Textiles & Women’s History: Part Three

It is extremely important to remember that free women were not the only ones to use textiles as a means of expression and resistance to oppression. In this third installment of “Textiles & Women’s History,” I will be exploring how African American women, especially those who were enslaved, used quilting and other crafts to create their own unique culture and to resist the subjugation the system of slavery.

The Agency of African American Women

Enslaved women, especially on large plantations, used quilting as a reason to gather together after the day’s work and socialize, creating strong community bonds that helped sustain them through the daily horrors of enslaved life. Since many of these women lost family members through these brutal realities, they used female kinship networks as a means of creating new family networks, even if unrelated by blood. This resilient choice was itself an act of rebellion against the attempts of slaveholders to disrupt enslaved culture and family life. Leah, one of the enslaved women on the Vance plantation, exhibited similar agency when she chose to create and maintain her family even with the ever-present fear of loved-ones being torn from her. 

Leah and Sandy Erwin went to the Freedmen’s Bureau office in Asheville on August 25, 1866 to record their marriage of 25 years. From the Cohabitation Records, Buncombe County Register of Deeds, Asheville NC.

African American textiles, especially quilts, often contained patterns and colors unique to African culture, which enslaved women used to tell their stories and keep their heritage alive in the face of racism and brutality. Their very approach to quilting was to subvert the usual order, and therefore defy their oppressors. Where white European tradition valued the symmetry of uniformity in quilting, African American women’s quilts counteracted this by valuing diversity in color and pattern. Click here for an example of a quilt made by a formerly enslaved woman in Georgia, courtesy of the Museum of Fine Arts in Boston.

Textiles & Identity

There were other ways in which enslaved women resisted the abuses they endured each day from slaveholders that also involved textiles. Slaveholders generally issued out a certain amount of cloth or clothing to each enslaved individual annually. Some owners gave intact, immediately wearable clothing to enslaved families, but the clothing was uncomfortable, ugly, shapeless, and impractical for hard labor and certain types of weather. Others simply issued cloth to enslaved workers and had them sew their own clothing and textiles on their own time. Either way, the materials given to enslaved women to provide clothing, warmth, and shelter to themselves and their families was often unserviceable and low in supply. Enslaved families commonly went without needed clothing in cold weather, and those working the fields went through their clothing quickly because it was not durable enough to withstand daily hard labor in the elements. 

As Harriet Jacobs, a formerly enslaved woman in North Carolina, stated in her memoirs; “I have a vivid recollection of the linsey-woolsey dress given me every winter by Mrs. Flint. How I hated it! It was one of the badges of slavery (Jacobs 13).” To Jacobs, this clothing marked her as a slave, the lowest member of American society, and it was a mark she was forced to wear daily. Clothing during this time was one of the many outward ways in which a person could immediately define the social status of another, and enslaved people knew that their clothing broadcasted their bondage to everyone, and further took away from their culture and individuality. 

Drawing of Harriet Jacobs by Keith White, 1994. Image from the State Archives of NC.

To fight back against this dehumanization, enslaved women often found ways to make their own clothing to wear on special occasions, such as to church, at slaveholder-ordained gatherings, and at illicit gatherings orchestrated as acts of rebellion by the enslaved themselves, where they could socialize and enjoy themselves in some capacity without supervision. Enslaved women, despite spending all day and into the night working for someone else, used their limited free time to create beautiful works of art in the form of dresses, quilts, blankets, headwraps, and jewelry that they could wear as badges of pride and cultural heritage, instead of badges of bondage. They incorporated traditional African designs into their clothing and even created clothing similar to that of wealthy white women, in order to mock their oppressors. Time spent working on these crafts was time for enslaved women to express their artistic creativity and to hone skills that could be used to create textiles that they could sell to earn funds to buy their own freedom. 

