Yukata Quilt: Border and Backing

When I came back from the "Curves and Composition with Yukatas" workshop a few weeks ago, the four quadrants of my quilt top had been sewn together but not finished with a border. Borrowing an idea I had seen in one of Patricia's quilts, I decided a square in a square 3" block would use up some of the scraps, plus add a bit of a "glitzy necklace" frame around the butterfly.

The idea was to encircle the 1" jewel coloured squares inside a navy border.

When I ran out of the navy fabric, instead of cutting into another chunk of the navy yardage (which has been purchased to be the back of my silk wholecloth quilt), I decided to make a few of the blocks using just the jewel tones. These were casually interspersed around the border.

I tried to add the more colourful blocks in areas of the quilt where the navy came to the edge.

After the border was completed, there wasn't much of the "Yukata" fabric left over, but I managed to get a centre block made with what was left. Although none of the red yukata that I used as sashing on the back is on the front, I had cut into it for the butterfly, but decided against using it there.

And, as you can see, I caved in and did cut into more of the navy yardage to finish the back. Hopefully my quilt shop still has some of that navy on hand so that I can replace what I used for this project.

The quilt is now ready to be sandwiched and machine quilted.

The Tristan Quilt at the V & A

On our recent visit to London, one of our first stops was at the Victoria and Albert Museum. Established in 1852 and named for Queen Victoria and Prince Albert, who were strong supporters of it's founding, the museum is a facility that is both educational and cultural, and open to everyone. It is here, in the "Medieval and Renaissance Gallery" that I finally saw the "Tristan Quilt", one of the earliest surviving quilts showing stuffed, corded whitework (known as "Boutis" in France). A Chihuly chandelier hangs in the grand lobby of the Victoria and Albert Museum. Medieval needlework was often a medium for storytelling. It told of wars and conquests, heros and warriors, love won and love lost, etc. Myths and legends were recorded for future generations through the nimble fingers of the artisans. Through the intricately depicted figures stitched into the Tristan Quilt, this classic Norman legend follows Tristan into battle...

Boutis: Traditional French Needlework

" Piqûre de Marseilles" or "Boutis" is a traditional French hand stitched and corded needlework technique, which uses embroidery stitches to create intricate channels that will later be stuffed with yarn, thereby creating a raised design with three layers. It's origins, and it's name, can be traced to the port of Marseilles in southern France to the 15th century. Traditional boutis was a technique invented to embellish otherwise plain white cotton with intricately patterned channels that would later be stuffed with a plump white yarn to give it relief. The resulting corded whitework created an elegant, embossed textile that was much sought after. Not only was it aesthetically appealing, but it also provided warmth and absorbency, so could be used for bed coverings, toilette linens (like towels), clothing items, home decor, etc. The first two photos below are from the collection of Mme. Monique Alphand, a well known French expert and collector of antique t...

Hawaiian Applique Quilting

While on a family vacation in Honolulu, Hawaii just before Christmas, my daughter and I managed to squeeze in a class teaching the basics of traditional Hawaiian quilting. At the end of the class, we both had a 22" x 22" cushion size Hawaiian Applique quilt ready to stitch. The coral coloured "Ulu" pattern below is my daughter's project. Traditionally, the ulu is the first quilt made for the home to ensure that there will always be food on the table. The "Ulu" (Breadfruit) pattern, designed by John Serrao. It's the designs of these applique quilts that make Hawaiian quilts unique. Each pattern is individual to the maker of the quilt and symbolizes who they are. Although many of the patterns use a similar motif or symbol, (for example the "Ulu" pattern), when adapted by the quilter, it becomes personal to that quilter and unlike any other version. Ideally, each quilter should create her own design, but beginner's are gi...

Seams French

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