Posts Tagged women's history
The following post was originally posted on Herman Miller's Discover blog on Dec. 13, 2012. We're pleased to share this story here on The Henry Ford's blog. Many thanks to our friends at Herman Miller for their permission to post this for our readers to enjoy. - Lish Dorset
By Mindy Koschmann
In a 1980 interview with Ruth Bowman for the Archives of American Art, Ray responded to a question about her chosen vocation:
“I never thought of myself as an artist and couldn’t bear the word.”
She objected to the generality of the label, but her comments about her interdisciplinary approach to art and design provide an intriguing contrast:
"It was natural for me not to separate them, you know—now you study history, now you study dance, now you study music, or now you study pottery or whatever it is— it all seemed to be one thing."
Of Ray’s many artistic pursuits—painting, film, textiles, fashion, and furniture design—perhaps the most personal was her proclivity for making interesting arrangements with found objects. Of her curious habit, she said:
“Almost everything that was ever collected was an example of some facet of design and form. We never collected anything as just collectors, but because something was inherent in the piece that made it seem like a good idea to be looking at it. “
It’s always a good idea to revisit the work of Charles and Ray Eames, especially in light of the 100th anniversary of Ray’s birth on Saturday, Dec. 15, 2012. We celebrate Ray’s life and work as a painter, collector, and designer.
Posting with us today is Cheryl Oz of Cheryl Oz Designs, a metro Detroit illustrator and designer. Cheryl is a past Maker Faire Detroit participant and recipient of an Editor's Choice Award. - Lish Dorset
I studied design and advertising at the College for Creative Studies. During an art history class, I was introduced to the work of Charles and Ray Eames and from that point on I never looked at art and design the same way again.
At the time I knew very little about the designers, so what I loved the most was what I saw in their work. I loved the clean lines, color choices and movement in their pieces. Their furniture was so different from the furniture I grew up with in my family's home.
From that point on I feel like my work has been influenced by the Eames aesthetics. It wasn't until years later when I decided to start focusing more on illustration, that I then remembered how inspired I was by the Eames duo and imagined others most likely were, too.
I have always been inspired by everyday things. I loved the notion that when the first Eames chair was in the production process, it was meant to be a mass-produced, affordable chair that anyone could own. I like to think of my artwork in the same manner. I feel that everyone should be able to afford art that they love for their home. Surely, I thought there were other people that felt the same way that I do, and still wanted a bit of Eames in their home, so I started painting a few of my favorite pieces of their furniture.
Besides being a painter, Ray was the woman behind the scenes who gave insightful input to her husband Charles, who appreciated her talents and held her opinions in high regard. Her input was almost unheard of for a woman of her time. She had an incredible sense of color and with Charles, they both led a colorful life in their amazing world of art and design.
Happy 100th birthday, Ray!
20th century, 21st century, 2010s, women's history, furnishings, Eames, design, by Cheryl Oz
If you watched any news over the weekend, you probably saw at least a few images of some spectacular hats - from the beautiful to the extreme. Fancy hats have long been a tradition - meant to bring good luck - at the Kentucky Derby.
You don't have to visit Kentucky to see some really stunning hats: Mrs. Cohen's Millinery in Greenfield Village has its share of beautiful one-of-a-kind headdresses right in Dearborn, Mich.
There's always something new to discover when you visit Mrs. Cohen's Millinery shop.
The store was built in Detroit in the 1880s and was run by Mrs. Elizabeth Cohen. She was a young widow who opened the shop to earn money after her husband’s death. She designed new hats and redecorated old ones. She also shared with her customers news about the latest fashions. She lived with her children on the second floor of the building.
The hats that are made and displayed now in the shop are representative of those made during the shop's operations in the mid 1890s.
The presenter at the shop showed off the lovely hat boxes and the display of hats that are for sale.
In years past, the hats made in the shop were sold at the Greenfield Village Store, but this year for the first time they are displayed and sold right from the millinery shop. Guests may choose a hat at the store where they'll receive a sales slip to take across the street for payment at the Emporium. When they present their receipt at the Mrs. Cohen's shop, they'll receive their hat, packaged in a lovely box.
The hats range in price from $40-$65. Girls' hats are $40 and women's hats are priced at $45, $55 and $65, depending on the embellishments. All of the hats are hand embellished at the shop by skilled craftswomen.
Although there isn't a record of what Mrs. Cohen charged for hats, an 1895 Montgomery Ward & Co. catalog lists ready-made trimmed hats ranging in price from $1.50-$5. (Montgomery Ward's prices were often less expensive than other catalogs at the time.)
