Below is one of her designs; the piece that we worked on in that course. It is a fairly traditional design and uses a variety of traditional boutis stitches. Held up against the light, it's easy to see how light and shadow are integral to this particular style of needlework. In order to keep that translucent quality in the finished product, the finished boutis must be set into the surrounding fabric in a way that keeps both front and back of the boutis uncovered. Linen is a natural paring with the white boutis, so in keeping to a more traditional look, I set my finished boutis piece into a linen and white cotton surround. At the time, I was uncertain as to how I wanted to continue from there, so it got packed away.
|Previously, I had already set the boutis into the linen and cotton surround using reverse applique.|
Recently, while reorganizing (yet again!), I kept it out and decided it was time to finish it. It will become a tabletopper, with the boutis medallion in the center and a quilted surround. Mme. Born sometimes combines quilting with boutis as well, so I assumed the "boutis police" would be OK with it.
When attaching the backing and the batting to the boutis, it's important to maintain it's translucent quality. Below I have outlined my method for doing this. (I had used the same method when attaching the boutis into the linen top.)
|Next the center is cut out along that line. When ready to applique, it gets trimmed down to the normal 1/4 inch seam allowance.|
|Attaching the batting follows the same procedure, and then gets basted to the wrong side of the boutis/linen top. Once basted into place, all of the excess batting is trimmed away.|
|To complete the quilt sandwich, the prepped backing is centered over top of the batting and the boutis linen top and hand appliqued into place.|
|All 3 layers of the tabletopper are sandwiched, the boutis is still translucent, and it's ready to be quilted.|