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Ancient Egyptian cotton and mediaeval European undergarments were quilted for warmth. Padding for the knights' suits of armor was quilted in heavy cotton. Japanese and Chinese working clothes were quilted for warmth and design. In Japan, artistic motifs evolved and became more stylized as they were adapted from the brush to the needle, eventually becoming Sashiko, a traditional form of Japanese quilting that is fashioned with thick white thread on at least two layers of indigo blue cotton. (Mende & Morishige, 1991) Virtually every world culture has, in one way or another, helped develop today's art know as "Quilting." It is interesting to know that, despite having obvious roots in Europe, patchwork quilting, is believed by many to be a uniquely American form of folk art, both functional and beautiful. Among the myriad of American cultures that have contributed to the development of the quilted arts, the African-American culture has stood out as a major contributor and is responsible for engendering a whole style of quilting unique unto itself. Today, quilts are sewn by men and women of all races and ethnic backgrounds using traditional African methods. African fabrics are a highly prized commodity to the hobbyist and serious quilter. Early American Quilting Quilting arrived on the American scene quite early, brought over from Europe mostly in the form of whole cloth quilts. In the young American colonies, however, fabric was very scarce as England forbade development of a continental textile industry, requiring instead that all fabric be imported. Colonists devised the patchwork quilt as a means of efficient utilization and recycling of what little fabric was available to them. American pioneers created quilts out of necessity by sewing together scraps of precious textiles, and reusing and recycling the remains of old clothing. Pioneer women made use of the boredom and loneliness of frontier life by refining their quilting methods and using intricate designs in the creation of their quilts. Pioneer quilts were often made from the still useable pieces of old men's woolen pants and jackets and stuffed with raw wool, or from the scraps of ladies' dress-making materials and filled with cotton batting African American Influences The developing slave trade brought young Africans to the Americas by the scores. These African slaves brought with them the traditional appliqué form of quilt making. Blending appliqué with other European styles, African-American quilters are largely responsible for turning the American patchwork quilt into an instrument of storytelling and historical documentation. Additionally, African-American artists brought with them a flair for color that was uncommon to the Anglo population of the day. Appliqué wall hangings were, even in the young days of our country, a centuries old tradition for recording the histories of West African kings. Though the native West African wall hangings were traditionally made by men, the art form here on the North American continent has been dominated mostly by women. In fact, slave women who could sew, spin yarn and thread, and weave cloth brought a much higher price on the auction block. In combining traditional African appliqué technique with traditional European quilting styles, the African-American style quilts were born. African American style quilts tell stories, document family trees, maintain memories of departed loved ones, and share faith in God.
The traditions of quilt making have been passed on through generations and continue today. Modern African-American quilters have revived interest in this centuries old art form and continue to create magnificent works which tell stories, record history, and captivate the imagination. Earthleen Briggs is proud to be among this long line of African-American quilters, and strives to uphold the traditions of quality and artistry that were taught her by her mother. Ethnic Quilts & Fabrics is an extension of Ms. Briggs own quilting history to the art, industry, and her customers.
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Ethnic Quilts & Fabrics - 2609 Lemon Grove Avenue - Lemon Grove, CA 91945 |
Perhaps
no one person demonstrates the development of the African-American Quilt better
than Harriet Powers.
Born a slave in Georgia in 1837, Harriet Powers created two quilts which are the
best known and well preserved examples of Southern American and African-American
quilting tradition still in existence. Using the traditional African appliqué
technique along with European record keeping and biblical reference traditions,
Harriet recorded on her quilts local historical legend, Bible stories, and
astronomical phenomena. 
Mrs.
Powers was "discovered" at a local county fair by a white woman named
Jennie Smith when Harriet was approximately 65 years old. Mrs. Smith
documented her encounter with Mrs. Powers in a personal diary. Although
Mrs. Smith tried several times to get Harriet to sell her quilts, Mrs. Powers
steadfastly refused. The two women remained in contact though, and when
the Powers' fell on hard times, Harriet sold the quilts at the urging of her
husband. Mrs. Smith's diary reads," Last year I sent her word that I
would buy it if she still wanted to dispose of it. She arrived one afternoon in front
of my door in an ox-cart with the precious burden in her lap encased in a clean
flour sack, 
which was still enveloped in a crocus sack. She offered it for ten
dollars, but I told her I only had five to give. After going out consulting with
her husband she returned and said 'Owin to de hardness of de times, my ole man
lows I'd better tech hit.' Not being a new woman she obeyed. After giving me a
full description of each scene with great earnestness, she departed but has been
back several times to visit the darling offspring of her brain. She was only in
measure consoled for its loss when I promised to save her all my scraps."
Today, Harriet Powers' quilts (shown) are preserved and on display at the
Smithsonian Institution's American Folk Art display.