By Suzanne Labry
Anybody who has been around quilts for any length of time knows that a template is a pattern for tracing pieces or for tracing lines to be quilted. Templates guide us, show us what to do, where to cut, what to leave whole. In a larger sense, most of us are lucky enough to know people who act as templates for the way we live our lives. Kathleen McCrady is a template for me. I daresay that many people who love quilts know who Kathleen is, but if you don't, then let me tell you about this truly amazing person who inspires and encourages everybody she meets.
Kathleen makes quilts. Those three simple words make up a short little sentence that, while certainly true, hardly conveys the depth beneath its surface. It's sort of like saying Mozart wrote songs. Kathleen has made hundreds of quilts, more than a few of which could rightly be called masterworks. She is from Austin, and is a member of the Austin Area Quilt Guild
The awards and prizes she has won could almost fill a room and her work has been featured in magazines, books and exhibits throughout the world. She is astonishingly prolific, yet her workmanship is unfailingly fine. Yes, Kathleen makes quilts—really, really good quilts.
She learned to quilt when she was very young and she grew up in a time and place (1930s Oklahoma) where quilts were an accepted and necessary part of everyday life. All through her school years, as a young wife throughout World War II, during the years she raised her family, as a career woman, and on into retirement, she made quilts.
When many of her generation took a hiatus from quilting or stopped altogether during the 1950s and '60s, Kathleen kept on, jokingly calling herself a “closet quilter.” When the quilt revival occurred in the 1970s, Kathleen didn't need reviving. Not many people can say they've been actively quilting for eight decades, but Kathleen can.
Although she is truly a master of her medium, she always seeks to learn more, to be better. With a curious mind and energy that daunts those half her age, Kathleen is a passionate student of her art, ever hungry to try a new technique; to re-draft an old pattern; to read yet one more book about any aspect of quiltmaking; to attend another exhibit or travel to museums or visit private collections; to meet and learn from other quilters; to research the history of textiles, dyes or fabric printing; or to learn about quilt dating, appraisal, restoration and conservation.
Her search for knowledge turned her into an avid collector of textiles, antique quilts, quilt tops, sample blocks, patterns, and quilt-related books, magazines and sewing tools. She is the proverbial "walking encyclopedia" of quilt information.
She amassed so much data and material that she felt compelled to share it with others and in the late 1990s, Kathleen launched a training program that she called the Quilt Study Hall. From a separate building at her home that housed her collection, she offered classes free to the public on the history of quilts from 1840 to 1970.
Hundreds of people took the class and when that effort became too burdensome, she donated the contents of her Study Hall to the Center for American History at the University of Texas at Austin. This treasure trove and the promised future donation of selected quilts will serve as a fitting legacy for Kathleen, along with the book she wrote: My Journey with Quilts—Over 70 years of Quiltmaking 1932-2003.
Kathleen never touts her deep expertise. She is modest about her accomplishments and ever willing to share what she knows, be it as a teacher, a guild officer, a bee member, a mother, a mother-in-law, a grandmother, a program presenter, a show judge, a certified appraiser, a consultant to universities, or—in my case—as a beloved friend.
In Japan, the government recognizes certain people who are exemplary in carrying on Japanese traditions as Living National Treasures. I wish the United States had a program like that. If it did, Kathleen McCrady would surely be on the list, a template for us all.
Kathleen’s Six by Six Comes Up Roses quilt.
Among its many awards, this quilt was named as a finalist in the
search for the
20th Century's 100 Best American Quilts
International Quilt Festival in 1999.
Sawtooth X by Kathleen McCrady.
From the Quilts, Inc. Corporate Collection.
