ford’s team and exchanging skill sets and ideas.
This alphabet quilt, likely made in Berks County, Pennsylvania, dates from about 1910. THF168579 (Purchased through the Eleanor B. Safford Memorial Textile Fund.)
“A, B, C, D, E, F, G— H, I, J, K, L-M-N-O-P—.… Now I know my ABCs”
The alphabet song gave us a fun way to learn our ABCs—and the order of the letters. (I don’t know about you, but I sometimes still find myself singing it as I alphabetize something.) Even before kids head off to school, we not only sing the alphabet song to them, but surround them with images of alphabet letters—on building blocks, children’s dishes, and even, wallpaper—to help them learn their ABCs.
Alphabet letters also appear on quilts. Quilt block patterns published in the 20th century made it easier to plan and create these quilts. In 1906, Ladies Art Company, a mail order business that published hundreds of quilt patterns, offered a series of alphabet block designs. The Henry Ford’s alphabet quilt was likely made using these patterns.
The letters on this alphabet quilt may look like they are curved—but they are actually made up of triangles, squares, rectangles and trapezoids. The letter blocks were designed to avoid curved seams, which are more difficult to execute than these other geometric shapes. Yet, even using these Ladies Art Company patterns offered challenges. Some letters, like the G and Q, required more intricate piecing. Some quiltmakers simply deviated a bit in piecing the blocks for these, and other letters. Our quiltmaker managed the Q, but made a few small changes in creating the G.
Though working from the same pattern, each individual quiltmaker created her own unique quilt through her choice of fabric, the exact arrangement of the letter blocks, the design of the sashing and borders, and the quilt patterns used in the decorative corner blocks that complete the quilt. Some quiltmakers arranged the letter blocks in rows of three and five. Others placed them in four rows of five letter blocks—and then figured out what to do with the leftover Z! Our quilt maker tucked the Z into one corner, creating a delightfully whimsical effect.
We don’t really know who made this quilt, or who they made it for. But it is easy to imagine a child cuddling with this charming alphabet quilt—and learning his or her letters at the same time.
Tell us a little bit about yourself and your work. I was born in a small town in Ohio in 1946. I received a BFA in Sculpture from the Cleveland Institute of Art, Cleveland, Ohio in 1969 and an MFA in Sculpture from Cranbrook Academy of Art, Bloomfield Hills, Michigan in 1973. I studied sculpture at the Skowhegan School of Painting and Sculpture, Skowhegan, Maine 1967 and glass at the Toledo Museum of Art, Toledo, Ohio from 1970-71.
I am Professor Emeritus, College for Creative Studies. I taught at CCS for 40 years. Currently I indulge myself in the studio, conceptualizing and creating art.
Fire began to dominate my art in 1969, the first time I tried to blow glass. As a sculptor, I was forging steel into “form.” Molten glass was an alternative: a hot, quick and scary medium to make art. Once I immersed myself in the glass process, the material became a “fine art” medium for me.
As my glass skills evolved and I explored a new process, I created the Image Vessel Series in 1976. In this series, I “painted” using color and line, and “sculpted” to produce a three-dimensional image through a blown-glass vessel.
Do you have a favorite piece you’ve created? Not one favorite piece; however, each step in the evolution of my work has produced several pieces that I believe interpret what I am trying to say.
Why do you enjoy working with glass? The three-dimensional world is reflected light and shadow. Glass adds transparency and translucency. Together this considerably expands the vocabulary of sculpture.
Where do you find your inspiration for your creations? Inspiration comes from the “human figure” along with its movement and stance.
What are you most looking forward to while being an Artist in Residence at The Henry Ford? I look forward to working with the highly skilled artisans that make up the Henry Ford glass studio. I hope to produce a three- dimensional interpretation of my Image Vessel Series.
Artist in Residence Hiroshi Yamano at work in the Greenfield Village Glass Shop.
Art in action. It’s one thing to admire a sculpture made of glass through the display case, studying the technique and artistry from afar. How do you take such art appreciation to the next level? Put it into action?
