Yesterday I was able to inform one of our Guild members that the serger (an over-lock sewing machine) had been in use industrially and was in fact invented at the turn of the last century.

'Well,' she said 'I guess 100 years is not really a very long time.'

Nor did it surprise me that she felt this way. For in the 100-Year-Old Trousseau, the Lake Ainslie Weavers Guild created and collected examples of a tremendous array of arts and skills and, in the process, found themselves very close in mind and time to the people who practiced and passed on those same skills from 100 years ago.

My name is Virginia McCoy and the Lake Ainslie Weavers Guild have asked me to act as curator of their 100-Year-Old Trousseau exhibit at the Mary E. Black Gallery. I am a member of the Guild and I've also made a crazy quilt for this collection. I learned quilting basics from my mother-in-law in southern Ontario and as a child in Northern Ontario I learned embroidery from my grandmother.

Along with descriptions of their work, I asked other contributing artists to tell me where they learned their particular skills. Almost unanimously, it was a female relative or neighbour who taught them how to knit or weave or quilt or make lace.

'My mother taught me to knit and pearl and I guess I just followed on from there, teaching myself more with every project I took on.' Linda Lee, knitter, North Highlands.

The true enthusiasts found ways to enhance their skills by following patterns found in magazines, newspapers or by sharing information and projects with like-minded artists; hence the founding of the Lake Ainslie Weavers Guild and the Scotsville School of Crafts.

The Memorandum of Association of the Lake Ainslie Weavers Guild states, in their objectives, their intent to a) develop a teaching centre that would stimulate interest in hand-weaving and other fabric arts and crafts, b) to encourage the development of contemporary trends in weaving and crafts based on the traditions of Cape Breton Island, and c) to present to the public displays and demonstrations of the unique history of weaving and other arts and crafts in their community and in Cape Breton.

By virtue of the Guild's success in approaching these objectives, i.e. the knowledge gained, the connections made with other artists and crafts associations, and the work created and shared with community and with visitors at the Scotsville School of Crafts, the Guild is uniquely equipped to assemble this replica of a century old bride's trousseau and hope chest.

It was 1901; Victoria had died in January of the year. Our grandparents and great-grandparents were experiencing an era of rapid change in science and industry, in social and individual awareness, in economic status, changes that were reflected in the styles of the day.

Looking for examples of the work being done by artists and crafts people of this period, the Guild visited some of the older homes in the community, visited the many small museums, were shown private collections of photographs and memorabilia and of course, there were our mothers' attics!

'When we, the nine grandchildren in our family were growing up, Grandmother would arrive for an extended visit, bringing with her the makings of a project... a hooked rug, or a quilt or a supply of knitted socks, mittens, etc.' Margie MacIsaac, quilter, Inverness.

It's the nature of a rural community that family connections are wide and deep. The Guild members were able to talk to people who could remember family stories if not actual circumstances and events of the period.

We found household items that would be made at home. We found examples of clothing from the period. Knowing what was made and how, we canvassed Guild members to find out who in the area was still practicing some of those arts and what they were doing with them. We were able to match the artist with the artifact and begin the replication of individual items for the collection.

As a focal point for the collection and a premise that would support the choices we made for the work it contained, the Guild created the persona of Rachel Campbell. Rachel was raised the daughter of a farming family at East Lake Ainslie. This family and their community are major contributors to the hope chest and trousseau.

Much of their handwork was utilitarian and produced out of need. To go beyond that need and create the more elaborate pieces in the collection required the support of a large prosperous family with many women's hands.

Assuming Rachel had that kind of support, we also gave her a rather heroic character; she's a passionate & productive weaver and, though young, is already devising and teaching weaving patterns at church groups. She was also taught to knit and sew by her mother who is a seamstress and her grandmother who knits the family supply of mitts and socks throughout the long winter evenings.

While implausibly heroic, our paragon is not impossible to defend. Newspaper ads and notices describe a place that kept up, through contact with travelers, with trends in fashion and fancy work. They also tell us that seamstresses were given formal instruction in Cape Breton as early as the 1840's. Nova Scotia Museums has detailed information on the nature and volume of handwork carried out in the province.

We were also able to run our scenario by historian Jim St. Clair who was able to confirm or gainsay the likelihood of some of Rachel's skills and the nature of the community that supported her activities.

Now, at the age of 22, our Rachel is soon to marry Alexander MacGregor, son of Mr. and Mrs. Malcolm MacGregor of Margaree. We'd like you to imagine that you know Rachel and are looking forward to attending this very special event in her life.

You are in East Lake Ainslie at the imaginary home of Mr. and Mrs. William Campbell where Rachel's family and friends have prepared a festive afternoon tea. We hope you will enjoy this opportunity to admire the hope chest and trousseau prepared by the family and friends of Rachel Campbell a daughter of old Cape Breton.