Petticoat Junction
In 18th century Rhode Island, quilting served as a decoration for underskirt petticoats, in addition to bed coverings. The petticoats had the dual purpose of adding warmth as well as demonstrating exceptional stitching skills or intricate designs, often distinguishing social status. Some fabrics were imported from London and others were stitched by hand, for women of all backgrounds; only the intricacy of the stitching would differentiate a well-to-do colonial woman from a homemade garment or bedspread. Professional needleworkers would average 18 quilting stitches per inch (compared to six stitches per inch for home quilters). It required three stitchers working several days to complete one intricate petticoat. An exquisite petticoat that dates to 1745 was made for Portsmouth resident Elizabeth Tripp. The Gorton women of Warwick, RI – descended from founding settler Samuel Gorton – were known to make similar detailed petticoats in the 1700s.
Collection of the John Brown House Museum. Source: Quilt Index
Susanna E. Gorton, married in 1717, stitched images of lions, birds, trees, and pineapples into hers with the initials “GSE”.
Before the opening of Slater Mill in Pawtucket in the early 1790s, the cotton for cloth and quilts largely was transported to the north from the southern plantations. Samuel Slater’s innovative cotton spinning mill, inspired by the water-powered mills he studied in England, revolutionized the textile industry, making Rhode Island a hub of the industry for a period.
Mary is a Grand Old Name
The Quilt Index database highlights these notable early Rhode Island quilters:
• Mary Talbot (1800-1849) of Wickford/Newport, excelled in whole cloth (i.e., single fabric) whitework.
• Mary Bigelow Bailey (1795-1879) of Connecticut, was the first to stitch the date and images into “calamanco” (or glazed wool); an exotic innovation at the time.
• Mary Remington (1792-1820) of Warwick, was known for her expertise in whitework quilting. She was the first to stitch a family’s coat of arms into a quilt, honoring their heritage.
Quilts as a Symbol of Hope & Freedom
Beyond their role as family heirlooms, oral histories suggest abolitionists in the 18th century used quilted block prints, and hastily sewn symbols, as codes to help escaping slaves from the south. It is said the symbols such as “wagon wheel” or “bear’s claw” would indicate a safe path to their next stop on the Underground Railroad. While there is little documented evidence to support this, the idea that colonial women of all backgrounds would use whatever creativity, humble materials and skills they had to help others remains an inspiring legacy.
Quilting in Rhode Island Today: Spotlight on Veronica Mays
In this week’s #WHM Voices Series, we spotlight native Newporter Veronica Mays, founder of Portsmouth-based Conaky’s Quilts, who transitioned mid-career to professional quilting after pursuing a career in education.
Tell us about your early career?
When I was young, I wanted to be a journalist and pursue theatre. I moved to California to explore these options. Instead of following those paths, while in L.A., I met my future husband, a firefighter, and we eventually moved back to Rhode Island. I worked in the local newspaper business (at Newport Daily News, in fact). It was while working on an assignment at NDN, that I saw my first handmade quilt and I always remembered it. At one point I was substitute teaching and decided to pursue my Master of Education degree at the University of Alaska, where our family was living at the time. After three years in Fairbanks, AK, we relocated back to Rhode Island, and I became a high school English teacher. Teaching is very challenging on lots of levels. Remembering that quilt wall hanging, I turned to quilting as a hobby to relax myself after school, and I realized I loved it. In 2019, after 15 years of teaching, I decided to pursue “art quilting” full time.
The name of your website/company is Conaky’s Quilts. What does Conaky mean?
It’s my childhood nickname—my younger sister Yolette couldn’t pronounce “Veronica.” It’s a term of endearment for my family.
How has your family supported your business?
My mother, Pauline, who still works full time, attends all my events! My husband, Dereke, also helps me with some prep work. I get a lot of inspiration for my designs from my family and loved ones. My three girls are proud of my art, but they haven’t picked up the quilting bug yet.
Can you share with us any other local women mentors who have helped you blaze this new trail?
About 10 years ago, Lorie Bessette, of Quilters by the Sea, invited me to join a meeting and there I met other quilters including Allison Wilbur, who was the first person to tell me I was an “art quilter.” I also have a lot of artistic admiration for well-known art quilters Bisa Butler and Aisha Lumumba, who are not based in RI.
Where else do you find inspiration?
I find inspiration from nature, and I love mixing colors, patterns and fabrics. If I see a specific image or pose that strikes me, I’ll turn that into an art piece. I also get a lot of personal satisfaction from helping others with my quilts, such as through local fundraisers and via the AIDS Quilt Rhode Island Project.
What advice would you give to aspiring artists or mid-career changers?
I admire the “fearlessness” in young people; I think that’s a good thing. I would suggest seeking out mentors. For all ages seeking to pursue a new path, I would add there are so many resources out there to help you learn, like You Tube, local workshops and groups. I never realized how much I could learn until I tried—and I still surprise myself.Veronica Mays can be reached through her website, ConakysQuilts.com.