That’s the question Charles Sable, curator of decorative arts, and Joshua Wojick, master glassblower at the Greenfield Village Glass Shop, pondered as they thought about what’s next for The Henry Ford’s studio glass collection.
“We wanted to broaden our involvement with studio glass,” said Sable, the curator behind of The Henry Ford’s two new glass galleries, which feature studio glass. “We didn’t want the collection to become static. We wanted to express our commitment to studio glass, and glass in general, in ways that would keep our visitors engaged long into the future.”
Added Wojick, “We wanted to continue to build on the studio glass collection, build on its connection to The Henry Ford and create more of a story — our own story — that would be integrated into each object.”
That story’s next chapter comes in the form of an artist-in-residence program. This spring and summer, the Glass Shop hosts a quartet of renowned glass artists, as talented as they are different in their approaches. The program is a first of its kind for the Glass Shop.
In May, Japanese glass artist Hiroshi Yamano kick-started the program, spending five days in the Glass Shop working with The Henry Ford’s artisans and giving visitors a close-up view of his creative process. Formally trained sculptor and glass artist Herb Babcock will also take up temporary residence in the village, along with Marc Petrovic (several of his pieces are part of The Henry Ford’s Bachmann studio glass collection) and technical glassblower Janusz Pozniak.
“We wanted artists that were willing to share their individual artistic process with the public at large,” said Wojick. “Within our shop, we show the public mostly early American glass. This program opens up our studio for the first time, really giving us a chance to show visitors how contemporary artists work, implement designs, collaborate and meld concepts into the physical.”
The pièce de résistance of the program — each artist will leave behind a one-of-a-kind finished piece that will undoubtedly add to the evolving story of The Henry Ford’s glass collection.
Examining the social and economic context of The Henry Ford's rare Paul Revere teapot. Other examples can be seen in some of the country's premier art museums. THF 166148
Today, coffee and tea are enjoyed by millions of people, including blog readers. While connoisseurs of these beverages take their enjoyment very seriously, the relative affordability of these caffeinated drinks means that almost anyone can “benefit” from a caffeine boost and also enjoy their flavors. The resulting billion-dollar industries help power the world economy – and its workforce.
America has an especially close relationship with these drinks, one that dates back to before the country was formed. In modern times, coffee has dominated American tastes, but until the 20th century, Americans favored tea. Although still popular, tea drinking in America can be traced back to trade with China by Dutch merchants in the early 1600s.
Today, fast-paced Americans prefer their caffeinated beverages on the go, often consuming them from disposable drinkware. This is in marked contrast to colonial America, where these beverages would have been served from vessels made to impress and consumed as part of elaborate entertainments expressing the host’s good taste. THF 102595
Dutch traders not only introduced Chinese tea to their colony in present-day New York, but also introduced it to Europe. The hot drink quickly rose in popularity and by the end of the 1600s, tea became the most favored hot beverage in Britain. To support the mass consumption by its citizens at home and in its colonies, England became heavily involved in the China trade and the importation of tea.
As social customs evolved around the drinking of tea, so did the equipment used to consume the beverage. Wealthy citizens could afford to have their teapots fashioned in silver and silversmiths in the colonies, like Paul Revere, learned how to create silver designs from imported English examples. Son of Apollos Rivoire, a French immigrant and Boston silversmith, Paul Revere got his start as his father's apprentice.
Pictured here, an English teakettle-on-stand. Paul Revere imitated designs from English silver objects and pattern books in order to create silver in the most fashionable styles. THF 155178
After his father died in 1754, Revere started his career producing a wide variety of silver objects, including elaborate teapots for his wealthier clients. By the 1760s, the colonies faced increased taxation as England attempted to pay off their war debt from the French and Indian War. High taxes on imports like tea angered colonists, resulting in boycotts that affected what Revere could produce as a silversmith.
These taxes led Revere to join a resistance group known as the "Sons of Liberty" whose members included some of his customers angered by the increased taxation. The organization helped fuel anti-British sentiment in the colonies and Revere aided the groups’ cause by printing propaganda that provoked colonist anger towards the Crown.