Enslaved women worked together to obtain the materials needed to make their art, whether it was through taking materials from their masters and mistresses, or buying material through funds they managed to earn. These women were admirably resourceful, and often used castoff clothing to create their desired attire for themselves and their families or to create needed textiles for their homes. 

Along with other forms of subtle resistance, enslaved women used domestic chores like textile work to stake a claim on their individuality and cultural identity. It would be remiss to assume that, just because the Vance plantation was smaller than other southern plantations, the enslaved women working there did not also participate in acts of resistance. 

Aggy, who was one of the few, if not the sole adult enslaved woman working on the plantation in the late eighteenth and early nineteenth centuries, would have had to perform a vast variety of chores each day for her enslavers. The fear of being separated from her husband Richard and their children likely hovered in her mind for much of her life. Yet she, like Leah, still had the agency and resilience to keep her family connected and well. Along with Aggy and Leah, Venus, who acted as a nanny to the Vance children, resisted oppression by forming valuable bonds with her enslavers that gained her certain privileges and opportunities. These women had to form these bonds with their oppressors in order to survive. If they used such actions of rebellion against the system, who is to say that they did not also rebel through artistic expression in their chores, such as weaving and sewing? 

Ca. 1800s floor loom on display at the Vance Birthplace.

Final Thoughts 

Textile work has connected American women from all classes and ethnic backgrounds together in some way or other, and many of these women used this domestic task to accomplish more than a simple obeisance to the patriarchal gender ideal of womanhood. These arts have lasted until the present day because generations of American women have passed their skills on to each other, and it is significant that, in an age when such work is no longer necessary for women to perform for survival, we still engage in these activities on a regular basis. There are still quilting bees, sewing circles, knitting classes, and embroidery workshops. American women today are not so far removed from the craft of previous generations of women as we often think! I hope that these posts have shed some light on the diversity and importance of textile work in the narrative of American women’s history, and that you will be inspired to learn more about the crafts that these women created!

Further Reading

Blue Ridge Heritage Trails

Textile Art from Southern Appalachia

Journal Articles:

“Slave Cloth and Clothing Slaves: Craftsmanship, Commerce, and Industry”

“Kinship and Quilting: An Examination of an African-American Tradition” in The Journal of Negro History 80, no. 1 (1995): 30-41, by Floris Barnett Cash, doi:10.2307/2717705

“African-American Women’s Quilting”


Closer to Freedom: Enslaved Women and Everyday Resistance in the Plantation South by Stephanie M.H. Camp

Incidents in the Life of a Slave Girl by Harriet Jacobs

Textiles & Women’s History: Part Two

After taking a break to post about Independence Day, we are now going back to our discussion of women and textiles. Today we will talk about the ways in which embroidery and quilting were important in colonial America!

Also, thanks to everyone who attended the embroidery workshop on July 11! Lauren did an amazing job leading the class, and we had a great turnout. It was wonderful for all of us to learn together. Learning to do those stitches makes it even more impressive that six year old girls were learning them hundreds of years ago!

Colonial American Women and Textiles

While textiles made by European colonists in America were at first largely utilitarian and were in short supply in the early colonies, the eighteenth century introduced a larger, more developed consumer society. Leisure time increased, especially for elite white women. Both the northern and southern colonies at this time supported a society in which women were required to restrain themselves inside the domestic sphere and allow men control over their lives and their interactions with the outside world. While wealthier families were able to send daughters to school, female education primarily consisted of learning skills that would be useful in running a household and attaining a stable and beneficial marriage.

Priscilla Brank would have grown up in this world, spending her early years developing domestic skills that would help her in her marriage to David Vance Sr. in 1775. While it is unclear if Priscilla, like many of her female contemporaries, attended school and learned embroidery and other needlework there, it is likely that her social and economic status would have allowed her to interact with embroidery at a young age. Girls who were wealthy enough were either taught decorative embroidery at home or at school, and their very first projects were called samplers. Many girls completed a simple sampler between the ages of five and six, which taught them basic embroidery skills and allowed them to simultaneously learn their letters and numbers. An example of a basic sampler from 1786 in Cabarrus County, North Carolina, is displayed below, image and information courtesy of the Museum of Early Southern Decorative Arts online object database. 