If you're not purchasing a hat, there are many hats you can try just for fun. There are also some beautiful hats that are only for display.
There is a display at the shop of boys' hats that were typical for Sunday church-going. The hat this young visitor is wearing is a style that boys wore until they were about 10 years old.
Sorry to say, you're out of luck gentlemen - Mrs. Cohen's shop doesn't sell any hats for boys or men. But, there are some dapper hats for boys to try on for size.
Women of all classes (not just those going to the Kentucky Derby!) wore hats when they were outside. Some women may have only had one or two hats - one for everyday and one for church or special occasions - while wealthy women may have had many. Women of even modest means would buy trimmings or have someone like Elizabeth Cohen refresh their hat’s trimmings to fit current fashions.
Don't miss a stop at Mrs. Cohen's shop when you're in the neighborhood. You may find the perfect hat that's just your size, and if the hat fits ... buy it!
Kristine Hass is a long-time member and frequent blogger for The Henry Ford.
19th century, women's history, shopping, Michigan, making, hats, Greenfield Village buildings, Greenfield Village, fashion, entrepreneurship, Detroit, design, Cohen Millinery, by Kristine Hass
Mother’s Day, a holiday devoted to honoring mothers, has its American origins in the years following the Civil War. To aid national healing in the wake of unprecedented personal loss, many women’s groups wanted to create a day focusing on peace and motherhood.
In 1914, a national campaign culminated in a federal proclamation officially designating the second Sunday in May as Mother’s Day. To mark this now-official holiday, many people began writing letters to their mothers. Soon, giving gifts of flowers and sending greeting cards became popular.
These examples of Mother’s Day greeting cards from The Henry Ford’s collection provide a charming glimpse into these celebrations over the past century.
Making handmade cards is a perennial favorite activity of children, and a Mother’s Day card made by a son or daughter remains a special gift. A child whose parents were first generation Polish-Americans created this card in 1942. A first grader at a Polish Catholic school in South Bend, Indiana, he decorated his card with a crayon drawing and the inscription “Droga Mamo.” He also used stickers and trimmed the edges in a scalloped pattern with a red ribbon holding the pages together. The inside pages contain a printed poem in Polish.
This 1960 card in many ways represents the typical sentiments we associate with Mother’s Day - gratitude for our mother’s loving care that we’ve received. The card’s image of a silver basket with flowers recognizes that flowers are a traditional gift for this holiday.
Husbands used cards like this one to honor their wives on Mother’s Day. They could also use it when their children were too young to give their mother a special card. The delicate visual image of the mother and the card shaped like a fan are evocative of the early to mid-1920s popular style in America.
This card for “My Other Mother” was sent in 1921 to Susana C. Cole, a 71-year-old widow who was living in Akron, Ohio, with her only daughter and son-in-law. Who was the Salt Lake City, Utah, sender of this card, then? Perhaps it was her son-in-law on a business trip or another relative - or even a former student, since Susana was a retired schoolteacher.
Other mysterious elements from this same correspondence are the singed edges of both the card and envelope - evidence that this early airmail letter encountered a dramatic fate on the way to its recipient: The U.S. Post Office message stamped on the envelope states that the letter was recovered from an airplane crash in Rock Springs, Wyoming.
This Mother’s Day card from about 1980 is anything but traditional - it’s printed on a brown paper bag! Informal and humorous, its modern theme may reflect its likely “Gen-X” givers - or their mother’s up-to-date attitude. The bright pink color of the text reflects the vivid colors popular in the late 20th century.
Have you ever given or received a memorable Mother's Day card? Tell us about it in the comments below or on our Facebook page.
Cynthia R. Miller is former Curator of Photographs and Prints at The Henry Ford.
20th century, women's history, home life, holidays, families, correspondence, by Cynthia Read Miller, archives
When guests see the Rosa Parks bus on display inside Henry Ford Museum, they are often in awe. Speechless. Moved, even.
And you don't have to merely look at this magnificent milestone in American history. When you visit Henry Ford Museum, you can actually climb aboard, walk the narrow aisle of the bus - and even sit in the very seat that Rosa Parks occupied on December 1, 1955.
But during that visit, two questions are typically asked: "Is it THE bus?" and "How did The Henry Ford get it?"
The answer to the first question: Yes, it is.
How the bus was acquired is a more modern story. In September 2001, an article in the Wall Street Journal announced that the Rosa Parks bus would be available in an Internet auction in October. Once we had confirmed the answer to the question posed above, we entered the online auction and came out the highest bidder.
After nearly five months of restoration, with support from the Save America's Treasures grant program, the Rosa Parks bus made its return to the floor of Henry Ford Museum on February 1, 2002. (With Liberty And Justice For All, the exhibition where the bus currently is displayed, had not yet been constructed.)