As a member of the Sons of Liberty, Paul Revere helped energize the movement toward American independence by printing illustrations like this one of the Boston Massacre. An active citizen, he was part of numerous other civic organizations. THF 8141
In 1773, with tensions mounting, Paul Revere and the Sons of Liberty protested England's control over the tea trade by boarding recently docked British tea ships in the Boston harbor and dumping some of their tea chests overboard. The British responded to the event, known as the Boston Tea Party, by shutting the port of Boston and stripping the Massachusetts colony of its right to self-government.
War erupted in 1775 when Britain moved to seize the colonists' gunpowder and firearms outside of Boston. Revere made his famous midnight ride during this time to warn some of his fellow patriots that the British were on their way to arrest them. While patriot duties limited Paul Revere's silversmithing during the Revolutionary War, he returned to his craft as the war came to an end in the 1780s.
Post-war American silver customers preferred the neoclassical design that became popular in Europe during the war. In the years before the War, silver customers had preferred the Rococo style, an aesthetic known for its ornate decorations and curvilinear body designs. In contrast, neoclassical silver celebrated the classical style of Greece and Rome, making use of symmetry, hard lines, and an emphasis on simple forms. As a master craftsman, Revere developed an elegant and personal interpretation of the neoclassical style.
This 1782 teapot shows Revere’s experimentation with the neoclassical style.
The neoclassical teapot shown above was created in 1782 by Revere. Only six teapots featuring this cylindrical body are known to exist and were some of the last that Revere hand-forged, hammering or "raising" them up from a block of silver. In 1785 Revere acquired silver rolling machinery that he used to produce silver sheets. These sheets were cut to form standardized pieces and allowed Revere's shop to produce silver products more quickly. An example of a Revere teapot made from this later method can be seen in our collections here.
On the bottom of the 1782 teapot, the clear markings of Revere are stamped next to a monogram that can be attributed to Joseph and Sarah Henshaw of Boston. THF 166147
With the assistance of the Massachusetts Historical Society, home of the Revere Family Papers, Revere's own record books identified Joseph Henshaw as the patron for this teapot. The records show that on February 22, 1782 Paul Revere made a note that he needed to make a teapot and spoons for Joseph Henshaw. By April 27, 1782 it appears that Revere had completed the order and marked the weight of the teapot as "16-17". This weight of "16-17" can be seen scratched on the bottom of the teapot in the upper right of the picture above.
Joseph Henshaw was a prominent Boston merchant. With his wife Sarah, the two used their home to help plan further American resistance by occasionally hosting "Sons of Liberty" meetings. It was his membership in this radical group that led Joseph Henshaw to form a friendship with Paul Revere. While this teapot is a good representation of the tea culture that existed in the colonies, it is also a symbol of Revere and Henshaw's relationship, a relationship that helped establish the United States of America.
See more on Paul Revere's life from our Digital Collections in this expert set. Ryan Jelso is Associate Curator, Digital Content, at The Henry Ford.
Susan McCord (at far right) with family at the McCord farm, about 1904. (with Susan, from left to right: Susan’s daughter Millie McCord Canaday, husband Green McCord, granddaughter Ruth Canaday). Right: Susan and Green McCord, about 1885. EI.1929.2222
On her family’s farm near McCordsville, Indiana, Susan Noakes McCord (1829-1909) made meals for her husband and children, cleaned the house, sewed and mended the family’s clothing, knitted accessories, cared for the chickens, milked cows, tended the vegetable and flower gardens, read her Bible through each year, and participated in community gatherings.
In her “spare” time, she also made exquisite quilts. Exceptional quilts.
This ordinary Indiana farmwife had an extraordinary genius for designing and making quilts. Her “palette?” Like other resourceful housewives of her time, Susan used materials that she had on hand: scraps of cotton prints or dress velvets left over from making her family’s clothing. She also cut usable fabric from the family’s worn-out clothing. Susan made some of her quilts in patterns then popular. And she likely used the flowers in her garden as further inspiration.
