The Big Stitch Story, #1

Big Stitch quilting is exactly what its label reads: quilting stitches that are purposefully larger than average quilting where you try to make tiny stitches. In addition, Big Stitch is often done in heavier thread that is a contrasting color. But where did Big Stitch come from? Who named it and brought the technique forward as a 'real' species of stitching? Sit back and read the Big Stitch story as I've been able to reconstruct it. Because the subject of Big Stitching is deep, I've divided the blog into two postings. The first is today's and the second is March 20-National Quilting Day. 

 

Early Sampler quilt by Laury

In the 1960s textile artists like Jean Ray Laury, who worked in felt early on, set the stage for later Big Stitch enthusiasts. One of her earlier quilts shows how she used Big Stitch in her work to embellish applique motifs.

Jean Dubois published Wool Quilts in 1985 and some individual quilt artists, such as Roberta Horton and Judy Hopkins, were starting to emulate the aesthetic of old-timey scrap quilts and occasionally used thicker thread and larger stitches in their work. But the Quilter’s Newsletter magazine article on Big Stitch in 1995, written by Jo Glover (Walters) really got the ball rolling. 

Jo is a self-taught artist who had studied and worked in England. She made wool quilts and had been inspired by old Welsh wool quilts. Jo determined that her own hand quilting could be both big and beautiful. She coined the term Big Stitch and it stuck. She advised using #8 perle cotton and a larger quilting needle and keeping the tension light as you quilted. 

Jo advised that you choose simple and open designs to Big Stitch and to not be afraid to superimposed curved quilting designs over a pieced block.

 

The highest hurdle in the acceptance of Big Stitch was quilters’ own prejudices and Jo challenged that too. When she entered a show sponsored by the National Quilting Association, the judges came smack up against Big Stitch in Jo's quilts for the first time. After a huddled conference, the judges decided in Jo’s favor. 

Their verdict: when the stitching was deliberately large and bold and added to the quilt’s overall beauty, Big Stitch would be accepted as a quilt stitch technique even in competition.  

After learning Big Stitch from Jo, Billie Lauder wrote a small book on the subject. Then Jo was a guest artist on the TV program Simply Quilts and Big Stitch was off to a great start in the quilting world.

Part of Jo's defense of larger-size stitches argued that even some antique quilts displayed these stitches. And she was right. Big Stitch had even deeper roots than the work of 20th century artists.

American Southern Quilts

Southern rural scrap quilts often show larger-than-average quilting stitches. Traditional old-timey Appalachian quilters, who quilt laying down large hand stitches, have told me that they’re proud they can hand-quilt a quilt in days rather than weeks. So at least some of the history of Big Stitch can be traced to poverty and plain living where fancy stitching and fine handwork had no place and you needed to get that quilt done!

Note: in the 1890s, crazy quilting, a craft where showing your stitches was almost a national mania, may have contributed to the show-n-tell style of Big Stitch quilting.

Early 20th Century Quilt Writers

By the 1920s, quilting had made it into print. Quilt authors, while they loved to talk about fine tiny stitches in older quilts, also realized that their readership might not have the skill to produce noteworthy work. The point was to encourage their readers to quilt at whatever level. 

Ruby Short McKim, author and newspaper writer (who later ran McKim Studios mail order business) wrote the best-selling book on quilting titled One Hundred and One Patchwork Patterns in 1931.

Ms. McKim wrote sympathetically, "-it is difficult to take small, even stitches, through three thicknesses, especially as one of these is a rather heavy cotton." Ms. McKim encouraged, inadvertently, a Big Stitch quilting style through her writing. 

McKim's support of larger quilt stitching was also implied when she appeared in public. When she and her husband Arthur set up a display of her book 101 Patchwork Patterns in a department store for a book signing event, sample quilts which McKim had commissioned formed a colorful backdrop. Rather than tiny almost-invisible quilting stitches, McKim’s sample quilts (made on her orders) often displayed stitches in contrasting colored thread and a tad larger-than-average stitch size. The quilting showed purposefully. To the viewer encountering quilts for the first time, McKim’s quilts were stitched just right.

In The Big Stitch Story #2 (March 20) I'll discuss other influences on Big Stitch Quilting and its revival today.

The Poo-bah Says

Okay--the last time that Pantone, the grand-poobah of color trends, predicted a two-fer of baby pink/sky blue as the colors of the year (2016)  the less than lovely combo became the butt of bloggers' jokes. 

