Philosophy and Process
In a world overrun by disposability, quilts stand as beacons of sustainability and artistry. They are not immune to imperfections; rather, they embrace them as markers of authenticity and character.
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We should all be thinking more about repurposing textiles or mending, and I feel incredibly passionate about the benefits of making a quilt and finding that happy place in their embrace.
Each piece I make is unique and will never be mass-produced. Creations take time and some of my work can take months to complete. There is also something very special about the bond I have with each piece I am making.
As a supporter of the Slow Movement, I am very aware of the benefits of slow sewing - each stitch is a meditation, a testament to the value of slowness in an age of haste. The act of creation becomes a balm for the soul when I enter that zone (be it machine or hand sewing) where nothing else matters but the rhythm of repetitive sewing. My happy place is with a needle and thread in my hand and some beautiful fabrics to stitch together.
The Process
For me, the process of making a quilt always starts with the fabric. The end goal is not the starting block. I design on instinct, not by planning or mathematics. If I make decisions on what I want to create before I have looked at the fabrics, I am already in a restrictive mode. It is the fabrics that do the initial work - either they sing to me or they do not.
The process of selecting fabrics is generally referred to in the quilting world as ‘auditioning’. On occasion, I have accidentally auditioned fabrics when spotting some different scraps sitting in a pile. However, by playing around with fabrics, I choose purely on my immediate reaction.
Once I have a collection of fabrics that excite me, I like to experiment with ratio, shape and colour. The process of ‘play’ is thoroughly enjoyable - finding out how much of a particular colour or pattern I want to have in my piece, to see how they marry together. I prefer to allow my creative juices to flow by letting the fabrics talk to me first.
"In a world that rushes past in pixels and notifications, there is a profound peace in the gentle rhythm of a needle and thread"
My default technique is by hand, a slow process that takes time but is equally easy to control not to mention therapeutic.
There is something to be said about creating a quilt entirely by hand - perhaps also enjoying the secrets that hide within, which only the maker will know.
All quilts start their lives by cutting up fabric, and in its most simple form, sewing them back together in different shapes and patterns. The end result is always an expression of creativity and practicality.
“I prefer to allow my creative juices to flow by letting the fabrics talk to me first.”
There are a few questions I ask myself before even lifting a needle and thread;
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Which fabrics excite me?
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Should I use some of my precious fabrics that will never be reproduced? Or should I hang on to them that little bit longer?
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How will those fabrics, patterns and colour work together, once chosen?
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What repeat block pattern would I like to create?
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What method works best with the design I have in mind? Machine pieced or the more time-honoured hand sewn technique called English Paper Piecing?
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And finally, what will this piece want to be when it is finished? A lap quilt, bed quilt, wall hanging or artwork?
English Paper Piecing (EPP)
Dating back to the 1700s this technique originated in England. A patchwork method that involves wrapping fabric around a heavy-duty paper template or shape, just large enough to fold over and tack into place.
Once a decision has been made on the placement of the various shapes and fabric, the pieces are hand stitched together, skimming through the tip of the fabric but not through the paper within. After completing the quilt top, all the paper pieces can then be removed.
The beauty of this technique is being able to achieve distinctive and complex patterns as well as being hugely therapeutic, not to mention portable.
Patchwork
Be it by hand or sewing machine, this method involves
sewing together small pieces of fabric (called patches)
into blocks which can be attached to each other to
create the quilt top or backing.
Common shapes are squares, triangles and hexagons. If sewn by machine, precision is needed when cutting out these shapes as they will need to fit together at intersections (the points should nest well together).
Hand sewing patchwork blocks is a much slower process but adds value to a quilt. Machine sewn patchwork quilts are likely to be stronger but rarely have that unique character of a hand sewn quilt.
Piecing
The act of sewing fabric pieces together, either by hand or machine.
Machine piecing is a faster process and gets quicker results, especially if you ‘chain piece’ - sewing the same section on multiple blocks, one after the other. However, it is not a portable technique and most quilters will have several projects on the go at the same time; one to power though at home and the other to take with them on holiday, to pass time in a waiting room etc. I am no different and have often found that time spent in a waiting room flies by, thanks to my trusty hand sewing.
Hand piecing, in this case using the English Paper Piecing (EPP) method, is a wonderfully calm way to attach pieces together. There is also less room for error as the pace allows control.
With EPP, there is also immense satisfaction in seeing one’s project grow, knowing how much time and effort has been invested. This is perhaps my favourite method when making quilts.
Quilt Blocks
These are smaller individually pieced blocks which can be positioned together in many different ways, creating a wealth of different visual effects, purely due to their placement.
The ‘Log Cabin’ block is the most versatile when piecing together. There are hundreds of different quilt block patterns, each with their own name such as the Nine-Patch, Flying Geese, Ohio Star and Courthouse Steps.
Quilting
Commonly misunderstood to mean the act of making a quilt. However, quilting is the process of sewing together layers of fabric (top and backing) sandwiching the wadding in the middle, which creates a quilt’s warmth. Quilting can be done by hand, on a sewing machine or professionally long arm quilted.
The stitches used are often sewn in a decorative motif and many of those traditional designs have names, such as the Baptist Fan, Crosshatch and Feathers to name but a few. They are typically simple geometric shapes or floral patterns that are repeated throughout the quilt. All quilters have their trusty favourites when it comes to their tools for their hand quilting; type of needle, thread, thimbles and scissors. Much of my work is pieced by hand, using small whip stitches to attach shapes together using the EPP technique and then either long arm quilted or hand quilted.
The hand quilting needle needs to be strong enough to withstand multiple layers of fabrics and long enough to gather several stitches at a time. The eye of the needle is crucial when choosing the thread, which can be fine but is generally thicker than the thread used to piece the quilt. My preferred needle for hand piecing is the Bohin Milliner’s needle and I find Bohin’s Darners are wonderfully strong and long for hand quilting too.
Longarm quilting began in the late 19th Century with manually guided frames, and has evolved into computerised machines that allow quilters to create intricate designs with speed and precision.
It is another method of stitching together a quilt top, wadding and backing using these specialised machines.
Most quilters have their preferred professional longarm quilter and mine is the remarkably talented Frances Meredith of Fabadashery, based in Chepstow.
The Quilter
A Quilter’s hands may not be beautiful, but they tell a story — etched with battle scars and shaped by dedication. They must be both nimble and strong, enduring the rhythm of stitching while remaining mindful of the strain, repetition and inevitable pinpricks. Each mark is a testament to the artistry and labour behind every quilt.
We quilters see quilt patterns in all walks of life, from nature to architecture. You would be hard pushed to find a quilter who doesn’t have thousands of saved inspirational photographs or precious notebooks with rushed drawings of patterns and shapes for future ideas. I see quilt patterns everywhere and if it were not for my trusty notebooks or mobile phone, my mind would be overflowing with quilt designs!
When I am asked what I do, a part of me is saddened to hear a common response "You're not old enough to be a quilter!”. I feel compelled to educate people's attitudes towards the gentle and precious craft of quilting.
We need to revitalise this timeless craft and embrace the therapeutic rhythm of repetitive stitching, recognising its myriad benefits for emotional well-being.