But what Susan created with these everyday materials, the inspiration she found around her, and her rich imagination was stunning. Susan could manipulate fabric, color, and design to turn a traditional quilt pattern into something extraordinary. Her workmanship was equally superb. She joined her quilt top, the layer of filling, and the backing with thousands of tiny, even stitches—averaging 10 to the inch.
Susan’s Floral Urn quilt is reminiscent of album quilts made of large appliqué floral or wreath blocks that were popular during the mid-19th century. But Susan's version is exceptionally imaginative. Susan's love of gardening likely inspired the fuchsia, tulips, and daisies which spill whimsically from the urns.
Ocean Waves Quilt by Susan McCord, about 1880. THF 95131
This Ocean Waves quilt pattern was well-known in the late 19th century. But in Susan's hands the design is breathtakingly executed, formed of hundreds of tiny half-inch triangles cut from printed cotton fabrics. Susan finished the borders of this quilt with her unique meandering vines with colorful pieced leaves.
Fan Variation Quilt by Susan McCord, about 1900. THF 95136
In the late 19th century, decorative "crazy" quilts -- made from silk, velvet, and wool scraps stitched together "crazily" and embellished with embroidery -- were all the rage. This quilt is a variation of a crazy quilt design called fans. Most quilters placed a fan in just one corner of a block. Susan sewed fans of varying sizes in each corner. Then she joined the blocks together to form "wheels" that dazzle with a sense of motion and energy.
This stunningly beautiful quilt is Susan's masterpiece. This trailing vine design is a Mc original. Susan pieced together printed and solid cotton fabric scraps to create the over 300 leaves on each of the 13 vine panels. Susan used variations of this vine in the borders of several quilts. But Susan's vine design is rendered to perfection in this work of genius.
Do I sound like a member of the Susan McCord Fan Club? I am—along with hundreds of her other admirers.
African-American quiltmaker Susana Allen Hunter turned the "fabric" of everyday life into eye-catching quilts with an abstract, asymmetrical, and often, modern feel. Created from the 1930s to the 1970s, Susana Hunter's quilts reflect her life in rural Wilcox County, Alabama—one of the poorest counties in the United States.
Strip Quilt by Susana Allen Hunter, 1950-1955. THF73619
Susana Hunter made handsome, unique quilts, fashioned literally from the fabric of everyday life.
Susana's quilts are pieced in a design-as-you-go improvisational style found among both blacks and whites in poorer, more isolated pockets of the rural South. People living in these more remote areas had less access to quilt pattern ideas published in newspapers or printed in books. For fabrics, rural women depended on mail order catalogs or whatever was available in the local store. These "constraints" left quiltmakers like Susana Hunter free to use their imaginations. Bedsheet Pieced Together from Commercial Sugar Sacks by Susana Allen Hunter, 1930-1970. THF94355
Making an improvisational quilt top required a continual stream of creativity during the entire process, as the quiltmaker made hundreds of design decisions on the fly, fashioning an attractive whole out of whatever materials were at hand. Overall visual impact mattered most—not minor details such as whether a patch in a row had a square or rectangular shape. Size and shape was determined by the scraps available at the time.
Sewing Thimble Used by Susana Allen Hunter, 1930-1969. THF93486
Handmade Fan Used by Susana Allen Hunter. THF44759 For Susana and her husband Julius, life often meant hard work and few resources. The Hunters were tenant farmers who grew cotton and corn, tended a vegetable garden, and raised hogs, chicken and cattle. They lived in a simple, two-room house that had no running water, electricity or central heat. The outside world came to them through a battery-powered radio and a wind-up phonograph. Though the Hunters didn't have much in the way of material goods or the latest 20th century technology, they never went hungry, raising much of their own food.
Portrait of Susana Allen Hunter, June 1960. THF125834
Susana Hunter wanted all of her quilts to be different. Some of her quilt designs have a warm, homey feel. Many resemble abstract art. Other quilts pulsate with the visual energy created by many small, irregular pieces of vividly-colored fabric sewn together. Still others incorporate cornmeal or rice sacks, often reserved for quilt backing, as part of the design of the carefully-pieced quilt top.
