In this blog post, I will be using Prown’s model for object analysis to explore an item that has personal significance to me.
I have chosen to use one of a pair of quilted pillow covers that I made last year as part of my early forays into the world of quilting. Although there isn’t anything blatantly personal about it, for me it shows an important milestone in mastering a new craft.
Description: The pillow cover shown below is 16×16 inches (approximately 40x40cm). It is made of quilting cotton in contrasting colors, and cotton batting behind the front. It has what is called an envelope style backing. It is not heavily quilted, just a line inside each shape to reinforce the shapes as shown. There is some irregularity in how the pieces fit together, so not all the points are sharp.






Deduction: What may not be immediately obvious to someone unfamiliar with quilting is that the front was made from two 10 inch pieces of the white cotton, and two 10 inch pieces of the patterned cotton. Those squares of different colors were sewn together and then cut apart into half-square triangles in a technique quilters call the Magic Eight (I’ve included a picture below of what half-square triangles look like, and how they are cut out of the Magic Eight). Those half-square triangles were then sewn together to make the diamond shapes you can see on the pillow. There was a certain amount of pattern matching that went into making sure that the pattern ended up running the same direction in the final product. I’ve included a link to the YouTube tutorial I followed to make this project if anyone is interested in seeing it.
This object is has significance to me in several ways. Firstly, it is part of my collection of completed crafts projects, and something I made myself to match my living room furniture at the time. It is also a record of the first time I successfully completed a quilting project, learning new skills that are evidenced in the piece itself. I have two of these pillow covers, and they are important enough to me, and I am happy enough with my work on them that I brought them overseas with me.

Speculation: I think that some of the significance of the object to me would not be evident to someone else looking at it not knowing where it came from. The errors made in the creation of it (i.e. the points not matching up and the simple, slightly uncertain stitching) would probably let someone familiar with quilting know that it was made by a novice quilter. However, the significance it has as my first time doing an actual quilting project would be lost. Also, there is no way to identify where it was made or by whom, because it isn’t signed anywhere and doesn’t have identifying marks of any kind. The materials themselves are quite generic and available from any number of places across the globe. I think if it were found here in Scotland it would be quite reasonable to assume that it was made here, rather than brought from overseas.
This has been a very interesting exercise in how much of the significance and history of our objects would be evident to a hypothetical person looking at them in the future. While the item I chose might reveal more than many mass-produced items might, a great deal of its story is lost unless recorded in some way outside of the object itself.
References
Prown, Jules David. “Mind in Matter: An Introduction to Material Culture Theory and Method.” Winterthur Portfolio 17, no. 1 (1982): 1-19. Accessed November 14, 2020. http://www.jstor.org/stable/1180761.