In adolescence, girls would then complete a more complicated sampler that showcased their talent, patience, and family values. Such samplers were often framed by parents and displayed in common rooms of the home in order to attract the attention of potential suitors. Some samplers, depending on the girl’s skill, could become quite intricate, as seen here, also courtesy of the Museum of Early Southern Decorative Arts database:

These samplers are often the only testament to the existence and experiences of the girls and young women who created them that we have today. 

The Importance of Textile Crafts to White American Women

White American women who had the time and skill during both the eighteenth and nineteenth centuries could spend hours on embroidery, decorating seat cushions, bed hangings, clothing, wall hangings, and other textiles, and often used their skill as a form of artistic expression in order to convey their personal values and ideas. Some women even used their talent as a means of making a name for themselves in their communities and making extra income. In a world where few women were taught the skills needed to procure paying jobs and even fewer were allowed the independence to pursue skills that could lead to more income, many transformed traditional female domestic skills into a means to obtain autonomy and to influence the trajectory of their lives. Embroidery in itself is a craft that lasted into the twentieth century in America, and it is likely that Mira Baird Vance and her daughter-in-law, Hattie Espy Vance, both encountered the art and even participated in it during their lifetimes, especially since they were members of the relatively wealthy southern Appalachian elite in the nineteenth century. 

Of course, embroidery was not the only textile craft American women used on a daily basis. Quilting and weaving have also been important skills studied by women for millenia. The women living at the Vance Birthplace had access to a loom for weaving. While the enslaved women on the plantation did the weaving itself, as was common in the American South, white mistresses like Mira Baird and Priscilla Brank would have known something about the loom and would direct the enslaved women’s labor. 

Quilting would have also been a familiar task for these women. Even if they did not always create quilts themselves, they certainly would have been familiar with the process and the patterns involved. Patchwork quilting was a convenient and useful way to recycle unused cloth and became popular in the eighteenth century. Quilting as a whole actually became extremely important to the southern Appalachian region in the nineteenth and twentieth centuries, and it is probable that the women living in the Reems Creek valley during this period would have been familiar with the craft. 

Quilting and other textile crafts presented an opportunity for groups of women to gather together and socialize whilst working, and consequently fostered cultural connections and female friendships and bonds that provided resistance to the patriarchal oppression and the daily drudgery of isolated rural frontier life. Below is an example from North Carolina made between 1840 and 1857 of a symmetrical quilt created by a young woman in a prominent family in her community, courtesy once again of the MESDA collections database: 

You can learn a bit more about quilts in the mountain South by looking at Lauren’s video on quilts from the Vance birthplace posted on the site facebook page on April 29!

Tune in next week to discover the ways in which African American women, enslaved and free, utilized textiles as modes of resistance, vehicles of self-expression, and tangible expressions of love.

Further Reading Links:

“Schoolgirl Samplers and Embroidered Pictures” in The New Encyclopedia of Southern Culture: Volume 23: Folk Art, edited by Carol Crown and Cheryl Rivers, 184-87, University of North Carolina Press, 2013.

MET Museum Essay/Collections

American Women’s History: A Very Short Introduction by Susan Ware 

Textiles and Women’s History: Part One

Embroidery fragment on display at the Vance Birthplace.

For my first blog post related to historical content for the Vance Birthplace, I decided that I wanted to delve deeper into the history of textile work, especially needlework, in America. In researching this topic, I went a little overboard and found enough information for at least 10 separate posts; therefore, this is only the first post in a three-part series on the topic, so stay tuned for that!

Women (and men in many cultures) have been creating textiles since human beings decided that it was necessary to stay warm and clothe themselves. It is easy to pass textiles off as necessities that women had to create in order to survive, or as symbols of the domestic sphere in which many women have been forced for centuries to confine themselves to, and nothing more. 

