Nov
12
Off the Bed — On the Back
Filed Under Baltimore Album, Blanket stitch, Designers, Embellishment, Fusible web, Improvisational appliqué, Machine appliqué, Patterns, Raw edge
Before Elly’s lecture began (see the November 6 post), I was looking around the shop when I heard my name called. I turned around and, happy day! it was the podcaster extraordinaire Annie Smith, whom I hardly ever get to see due to her incredibly active traveling, teaching, and speaking schedule.
Annie was teaching a class next door to our lecture and had just a minute before her class was going to start. “Did you see my coat at PIQF?” she asked me with excitement. I had to confess that although I had admired the garments, I missed entirely the fact that one of them was hers and also that the special exhibit “Off the Bed — On the Back” had been curated by one of my own guild members, Rachel Clark.
Annie sent me pictures of the coat and the accompanying quilt, along with the story of how they were made (which reads a little like The Perils of Pauline). Here’s the sometimes harrowing account:
“Rachel asked me to be a part of the exhibit when she saw my West of Baltimore quilt.
Each of the pieces in the exhibit was to be a specific technique of quilt making, (i.e.: log cabin, paper piecing, Hawaiian quilting, Baltimore appliqué — which was mine).
My quilter, Melodee Wade, quilted each of the coat pieces first, then the appliqué was designed and stitched to the coat. The hard part was that I was working like crazy to get the coat finished and Rachel asked me what the name of my quilt was.
Quilt?!
Oh yeah, I remember now… after a conversation LAST October…. little quilts, the quilt design is put on the coat… yeah, right. So I stopped working on the coat design — I was having quilter’s block anyway after being seized with ultimate stress of doing a quilt too — and began the quilt. The vase in the center of the quilt is on the back of the coat, and then I wanted to do some simple vines for the border. Or at least, what I thought was simple. I have to remember that the quilt will always tell you what it wants, and the quilt just grew on my design wall. I knew when to stop and that it was perfect — when I added all of the little yellow dots as detail.
My friend Aneda Phillips, who made the West of Baltimore pattern cover quilt, stitched all of the appliqué while I went back to finishing the coat. When she returned the pieces of the quilt so I could assemble it, I mis-cut the center [Ed. note: GASP] and had to make another one from scratch and do all of the stitching on it, as Aneda was finishing up her quilts for her Market booth.
Then back to the coat. It had to be done in panels, appliqué then sew the seams together, then connect the design. The hardest part was the two flowers that are on the side seams of the coat. At that point, the coat was wearing me while I stitched them down! I do fusible, fine machine appliqué where I use a tiny blanket stitch and match all of the threads to the appliqué fabrics. There is some hand embroidery on the quilt and coat. I even made covered buttons with little appliqué flowers on them.
The name of the quilt is “Midnight in the Garden” and the coat is “A Rose Tree in a Baltimore Garden”. A Rose Tree is a traditional Baltimore appliqué pattern which I used for the shawl collar of the coat.
The appliqué fabrics and coat lining were generously donated by Robert Kaufman Fabrics. I used Peggy Toole’s “Florentine II” fabric as the lining and focus fabric for all of the appliqué. You can a little bit of the gorgeous lining fabric in the front collar picture. The fabric is amazing.
All in all, I worked on the quilt and coat for three weeks, 12 to 18 hours a day to get it done in time for PIQF. And then, I didn’t even get to attend the show, as I was teaching in Canada!
Melodee is an incredible quilter. I just gave her the pieces and let her do her thing. She did some neat swirled feathers in places that aren’t covered by appliqué — and that’s the thing, she had no idea where the appliqué was going. She just quilted as if they were separate whole cloth quilts. I was amazed when I sewed the panels together — the quilting from one dovetailed into the other and in some places it’s hard to see the seam line. I know that it was totally random, but I love when magic happens like that.
I use Melodee exclusively to do the quilting for me. She always enhances everything I do, making my pieces better. Mel does it all free-motion on a non-computerized Gammill.”
Kay here… I’ll add that in addition to her quilting talents, Melodee is one of the nicest, most gracious people you could ever hope to meet. Her contact is melodeewade@aol.com if you’re interested in contacting her for your longarm quilting needs.
On her latest podcast,(11/10/08), Annie tells more about the creation of the coat and jacket, describing how they grew on her design wall and what a wonderful experience it was for her to let go and let that happen. Go give a listen, and you’ll also hear a hilarious story of how dedicated a quilter can be when it comes to acquiring an industrial Bernina for $100.
Until next time,
Kay
Quilt Puppy Publications & Designs
Comments
6 Responses to “Off the Bed — On the Back”
Subscribe
Great story
OMG! Your work is breathtaking! I am a newbie and I can only hope one day that I can make something half as beautiful! Amazing!
I’ve arrived here by chance. It’s amazing, wondeful, marveluos…. no words!!!
Maria, welcome! So glad you came across the site. Enjoy the appliqué!
Kay
[…] all the time. A beautiful gallery of quilts follows, to give you even more inspiration. Check out an earlier blog post of mine that shows Annie’s gorgeous coat and accompanying quilt, both of which are pictured in the […]
whoo…what a beautiful book. I would love to have a copy and to try out different methods of appliques.