Paint chips from the unrestored bus, consultation with other experts, vintage postcards and eyewitness accounts from a museum employee who lived in Montgomery during the bus boycott allowed the museum to recreate the paint colors exactly.
Restoration efforts were performed on the bus down to the tiniest detail. For example: On the day Mrs. Parks boarded it, the bus was already seven years old and ran daily on the streets of Montgomery. Therefore, for authenticity, conservation experts applied recreated Alabama red dirt in the wheel wells, and tire treads and period advertising was recreated for the interior and exterior of the bus.
With all of these elements together and pondering what happened on December 1, 1955, exploring this historic artifact creates a powerful connection for many.
21st century, 20th century, research, #Behind The Scenes @ The Henry Ford, women's history, Rosa Parks bus, Rosa Parks, Henry Ford Museum, conservation, collections care, Civil Rights, African American history
When my parents handed me the keys to my 2001 Ford Escort ZX2 at the ripe old age of 16, I felt an instant sense of freedom. Being able to go anywhere without asking for a ride from my mom or older brother gave me my first taste of adulthood. I know the feeling of independence of owning your own destiny impacts almost all drivers because I recognize this passion in the researchers and car restorers who visit our reading room.
And freedom would have resonated with early car consumers too, especially women. After gaining the right to vote with the passage of the 19th amendment in 1919, many women felt for the first time that they had a political voice and were therefore empowered to fight for equality in other areas. Of course, many women, especially women of color, saw emancipation fleeting, as they were either barred from voting or secluded in the private sphere. Still, for many women, the feelings of accomplishment were overwhelming, and advertisers in the United States’ emerging modern consumer economy took the chance to capitalize on the freedom motif.
The newest, most revolutionary, most popular item on the market was the automobile, and auto companies sought to reach out to female consumers using shiny new cars as the greatest symbol for female enfranchisement. These ads reflect the duality of the discourse on women in the country: both free yet still bound to feminine stereotyping.
“It enables them now to do things and to go places that had hitherto seemed out of the question.”
This statement expresses the general sentiment of the time that many women were moving into new and exciting territories. As the 1920s progressed, highlighting the ability of the Model T to allow women to pursue independence became a popular theme in Ford advertisements. Notice that Ford tells women that they can “drive this easily-handled car themselves” and not need a man to escort or help them. Although this advertisement obviously relies on stereotypes of feminine weakness, the overall message is that feminine weakness does not prohibit the modern woman from achieving equality.
“By owning a Ford car a woman can with ease widen her sphere of interests without extra time or effort.”
In this advertisement Ford once more points out the ways that a Model T can help women move beyond home. Unlike the previous ad that associated the car with female autonomy, this ad links a woman and her domestic duties. With this ad Ford targets older women who use their car not to golf or enjoy leisure activities but to conduct daily errands. The suggestion is that with a Model T, a woman with a family can quickly and efficiently complete the tasks within her sphere while still remaining independent from her husband.
Not every Ford advertisement featuring women played on traditional stereotypes. This ad, though not as flashy or colorful as others, shows off the Ford’s mechanical assets rather than its association to style or sophistication. Although it might seem strange that a technical ad would feature women drivers and passengers, there are many advertisements like this that do not simply link female car ownership to accepted domestic behavior. One reason might be audience, as this ad ran in publications like the Saturday Evening Post and Collier’s and had to resonate with men as well as women. At the same time, there were many women who were interested in the mechanical aspects of automobiles and Ford reached out to these consumers with ads like this.
When interest and enthusiasm for the Model T waned in the mid-1920s, Ford Motor Company stopped production on the world’s most popular car and in December 1927 debuted the 1928 Model A. The new Ford was a beautiful car, modern and stylish, and the advertisements followed suit. This ad relies heavily on a distinct gender binary by focusing on the different features of the Model A that would appeal to men and women. “Men will admire the colors of the new Ford, but only a woman, from her fuller knowledge of clothes and style, will realize that they are colors that will not tire.” This statement perfectly exemplifies the attitude in auto advertising that still continues to this day, namely relying on the assumption that men buy cars based on speed and horse-power, while women focus on aesthetics and comfort.
While the last advertisement reflects gendered biases towards consumers, this advertisement demonstrates a very different message. Here the main focus is not the women in the picture or specifications given in the text; no, the feeling I get when I look at this advertisement hearkens to that first experience of autonomy, driving my own car at age 16 with nothing but the road in front of me and endless possibilities of people, places and experiences surrounding me. In 1928 this feeling of freedom and independence would have resonated with all drivers regardless of gender, class, race or creed, as it still does today.
