1937

In 1937, Roosevelt was sworn in for a second term. Amelia Earhart disappeared in her attempt to become the first woman to fly around the world. And Zora Neale Hurston published her novel Their Eyes Were Watching God. 

Unknown women all over the country were making quilts to keep their families warm during the depression. I have one from my namesake, a frail Sun Bonnet Sue quilt. My father's Aunt Mattie gave it to me when I met her once in the late 50s or early 60s. In one corner, there is a simple embroidery that reads 1937.

A number of years ago, maybe 10, a friend in my book club was downsizing and brought in several old quilts to give to anyone who would have them. She had no idea who made them, but someone in her husband's family, probably. 

The Poppy quilt came home with me. It was frayed around the edges like mice had gotten into it. The binding was sheer in most places, missing in others. And there were stains, of course. 

With four large applique designs arranged symmetrically along the axes of the quilt, the colors seemed bright, though not the original colors. The applique work was lovely, accented with French knots and other embroidery stitches. I now know that it was made entirely by hand. Even the binding was applied completely by hand. The quilting outlined the applique and, in between, she used diagonal lines to create a kind of lattice work.

I've washed it a number of times and worked on the stains without any success. I purchased some orange-red Kona cotton that I could have used to repair, or replace the binding. I hung it on a bedroom wall for a while. I put it on the guest bed for a while. And then I folded it up and put it away again.

When someone in my Fiber Art Fusion group asked for a class on making quilted jackets, I decided to make the leap and cut into this quilt. And I've convinced myself it was the right thing to do. In fact, I really love the jacket. 

The Tamarack jacket from Grainline Studio is very popular and a perfect silhouette for transforming an old quilt. With only 3 main pattern pieces - front, back and sleeve - it could not be simpler and still be pretty, IMO. The pattern includes pieces for welt pockets, as well as instructions for quilting the pieces as you go along.

I spent quite a lot of time deciding how to position the pattern pieces, wanting to avoid stains, yet show off the beautiful workmanship effectively. I placed one large applique motif down the front, but off-center in order to extend the design into the shoulder. Another large applique was placed on the back along the fold line. I was able to connect the two at the side seams.

There were 2 major motifs remaining. I placed one along a sleeve and left the second sleeve mostly white, a place to rest the eyes in this busy design.

The yard of Kona cotton worked out great for bias binding along the edges, as well as Hong Kong finishes to the interior raw edges. I have enough left over to create little appliques to cover the remaining stains, if they bother me. So far, they don't.

The side seams were a bit challenging. The instructions are non-existent vague on that juncture where the hem binding and the side seams meet. My hems are covered with 1/2 inch binding, and most interior seams have the HK finish. All seam allowances are 1/2". I chose to press the seams to the back, as instructed, and then graded them a bit. Then I applied a quasi-HK finish to the one exposed edge. Unlike standard HK finishing, I hand-stitched mine to the back of the garment. It is still a wee bit lumpy there.

While cutting it out, I noticed that there was one small *signature* on the corner, much like the one on my great-aunt's quilt. That corner became an interior pocket with new binding. I may add some embroidery here clarifying that the quilt was made in 1937 and the jacket in 2021. 

Honestly I became a little emotional as I added the pocket. I could not help wondering about the woman (or women) who made this beautiful quilt. What were their hopes when they gifted it to my friend or to someone else in her husband's family? And how many hours of loving stitching did they invest?

I have convinced myself - and please don't dissuade me - that this jacket honors the maker, whoever she was, whatever her story. I will think of her each time I wear it. I love it.