The rise of Lancaster County’s Amish quilt trade: From bedcovers to brand
Editor’s Note: This column is part of an ongoing series by Made by History and LNP | LancasterOnline to commemorate the 250-year anniversary of the signing of the Declaration of Independence. To read more about this series go here.
In 1987, the Lancaster New Era published a multi-part series called “Lancaster County: Quilt Capital U.S.A.,” detailing the booming trade in newly-made and antique Amish quilts.
Under headlines such as “The Men Raise Barns, The Creative Women Run Quilting Bees” and “Collectors Pay Thousands for Local ‘Folk Art’ Antique Quilts,” staff writer Ed Klimuska provided a colorful portrait of the market for quilts that was bringing tourists, quilt dealers and art collectors to the region.
This media attention reflected a process that was two decades in the making.
While Amish women in Lancaster County had made quilts for more than a century, the commercial market for them really only dated back to the 1970s. That was when interest from collectors kickstarted a boom that would last for decades and remake the Amish economy.
Around the turn of the 20th century, Lancaster County’s Old Order Amish women began making quilts in significant numbers. These quilts were distinct from those made by non-Amish quiltmakers and even from quilts crafted in other Amish settlements.
They boldly combined jewel-toned solid fabrics with spare geometric designs to produce work that no doubt appeared otherworldly when airing out on clotheslines in the eastern, agrarian part of the county, home to North America’s largest Amish settlement. Amish women made these quilts in dress wools intending them as special gifts for offspring who were starting their own homes and families.
Their production likely peaked in the 1930s and 1940s; later collectors labeled quilts made before 1940 as classic, although such a strict cut-off is inaccurate.
Subsequently, the quilts produced in Lancaster County’s Amish community became more like those made by the non-Amish. Some quiltmakers adopted manufactured and synthetic fabrics — such as rayon, acetate or polyester — and others experimented with lighter colors and printed fabrics.
Like other Americans, many Amish families also began to turn to store-bought bedcovers, and fewer Amish women developed quiltmaking skills.
Things began to change in the 1970s and 1980s, as cosmopolitan art enthusiasts began to seek out vintage Amish quilts. Their interest developed accidentally when these art fans started seeing vintage Amish quilts during trips to antiques stores and flea markets in the region.
Many of these soon-to-be collectors had no idea what these mysterious textiles were, as few outsiders were familiar with Amish-made quilts.
Newfound curiosity in quilts
The art enthusiasts were fascinated by these unusual, old bedcovers. They typically showed very little sign of wear because Amish families had reserved their use for Sunday best — showcasing them on beds when they hosted church meetings in their homes — or passed them down as family heirlooms, not something for everyday use.
Enthralled, the collectors began to purchase Amish quilts and to hang them in city apartments. The size of the quilts was very similar to the large format modernist paintings of the post-war era, which often had similar minimalist designs and bold use of color.
In 1971, the Whitney Museum of American Art hung a haunting rust, purple and green quilt in the pattern now known as Bars as part of a pivotal exhibition, “Abstract Design in American Quilts.” This generated even more interest in Amish quilts.
The newfound curiosity prompted antiques dealers to flood Lancaster County. Quilt “pickers” knocked on the doors of Amish families, asking if they had any quilts for sale.
To some extent, the ensuing sales were a win-win: Amish families received much needed money for water pumps, new stoves or to pass on to their children (a quilt could go to only one descendant, whereas cash could be shared among many). In return, the non-Amish collectors and dealers received a buzzy piece of art that they could resell at a higher price to big city antiques shops in New York and Philadelphia.
Some Amish quilt entrepreneurs developed trusting relationships with dealers, which facilitated access to other Amish homes and quilts.
Entrepreneurial, trailblazing Amish
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Yet the quilt trade also caused tensions between the Amish and the “English,” as Amish families felt pressure to sell treasured family heirlooms and received frequent uninvited guests to their homes. Some feared break-ins, with outsiders rummaging through blanket chests when families were away at church meetings on Sunday.
Inevitably, savvy Amish also learned that they were getting a raw deal. The quilts dealers bought from them for $100 to $200 were going for $300 to $1,200 in Madison Avenue shops; some wanted a larger piece of that cut. One adventurous Amish man began trekking to New York City himself to sell his co-religionists’ quilts directly to city dealers, while other Amish families simply refused to sell until the prices went up.
This newfound interest in vintage Amish quilts inspired entrepreneurial Amish women to begin making quilts to sell to outsiders eager to own an Amish-made quilt.
These trailblazers launched their quilt businesses out of their homes at a time when a rapidly growing Amish population and climbing prices for farmland were pushing many Amish families to look outside of agriculture to earn a living. In Lancaster County, family businesses adjacent to the home emerged as a sensible choice.
Quilt production joined other new industries — nurseries, furniture making, bakeries — as the Amish economy diversified.
Demand brings tourism dollars, too
By the late 1980s, dozens more had joined the initial crop of entrepreneurs in making and retailing quilts. Their businesses capitalized on the fascination with antique quilts — with “Amish” essentially serving as a brand. These women produced new quilts marketed to a growing consumer base who visited Amish country in search of the quiet charms offered by Lancaster County.
The Amish-quilt industry employed hundreds of women and some men to execute the various steps involved in making quilts: designing them, cutting fabric, assembling the decorative top, marking the designs for the quilting stitches, stitching together the three layers, and finishing the edge with a binding. Businesses typically operated on the “putting-out system,” in which they paid contracted quiltmakers by the piece to work on their individual step of the process in their homes.
Amish quilt businesses typically paid by the yard of quilting thread used for hand quilting — which Amish women have become famous for. This fee structure incentivized producing smaller, denser quilting stitches, which were more desirable on the consumer market, and resulted in higher retail prices.
The infrastructure of these cottage industries usually meant that most quilts were produced by many hands. A lot of the businesses adapted their quilt styles to match interior design trends. Ironically, this practice meant that only a fraction of the new quilts they produced came in the colors and patterns typical of the antique quilts that had ignited the Amish quilting boom.
The consumer demand for these goods benefited both the Amish and non-Amish sectors in Lancaster County. When those searching for the perfect Amish quilt to match their bedroom décor ventured to Lancaster County, they also spent money at hotels, restaurants, and the outlet malls.
By the late 1980s, when the New Era covered the Amish quilt industry, the price for new quilts was rising rapidly as supply could not keep up with demand. Since that time, however, interest in quilts has ebbed and flowed.
Fashions changed and factory-produced quilts had begun to dominate the market, because they sold for a fraction of the price of a handmade quilt.
Yet, when traveling Old Philadelphia Pike, one can still see signs advertising for “quilts for sale” at tourist shops in Intercourse and Bird-in-Hand, and some of the home-based businesses continue to offer quilts on the back roads of Leola, Witmer and New Holland.
The collector market for these quilts has largely quieted, even as museums continue to periodically exhibit the jewel-toned, solid-colored antique Amish quilts from the early 20th century.
Even so, while the heyday of Amish quilt businesses — when Lancaster County was “Quilt Capital of America” — is largely over, quilt production remains a key part of the Amish economy.
Janneken Smucker is a professor of history at West Chester University. A fifth-generation quiltmaker, she is the author of “A New Deal for Quilts” and “Pattern and Paradox: The Quilts of Amish Women.”