Likewise, in historical fiction novels, we often read about women and girls who rebelled against such traditional “women’s work” and were far more interested in pursuing activities considered inappropriate for girls throughout history, like swordplay, sports, and politics. As a child and adolescent, I myself had always felt that when adults encouraged us girls to participate in activities such as sewing or knitting, they were only trying to reaffirm traditional gender roles that would hold us back in the future. 

However, textile work has long been a way for women to express their creativity when they were given no other outlet and even became a method for resistance against oppression. This craft allowed women to show their personalities, influence change, and tell their stories, even in a society that repeatedly tried to silence them. Textiles are not just the result of regular housework, but are also building blocks in the cultures and narratives of countless American women. 

As a women’s historian in the making, I feel that it is necessary for me to learn about and understand the work women did on a daily basis, and what it meant to them. The women who lived and worked on the Vance plantation had access to a loom and a spinning wheel. They would have been engaging in textile work on a regular basis while fulfilling their domestic responsibilities. It is important to understand how their experiences with these household chores connects them to the wider story of American women’s history. I hope you enjoy learning about this topic with me! 

Cherokee Women and Embroidery: 

The Reems Creek Valley was inhabited by the Cherokee for hundreds of years before white settlers like David Vance Sr. and his wife Priscilla Brank arrived to settle on the land. Cherokee women (and men in some cases), among countless other Native American women, had already been creating intricately embroidered clothing, blankets, sashes, belts, shoes, and other textiles long before European women arrived in the Americas and brought their own textile culture with them. 

Cherokee craftswomen worked with deerskin, wool, and other cloth-like materials, but they also used seed beads made from shells, pearls, and later glass, to create beautiful and meaningful embroidery patterns on many of their textiles. They made needles from animal bones, and were able to use plant fibers to create thread.

The patterns in Cherokee beadwork and textile art held specific tribal meanings for centuries, but much of the knowledge of those symbols and meanings have been lost to time and to discrimination and oppression against the Cherokee and other Native American nations over the years. Many of the personal stories and the artistic legacies of the women who made these textiles have been lost with them, but modern artists are trying to preserve their heritage and continue the tradition.

Beadwork embroidery, along with Cherokee traditional crafts such as finger weaving, were not only a means of creative expression but were important for cultural events and religious rituals. Below you can see an example of Cherokee finger weaving from the Qualla Arts and Crafts Mutual Inc. website, which I will also link here. Give the site a look to see more examples from some amazing artists!

Finger Weaving

These crafts were used as a means for Cherokee women to help support their families outside of the home as well. Many Cherokee traded textiles for needed supplies, and when the market economy in America became more prominent, they sold their wares for profit as well. Cherokee women, as the primary textile artists, were able to use their work for self expression, as a means of making money, in support of cultural institutions, and for the survival of their heritage in the face of European invasion. 

Learn more about the history of textile production in America next week as I explore how white women honed their craft in the eighteenth and nineteenth centuries. 

If you want to learn more about embroidery specifically, check out our upcoming workshop at the Vance Birthplace. Assistant Site Manager Lauren May will be holding a virtual class for beginners on sunflower embroidery, inspired by a textile artifact on site that has a sunflower embroidered on it. The workshop will be on July 11th from 1-3PM, and you can register through the Vance Birthplace Facebook page for this event! The cost per person is $20.00, and make sure you register in advance with enough time for Lauren to mail you the embroidery kit! 

Further Reading Links: 

Cherokee Heritage Center

Oconaluftee Indian Village, Cherokee NC


The Cherokee Diaspora: An Indigenous History of Migration, Resettlement, and Identity by Gregory D. Smithers

Cherokee Women: Gender and Culture Change, 1700-1835 by Theda Perdue

Art of the Cherokee: Prehistory to the Present by Susan C. Power