Getting it together

I finished the scraps quilt that I started about this time last year.

‘Together’ – scraps quilt, hand-pieced, hand-quilted

Its working title was ‘All Together Now’ but I found that gave me a constant earworm of the song with the same name, which became distracting, so it had to go. I dropped the outer words and have named it simply ‘Together’. I like the etymology – it comes from an Old English word meaning ‘to gather’ – and that’s exactly what this quilt is. It’s a gathering: of fabrics, of textures, of colours, and of time.

‘Together’ 66″ square (121 x 6″ blocks)

I have a perennial problem with making large quilts. I like working on a large scale, as a rule, but when the thing is finished I have no way of taking a decent photograph of it. I don’t have a wall big enough to hang it on (in any case, there is no hanging sleeve on this one). Usually what happens is we have to move the furniture out of the dining room, lay the quilt out on the floor, and then climb up a stepladder, hold a camera out at arms length over it and hope for the best. Textiles are very difficult to photograph at the best of times and always look so much better in real life.

Seed stitching across the central panel

The quilt is made entirely of scraps and leftovers, hand-pieced over paper using the traditional English paper-piecing method. I assembled the blocks as 6″ squares, using patches in multiples of 1″ (so for example, 1 x 1, 1 x 2, 2 x 2, etc). I then arranged the blocks by colour group, with the whites and neutrals in the centre. The fabrics are an immensely eclectic mix of very modern and very old, plain and patterned, textured and plain-weave. The oldest pieces in it are from the eighteenth century, and they sit happily next to very modern scraps and samples. Most of the fabrics are hand-dyed vintage cotton and linen, with some over-dyed modern quilting cottons. There are a few synthetics and satins in there as well. I don’t normally like shiny fabrics much but I do like the way these little squares catch the light.

The blue corner
The red corner

The seeding stitches in the central panel create circles of negative space. Initially this was just a design decision to disrupt the straight lines created by the square blocks, but now I can see that the circles create little oases floating like bubbles across the surface. I like the way the circles are distinct but at the same time visibly still a part of their foundation.

Lots of seeding
spots of time among seeding stitches

The middle layer of the quilt is cotton flannel rather than traditional quilt batting, only because that’s what I had. I didn’t want to have to buy anything for this one. The backing is pieced together from a vintage silk sari. The quilt is thin but quite heavy.

Quilt back, pieced from patterned silk sari

I am a little nervous about the longevity of the quilt. It’s designed to be decorative rather than functional, but not to hang on a wall. I imagine it displayed on a bed, ideally. I don’t know the remaining life span of the silk backing: silk tends to tear very easily as it ages, and I’m not sure how old this sari is. The quilt isn’t washable, due to all the different kinds of fibre – the very elderly patches will shred, and the hand-dyed fabrics might not be entirely colour-fast. The seeding stitches on the surface would be quite easy to pull and distort accidentally. Its new owner (when I find them) is going to have to be very careful with it. But then, very few things last for ever.

Quilt label made from embroidered vintage linen, hand-dyed. I really like the way those two embroidered arms reach out to each other.

I did think about whether it needed some sort of additional circular pattern in the outer borders, but in the end I think there’s probably enough going on in it. I’m looking forward to being able to start something a little more manageable.

Going straight

I started quilting ‘All Together Now’ with a meandering line, and I thought I knew exactly where it was going.

Wandering aimlessly

This quilt has been very particular from the very beginning about what it wants, but I was just starting to feel that we were becoming friends now that we’ve reached the outer sections. The quilt waited until I had done a fair few meandering lines before telling me that was very wrong and not what it wanted at all. Quite a lot of unpicking and tutting ensued. The second attempt is now well under way, and everyone seems to be happier. I’m now working very simple diagonal lines across each of the 6” blocks.

Diagonal quilting lines across 6” blocks

I couldn’t sew a straight line if my life depended on it, so I use quilter’s masking tape. It’s one of the best things ever invented.

Quilter’s masking tape

I confess I am slightly disappointed not to have more expressive quilting lines to create. It’s one of my philosophies of life that there are already enough straight lines in the world and now here I am, adding to them. There is, however, quite a lot going on in this quilt – there are a lot of colours to manage, with a lot of seams and some very busy seed stitching – and keeping the rest of it simple I think is the right thing to do.

All together now

I started this quilt some time last year, rounding up (squaring up) all the scraps into 6” blocks and then assembling them into a kind of square colour wheel with all the whites in the centre. It’s 11 blocks square, so 66”-ish, all paper-pieced. I had to abandon it when I broke a bone in my right hand in October, but that was no great hardship as by then I didn’t really like it. It also had no name, so I didn’t know what it was trying to be.

In progress
Lots of seed-stitching

Last year I had started seed-stitching the central panel to define the circles, and it quickly turned into one of those things I wish I’d never started. Seed-stitch takes a long time, and there was acres of it. OK, about a square yard. I tend to exaggerate.

Seed-stitching around circles

So since October it has been rolled up in a corner of the room, nameless and baleful, scowling every time I passed it, and now I need to finish it before I feel free enough to start something else. A few days ago I steeled myself to set about finishing the seed-stitching. And what do you know? It didn’t take as long as I thought it would, and it looks OK. The texture is really interesting. The backing is made from a vintage silk sari, and the middle layer is cotton flannel, so it isn’t too bulky but is still quite substantial. It’s surprisingly heavy.

Quilting the edge

And then it named itself: All Together Now. So now I need to figure out what to do with the rest of it. I’ve couched some two-tone silk bourette yarn down to create a couple of borders around the central panel, and I’m starting with a meandering line just to see where it goes.

First line of quilting

Sometimes making a large quilt by hand feels a bit like wrestling with an alligator (no, since you ask, I have never wrestled an alligator). I do feel as if I am starting to tame this one.