Charles-Édouard de Broin & Géraldine Chouard

Patchwork hasn’t always been wise. Far from the often-geometric classics of the repertoire, crazy was all the rage for a while among American makers, renewing their formidable audacity. To understand these extraordinary quilts, it’s important to remember the independence from which America sprang.

Independence, or even American resistance, was often expressed through quilting, particularly in the 19th century, through Protest quilts, in the service of the greatest causes in national history, such as the abolition of slavery, the prohibition or women’s right to vote.

With its whimsical motifs, first suggested by women’s magazines of the time, crazy freed quilters from the straitjacket of the pattern. This “model” allowed them to create a textile universe where stars and spinning tops, fans and daisies, hats and boots all come together in a poetic way.

Crazy is also an opportunity to showcase one’s heritage, their fabrics and know-how. This wildly charming genre was quickly adopted by less fortunate but equally imaginative quilters, who recycled wools and cotton fabrics to compose their own personal textile works, often to be deciphered like a rebus or riddle. This trend only lasted a few decades, falling into disuse by 1910.

We are extremely fortunate to be able to admire some of the specimens that Charles-Edouard de Broin, a very wise but also slightly mad collector, has done us the honor of lending us. We thank him for offering us such a kaleidoscope of grace and beauty.