Dressing Goodfellows dolls has been a Christmas tradition in Detroit since 1924, and the Ford Motor Company Girls’ Club was a major participant in dressing Goodfellows dolls for underprivileged children in Detroit for many years. Starting in 1946 by dressing 65 dolls, the club’s peak donation was 3,000 dresses in 1967, 1969, and 1970, and they averaged between 1,500 to 3,000 dolls most years.
The Ford Girls’ Club was started in 1946 under the Recreation Section of Ford Motor Company. Every female employee – salaried, or hourly – was automatically a member (though active membership did cost $1.00 per year). Any immediate female family member of a club member could join, as could the wives of Ford male employees. The club was primarily social, meeting once a month in addition to dinners, picnics, dances, lectures, and workshops. Members were also service oriented - they held dances for returning veterans, gave gifts and visited veterans in hospitals, and each Christmas they participated in clothing dolls for the Goodfellows to distribute, making thousands and thousands of handmade dresses over the years.
Dolls were usually handed out at the annual November service meeting. The club’s first foray into dress making was in 1946, when women of the club made 65 handmade dresses for dolls. The next year they jumped up to 290, with the dresses being displayed in the Administration Building cafeteria before being sent to the Goodfellows. As more women joined the club, interest grew in this Christmas service project and the club dressed more and more dolls each year, with their finished projects being displayed in various Ford Motor Company buildings’ lobbies, and offices, as well as the Dearborn Virginia Dare storefront window in 1949. The number of dresses made continued to climb each year reaching to almost one thousand in 1954, and the dolls were displayed for the first time at the Rotunda Christmas Fantasy. The next few years were dress-making bonanzas, and in 1957 2,500 dolls were dressed and displayed at the Rotunda for visitors to view before they were distributed to girls in the Detroit area on Christmas Eve. The Girl’s Club maintained a high production rate in the years to come - between 1,750 and 2,000 dresses were made annually and displayed at the Rotunda or Ford Motor Company buildings. In 1966 production saw another jump when the club made almost 3,000, a number they reached the next year and continued to reach or come close to for the next four years.
The handmade dresses were made of all kinds of fabric, from cotton to organdy, satin and lace. Women also knit and crocheted dresses, from wool to angora. Dolls dressed as nurses, astronauts, drum majorettes, hula dancers, Girl Scouts, flying nuns, ballerinas, and ice skaters complete with skates, graced the displays, as did brides, baby dolls, and all kinds of different ethnic dresses. Women could make any type of dress they wanted, but prizes were given by the Goodfellows, and later Ford, in specific categories:
Knit and crocheted
Goodfellows prizes ranged from $1 for a dress placing in a particular division to a grand prize of $10. Ford soon began judging the Girls’ Club’s work and awarding prizes as well, with the dresses usually judged by the wives of the Goodfellows’ president and executive officers. Early on prizes were cash, but when the displays headed to the Rotunda the stakes were raised. Grand prize in the 1950s and early 1960s was a sewing machine and console, second prize being a portable sewing machine, and third prize was a sewing cabinet.
The prizes, of course, were always of secondary importance in the Girls’ Club work with the Goodfellows' goal of “no child without a Christmas.” Over a 27-year period, 1946-1972, the Ford Girls’ Club donated over 45,000 hand-made dresses to the Detroit Goodfellows' organization to distribute to area children. The Ford employee newsletter The Rouge News and later Ford World carried stories and photos of the club’s donations every year, urging members of the club and others in the Ford organization to participate. We lose track of the Ford Girls’ Club here in the archive at about 1973, when Ford World ceased publishing stories on the yearly donation of dolls. However, judging from the 1972 output of 2,000 dolls, it seems likely the club continued the annual service drive for some years after.
The Goodfellows still distribute dolls and people in the metro Detroit area continue to provide dresses each year.
Kathy Makas is Reference Archivist at The Henry Ford.