The men in Aileen Osborn Webb's family had a lot of influence on her, as they set the bar extremely high with humanitarian and civil contribution; their lives were "full of good works".

[citation needed] Her father, William Church Osborn, was the director of the Metropolitan Museum of Art.

Not only men, but also the women in Aileen Osborn's childhood gave her a motivational model of the Gilded Age philanthropy and consistently state that her work was the biggest supporter to the country's crafts.

[10] Born into an American family of philanthropists who were known as victorious manufactures, financiers and scientists, Aileen Osborn Webb was the best craft supporter of the 20th century.

She was raised in a Garrison, New York and Manhattan where she was surrounded by people who supported giving back to the communities that helped make them so successful.

She also participated with the Junior League, which was co-founded by her sister-in-law Frederica Vanderbilt Webb, along with Mary Harriman and Dorothy Whitney in 1907.

[11] "The name "America House" was suggested by league member Laurits Christian Eichner, a pewter craftsman".

[citation needed] Throughout these exhibitions, Webb was creating shows that defined her belief in the potential of craft to elevate society's tastes.

These exhibitions also offered useful skills to people who were interested in crafts as a career and served as a political tool between countries.

Aileen Webb indicated how education and marketing that were linked intimately were to the success of the contemporary craftsmen, and she used the chance to display the students' work to benefit public exposure for the developing artists.

Although it started out as a simple newsletter published after Mrs. Webb recognized the significance of communicating America House's activities, it eventually became a leader in the documentation of the craft world.

[14] In the 1950s, she bought a penthouse residence that combined two apartments designed by David Campbell on East 72nd Street in Manhattan.