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Column 127: The Bowers Co-Op Quilts
Column 126: Fon Appliqué and Haitian Voodoo Flags
Column 125: The Quilt Garden at The North Carolina Arboretum
Column 124: Harriet Powers and Handful’s Mauma
Column 123: Quilters de Mexico
Column 122: An Appliquéd Surprise
Column 121: Matisse’s Fabric Stash
Column 120: Soogan—The Cowboy’s Quilt
Column 119: The Ron Swanson Quilt
Column 118: HClarkdale, Georgia—A Thread of History
Column 117: How WWI Changed the Color of Quilts in the United States
Column 116: Wagga—The Bushman’s Quilt
Column 115: All in the Family
Column 114: The Alabama State Quilt
Column 113: Balloon Quilts of Albuquerque
Column 112: The Family That Quilts Together, Stays Together
Column 111: Two Rivers, Three Sisters
Column 110: Quilters Helping Quilters
Column 109: Community Cookbooks and Fundraiser Quilts—Parallel Histories
Column 108: Quilting to Freedom
Column 107: National Quilting Day
Column 106: The Airing of the Quilts
Column 105: A Call for a National Juneteenth Commemorative Quilt
Column 104: Dominoes
Column 103: 1936 Texas Centennial Bluebonnet Quilt
Column 102: Helen Blackstone, A Texas Quilter
Column 101: Montana CattleWomen Anniversary Brand Quilt
Column 100: 100th Suzy's Fancy Column!
Column 99: Montana Stockgrowers Anniversary Brand Quilt
Column 98: The Tobacco Sack Connection
Column 97: Meet the Sisters Who Are State Fair Quilting Queens
Column 96: The connection between fairs and quilts.
Column 95: Her Mother Pieced Quilts
Column 94: Rebecca Barker’s Quiltscapes
Column 93: The Thread and Thimble Club Mystery
Column 92: The Ballerina Quilter
Column 91: Grandmother's Flower Garden Comes Alive at Texas Quilt Museum
Column 90: Leitmotif for a Lifelong Love Affair
Column 89: Quilting in The Bahamas
Column 88: Joan of Arc: A Quilter's Inspiration
Column 87: Home Demonstration Clubs and Quilting
Column 86: Linzi Upton and the Quilted Yurt
Column 85: A Bounty of Quilts
Column 84: Desert Trader
Column 83: Quilts and the Women’s Liberation Movement
Column 82: Replicating the Past: Reproduction Fabrics for Today’s Quilts
Column 81: Why So Many Quilt Shops in Bozeman, Montana?
Column 80: Southeastern Quilt and Textile Museum
Column 79: 54 Tons of Quilt
Column 78: Ollie Steele Burden’s Quilt Blocks
Column 77: Quilting with AMD
Column 76: Maverick Quilts and Cowgirls
Column 75: The Modern Quilt Guild—Cyberculture Quilting Ramps Up
Column 74: The Membership Quilt—Czech Quilting in Texas
Column 73: Maximum Security Quilts
Column 72: Author: Terri Thayer
Column 71: The Christmas Quilt
Column 70: New Mexico Centennial Quilt
Column 69: Scrub Quilts
Column 68: “Think Pink” Quilt Raises Funds for Rare Cancer Research
Column 67: Righting Old Wrongs.
Column 66: 100 Years, 100 Quilts - More on the Arizona Centennial.
Column 65: Arizona Centennial Quilt Project
Column 64: Capt. John Files Tom’s Family Tree
Column 63: The Fat Quarters
Column 62: Quilt Fiction Author: Clare O’Donohue
Column 61: Louisiana Bicentennial Quilt
Column 60: The Camo Quilt Project.
Column 59: Thread Wit
Column 58: Ralli Quilts
Column 57: Preschool Quilters
Column 56: The Story Quilt
Column 55: Red and Green Quilts
Column 54: On the Trail
Column 53: Quilt Trail Gathering
Column 52: True Confessions: First Quilt
Column 51: Quilted Pages
Column 50: Doll Quilts
Column 49: More Than a Quilt Shop
Column 48: Las Colchas of the Texas-Mexico Border
Column 47: Literary Gifts
Column 46: A Different Way of Seeing
Column 45: Sampling
Column 44: Hen and Chicks
Column 43: A Star Studied Event
Column 42: Shoo Fly Pattern
Column 41: Awareness Quilts
Column 40: Tivaevae
Column 39: UnOILed UnspOILed Coast Quilt Project
Column 38: Katrina Recovery Quilts
Column 37: Quilted Vermont
Column 36: The Labyrinth Quilt—A Meditative Endeavor
See other archived columns here