Jillian Reese, Reading Room Assistant at the Benson Ford Research Center, is an avid women’s history fan and photocopier extraordinaire.
1920s, 20th century, women's history, Model Ts, Ford Motor Company, cars, by Jillian Reese, advertising
By now most of us are familiar with the iconic image of a working-class woman during World War II known as "Rosie the Riveter." As you may know, "Rosie" is a character based on images of real working women at the time. What you may not know is that the Benson Ford Research Center has a wealth of these Rosie-the-Riveter-type images within its collection of photographs donated from Ford Motor Company.
What I find delightful about these images is that they tell a story about American women set in a specific place and time — not to mention documenting the budding social change that would flower in later decades.
(By the way: The woman shown below, Norma Denton, was photographed February 10, 1943, as part of Ford Motor Company's P.R. photo essay entitled "Around the Clock Activities," which documents a day in the life of several working women in a war production factory. You can learn more about Norma and the "Around the Clock Activities" photographs on our Flickr site, as well as on our Collections page.)
From 1942 to 1945, when many American men were overseas fighting the war, women were hired to fill in for the lack of male employees in factories. These women were expected to do everything that men had to do to build tanks, jeeps and bombers for the U.S. "Arsenal of Democracy." All of the automotive companies in the Detroit area, as well as those in the rest of the country, ceased making automobiles and converted their assembly lines to wartime production. Ford Motor Company's Willow Run plant in Ypsilanti, Michigan, and the Rouge plant in Dearborn, Michigan, were two of the largest such facilities.
During peak production at the Willow Run plant, up to one third of the workforce consisted of women. This does not seem like a particularly sizable number to us today; however, it was significant at the time because prior to World War II, very few manufacturing facilities employed that many women. Once the war was over, women were expected to return to being housewives and mothers so that the returning GI's could go back to work. It would take years, if not decades, before women re-entered the work force in significant numbers.
I particularly like the following two photographs that show women employees with the B-24 "Liberator" bombers they helped to build. I think the enthusiasm of the women in photo #P.833.80544.6 and the confident stride of the woman in photo #P.833.80180.1 are indicative of the pride and economic independence women felt as productive members of the workforce. The image of these women posing with their "Liberators" is also a fitting metaphor for the future women's movement whose seeds were arguably sown here.
Linda Skolarus is Manager of Reference Services at The Henry Ford's Benson Ford Research Center, where you can research 'Rosie' and much more.
20th century, 1940s, World War II, women's history, Michigan, Ford workers, Ford Motor Company, by Linda Skolarus
Cozying Up to a New Acquisition – Susan McCord Triple Irish Chain Quilt, circa 1900
People often send us letters offering items for our collection. Recently, I received a letter in the mail that surprised and absolutely delighted me.
Among the notable collections of The Henry Ford are 12 quilts made by an exceptionally talented, unassuming Indiana farm wife named Susan McCord (1829-1909). I opened the letter to find that the family of McCord’s great-grandson was offering us the opportunity to acquire one more: a Triple Irish Chain quilt made for her daughter, Millie McCord Canaday, about 1900.
It was the last remaining quilt known to have been made by Susan McCord. Soon after, this beauty was on its way to Dearborn to join the other 12 McCord quilts in The Henry Ford’s collection.
The Triple Irish Chain is a traditional quilt pattern — but in Susan McCord’s hands, this design became much more. Like all of her quilts, the Triple Irish Chain demonstrates McCord's considerable skill at manipulating fabric, color and design to turn a traditional quilt pattern into something extraordinary.
I could easily imagine Susan McCord carefully choosing fabric from her bag of scraps, cutting it into thousands of fabric squares, carefully determining their placement within the overall design and sewing the squares together. I could picture McCord then topping off this creation with her utterly unique, “signature” design — a stunning vine border, the leaves expertly pieced from tiny scraps of fabric. And it certainly wasn’t hard to imagine Millie McCord’s delight when she received this lovely gift!
To all who see Susan McCord’s quilts - whether experts or casual observers - the remarkable beauty and craftsmanship is evident. Now beautifully photographed, the story of this quilt can be readily accessed through our online collections – so that anyone, near or far, can enjoy McCord's quilt at the click of a mouse.
Do you have any special family quilts or other handmade heirlooms? Share your story in the comments below or on our Facebook page.
Jeanine Head Miller, Curator of Domestic Life at The Henry Ford, is an unabashed Susan McCord “groupie.”
Indiana, women's history, quilts, making, design, by Jeanine Head Miller