Today Pantone came out with another double-header but this time, I think, they've come much closer to a trend that many people will actually like. Pantone says that Illuminating 13-0647  (a lighter yellow with citrus undertones) and Ultimate Grey 17-5104 (medium grey) are its choices for color(s) of the year 2021.

Pantone cites research that yellow is almost always described as a 'cheerful color' and that grey represents resilience. Lord know we need both of those in the coming year!

Funny thing, I was hoping that in 2021 we'd be able to rework our 1941/1970 kitchen. The same since we bought the house 20+ years ago--white spattered linoleum, painted white cabinets down and cheap wood cabinets up. In hopes of the rework, I'd been perusing and pinning pictures of retro kitchens in a yellow and grey color scheme.

This 1959 Admiral kitchen featuring yellow cabinets, a chessboard floor, and a lady in heels doing the dishes--cheerfully.

The addition of red here makes all that yellow just sing (but I'm sure Rod would veto the red). Can't help but wonder how Hopper was able to get the drone to snap this one. Lonely little toaster!

This 1959 retro beauty would be fine with a modern dishwasher added. Thinking though that there's a lot of mopping under cabinets I might want to avoid. 

Heck, I could move right in to this one since I have all the matching anodized aluminum barware already!

Okay Pantone, you picked an excellent combo for Color of the Year 2021 this time. Good thing that Peppered Cottons has you covered!

Lemon Ice #24 is a lovely yellow.

   

As far as greys go, take your pick. 

                                                                                                      Fog 47

Granite 10

                                                         Tweed 37

and Aluminum 60.

Some Quilts Gone to Other People

 

I've certainly made enough quilts for myself but some that bring me the greatest joy are ones that now belong to other people. I no longer sell my own work. It's just too tedious to explain the pricing: "This quilt has $300 worth of material in it-" or "My estimate is 250 hours of work-." I'm always feeling defensive and justifying what I charge. Thus, no more selling for me. Now I give away my quilts.

The people who get them are generally friends and family. I give these quilts away with a happy heart. For weddings, to comfort when the recipient's sick, or as a thank-you for some kindness. I used to have a store and sold both new and old quilts, plus fabric and sewing notions. Even 30 years ago, I had to defend my prices. Having stepped back from the question of what my quilt is worth, I find I breathe easier. 

                    'Star to the 4th Power.'

A Log Cabin variation in autumnal shades.

Little crazy quilt for a charity auction.

Blue crazy quilt (only half bound) photographed in the tile floor hall of my old studio.

A queen-size Log Cabin with pink and brown prints from the line I did for Michael Miller called 'Carolina Heirloom Roses.'

If Parrots Designed Quilts (probably the busiest quilt I've ever made)

A horizontal version of Chinese Coins

The 'Big Ass Sampler' in which our clan tartan features prominently. 

Of course the quilt has to pass the feline paw of approval.

Oh wow! Look at the colors!

While the title of this blog post was a tag line in my youth (and denoted you'd recently dabbled in a mind-blowing psychedelic), as a sane and sober 60-something, I still utter the same line. But it might not be about super-bright flashing colors. Not this time.

But "Oh Wow! Look at the colors!" was exactly what I said when my sample bolts of new Peppered Cottons landed on my doorstep a week ago. And then today, a box from my friend Sandi Irish included the sample quilt made from those colors and I fell in love all over again.

This selection of new colors not only plugs some holes in the Peppered Cottons palette (we really needed a gold-) but also expands the quieter side of the line. I've chosen Mid-Century lamps (a passion of mine) to help explain the colors.

OK-Merlot #53 is a very rich deep brown-tinged red. Yes, just like the wine. It seems right that the color is encased in Murano glass.

And #68 Key Lime is a calm yellow green. This lamp is by the Italian firm Stillnova.









We needed an orange-kissed red and we got it! Meet #70 Tomato. Modeled by one of my favorite chalkware lamps, the African lady who carries the most astounding shade on her head.



                                                                                                                                                             

When it came to #27 Gingko Gold, there were many choices but this anodized aluminum Danish pendant lamp was the favorite.






While there are two tones of blue in this lamp, the shade, as in #61 Tide Pool blue, grabs my attention.





                                                   


Another blue but this one is between denim and grey. An industrial
pendant light models #87 Storm Cloud well.









