Skip to main content

Traditional Boutis meets FMQ

After I had completed the stitching and the cording of this small boutis project, (see previous post),  I was looking for a quick way to finish it. By setting it into a linen surround, lightened up with some white cotton,  my hope was that the piece could stand on it's own. The end result was a floppy, uninspiring octagonal shape that reminded me of a crokinole board.  Not quite what I had in mind!

Removing the boutis from the linen and finding a more appropriate setting was one consideration.
And, because of the strong tradition of hand work associated with boutis, I considered hand quilting the linen/cotton surround. As much as I enjoy hand quilting, I know that the project would languish in a cupboard for many years until the hand quilting priority list could accommodate this table topper. Therefore, the only legitimate solution I could sensibly consider was to machine quilt.

As I was working on the quilting design, it was important that the machine quilting should highlight the boutis with a complementary frame. I kept the design to rounded feathers and scroll shapes to imitate the rounded petals of the boutis flower.

In France, just as in North America, the debate between traditional methods versus contemporary methods is quite lively. There are some boutis artisans that hold fast to the premise that any idea or technique that does not adhere to the strict rules of the tradition of the craft, is not authentic boutis. I certainly agree with that, and I have a great respect and admiration for the beautiful, intricate hand work created, for which time and patience are a prerequisite. In fact, I have become quite enamoured with the tradition of boutis and have a great respect for it. However, I believe every age creates it's own traditions when we adapt these inherited crafts to our present day circumstances by using the new information and technology that is available to us. I believe it keeps the craft relevant and alive.

When "white corded quilting" (later referred to as boutis), first made it's way into France in the early 17th C, the artisans and craftsmen of the ateliers in and around Marseilles,  adopted the designs and ideas that they saw in the textiles imported from eastern countries like India, China, Persia, etc., and adapted them to their own circumstances. The designs created in these early boutis studios were inspired by ideas they had seen in imported textiles and then quite logically evolved them into symbols and motifs significant to their own world. The technique of corded whitework was first seen in these imported works, and then evolved into a technique very specific to the south of France.  Although they held onto the basic concept of "white corded quilting", they adapted it to their present day circumstances to keep it relevant.

Close-up of the machine stitching.
Respect for a tradition and it's historical significance does not have to be diminished by applying modern day technology. I am a firm believer that combining the two methods can enhance the beauty and significance of each. It's just a natural evolution for our time. In this table topper, the hand stitched boutis piece takes centre stage, while the FMQ forms the frame.

Fully quilted tabletopper, with a scalloped perimeter. (Remnants of crokinole board still visible, (sigh!) but somewhat softened.)

The backing fabric is a traditional blue toile de jouy cotton.

Mme. Born's approach to boutis honours the tradition of boutis, both in technique and design,  yet she allows for individual expression and this type of adaptation. I don't believe that she will be offended by my setting of her boutis design. (I will ask her opinion the next time I see her.)

All this having been said, I am not happy with the machine quilting on the linen.  Although my floppy little crokinole board is somewhat camouflaged, linen is not user friendly to machine quilting. More on that next time.


  1. I think you may be a little too self-critical on this one! The design certainly allows the boutis to be the feature on the piece, and the FMQ is beautiful without detracting from the boutis. Maybe the next one will be better, but I would still chalk this one up as a win!

    I'm interested to read your comments on the linen - it's becoming trendy in modern quilting, but I can think of some drawbacks too.

    1. Thanks for your vote of confidence. The photograph shows a surprising amount of relief, while in reality, there is not a lot of relief and the quilting does not show up very much at all. I've used linen once before, years ago, and should have remembered the frustrations I had at the time, because it's the same problems this time. That project remains buried deeply somewhere in the stash.


Post a Comment

Popular posts from this blog

Blocking and Squaring Boutis

The door of her cage has been opened. She is free to fly off and find her destiny.

After many months of hand stitching and then many more months of cording, my little "calibri" is ready to set off on her own. As this was my first attempt at designing so large a boutis piece, it has been a bit of a learning curve. All of the tight swirls, curls and circles are a great deal more difficult and time consuming to cord then are the longer more gentle channels. Maintaining an even tension is absolutely necessary throughout the process, so patience comes in very handy when doing the cording.

Once all of the stitching and cording is complete, the boutis must be washed and squared up. After it is soaked overnight in a basin of water with a mild detergent, it gets rinsed gently in several clear washes, then rolled in a towel to remove the excess water. 

The final step is the blocking process. There are a number of ways to block a boutis piece, but I have found that the easiest metho…

Amazing Applique by Yoko Saito

The quilt exposition in Nantes "Pour L'amour du Fil" was filled with a number of highlights. Certainly one of the more memorable experiences was seeing the works of Yoko Saito in person.
"Elegant" is the word that best describes Yoko Saito's quilts. Although her palette is neutral, the lights and darks play very well together to create a perfect balance to the quilt. To say that the applique is amazing is an understatement. The perfectly formed 1/4" circles and the tiny leaves and stems are inspirational. And of course, the hand quilting is perfect. For the final touch, she uses embroidery as adornment in much the same way that the perfect pair of earrings complete the look of the little black dress. The opportunity to see her quilts in person has been truly inspirational.

The photos in order:
- Yoko Saito in her booth on the floor of the show
- "Pointsettia" - by Yoko Saito
- "Spring of Sweden" close -up - by Yoko Saito

Alsace Quilts

A quilt show is a great place to be inspired and to celebrate our craft with other artisans. Spread throughout the town of Ste. Marie-Aux-Mines, as well as 2 other nearby towns, this show did not disappoint in either way. There were many fantastic quilts to marvel at, and even more fantastic people to meet and share ideas with.

When at these shows, time is always at a premium, so I prioritized the exhibits that I hoped to see and did my best to get there. Here are a few of the highlights.

The first exhibit we saw were the Canadian quilts. Just as with the Amish quilts, a church acted as the gallery. Churches make great venues for displaying quilts.

Libby Lehman is very well known throughout the quilt world for her free motion machine quilting and threadwork. As she was the featured artist at this year's show, there was a large retrospective display of her quilts. I am more familiar with her current work, so it was quite a surprise to see her more traditional earlier work. It was a…