The subtle color of unbleached linen is always a favorite since it goes with every other color.  Here's #7 Flax in a table lamp by Alladin.

This bold design just springs out at you. It is the famous Praying Mantis floor lamp by the French firm Rispal. It uses walnut wood----#33 Walnut as it's named on the Peppered Cottons color card.

This next one makes me laugh--there must have been a million versions of this prowling panther TV lamp in the '50s. But here it makes a nice stand-in for #18 Milk Chocolate.




Finally, when you think there can't be another shade of grey we haven't seen in fabric, meet #10 Granite, a deep grey with blue undertones.



                                                                                                                                                                                                                                                                           


Here's the new Peppered Cottons as a group. They're now up on the StudioE website, tucked in with all the other Peppered Cottons. Go here to see them all together Peppered Cottons .









I designed a small quilt using the ten new colors plus #09 White Sugar. It's name is Nine Patch Swing. My friend Sandi Irish sewed and quilted the quilt this Spring.

The directions for the quilt are on the StudioE website and they're free! Click here for  Nine Patch Swing Directions .                                 

BIG News! Five More Colors of Peppered Cottons in Wide Backs!

Although StudioE and I discussed more colors in the 108" size Peppered Cottons, I didn't think these new fabrics would be possible until late 2020 due to the global slowdown from the Covid-19 virus. But, happy days, it seems the new 108s couldn't wait...I am ecstatic to announce new colors of Peppered Cottons 108" width will be here in July! Stores can order them now and get them in their shops by August.

There are five new additions to the Peppered Cottons 108" wide category. All the 108s are super for quilt backings (that's 3 yards wide!), for using in patchwork especially when the directions call for cutting long borders, for wholecloth quilts, and for garment making.

Blue Bell

The new colors are some of my absolute favorites. The timeless blue chambray called Bluebell (#17X  ) looks just like the classic men's American workshirt. It blends with any blue color scheme. Guys will like it because it seems somehow familiar.

Blue Jay

Then there's the straight-on strong medium blue called Blue Jay (#41X). This shade has been a best-seller since the first edition of Peppered Cottons. 

Tweed

Tweed (#37X) is an equal blend of white and black threads so it's a texture-y gray and looks really great combined with bright colors as it plays second fiddle beautifully.

Oyster

Then another classic neutral called Oyster (#35X) is a white with delicate gray hints. This would be a super background for applique and a backing where colored quilting thread would show well. Decorators will also love this for drapes.

Paprika

Finally the #5 new color is Paprika (#32X). It's a lovely warm mix of red and orange threads and has been a customer favorite since it joined the Peppered Cottons line.




If you'd like to see all the colors of the 108" wide Peppered Cottons, please go here   .

The Festival of the Broken Needles (Happy Huri-Kuyo)

More than 400 years ago, the Festival of Broken Needles (Hari-Kuyo or 'memorial to the needle') came into being in Japan. The event has both Buddhist and Shinto origins since modern-day Buddhism has integrated the animistic aspects of Shinto belief.  Buddhism honors all creation, living or inanimate. Animism is the belief that all things have a soul or spirit. 






For anyone who talks to their dog or cat or feels the impulse to hug a tree, Animism is not a stretch. But the Japanese combination of Buddhism and Shinto belief goes a step further and considers that even inanimate objects might have a soul or spirit and should be honored. That said, we sewers are very fond of our favorite tools and once a year--this year on February 8--Japanese sewers in Tokyo will gather to honor their broken needles and bent pins.

The first part of the ceremony is solemn as the tiny broken needles and pins are reverently stuck into cakes of bean curd in the courtyards of Buddhist temples. The cakes are later taken away and the pins and needles recycled.  

In Kyoto (the ancient capitol of Japan) Huri-Kuyo is celebrated December 8 at various temples such as the Hourin-ji temple pictured here. 






Two months later (February 8) Huri-Kuyo is celebrated further east in the district around Tokyo, the modern capitol.

The whole population of the country doesn't celebrate Huri-Kuyo. The event is for those people who use needles and are fond of them and appreciate their own work using these tools. 

Professional seamstresses, tailors, designers, kimono sewers, plus hobbyist sewers and crafters gather to dispose of their pointy-headed friends in a short ceremony complete with prayers for their own needlework skills in the year to come. 

I think the Festival of Broken Needles is a fine idea. And I'm wondering when we'll add 'dull and nicked rotary cutter blades' to the mix.