- WELCOME TO OUR SHOW, GALLERY OF GARMENTS.

YES, I AM STIRRING UP A BAKER'S DOZEN OF VESTS, ONE FOR EACH SHOW OF THE WHOLE SERIES.

BUT WHAT ABOUT GARMENTS OF LONG AGO?

WE WILL STEP BACK IN TIME AS WE TRAVEL TO PENNSYLVANIA AND MEET DORIS DARNELL FOR A GLIMPSE OF HER VINTAGE GARMENTS.

THEN FOR A VINTAGE STUDY OF QUILTS, LEARN HOW TO MAKE THE PIECED PASTEL PLEASURES QUILT.

♪ COULD YOU IMAGINE A MORE CLEVER OBJECT?

♪ ♪ WARMS THE BODY, IGNITES THE MIND.

♪ ♪ A CHILD SLEEPS UNDER MOTHER'S CREATION, TOGETHER FOREVER.

♪ ♪ THE ART OF THE HEART AND DESIGN OF THE MIND ♪ ♪ PUTS YOU TO BED ONE DAY AT A TIME.

♪ ♪ THE ART OF THE HEART AND DESIGN OF THE MIND.

♪ - LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM OXMOOR HOUSE, PUBLISHER AND DISTRIBUTOR OF NEEDLEWORK AND CRAFT PUBLICATIONS, INCLUDING AN ASSORTMENT OF QUILT BOOKS AND RELATED PRODUCTS.

BY BERNINA, MAKERS OF SEWING MACHINES MANUFACTURED WITH THE CARE OF TRADITIONAL SWISS WORKMANSHIP.

NOTHING SEWS LIKE A BERNINA.

NOTHING.

BY GAMMILL QUILTING MACHINE COMPANY, OFFERING LARGE THROAT, MOBILE, HAND GUIDED QUILTING MACHINES.

ADDITIONAL FUNDING BY OMNIGRID, THE ORIGINAL PATENTED BLACK AND YELLOW RULER, AND THE WARM COMPANY, MAKERS OF WARM AND NATURAL COTTON BATTING AND STEAM A SEAM FUSIBLE WEB.

TRAVEL TO STATE COLLEGE, PENNSYLVANIA, HOME OF PENN STATE, THE NITTANY LION, AND DORIS DARNELL, WITH HER VAST COLLECTION OF VINTAGE GARMENTS.

DORIS COLLECTS GARMENTS FROM 1830 TO 1970.

I ASKED HER HOW IT ALL BEGAN.

I REALLY GOT STARTED BECAUSE I LOVE TO DRESS UP.

I LOVE TO PUT ON ANTIQUE CLOTHES AND PARADE AROUND IN THEM.

AND WHEN PEOPLE DISCOVERED HOW MUCH I LOVED ELEGANT CLOTHES, THEY STARTED GIVING ME THINGS.

THEIR GRANDMOTHER WOULD DIE AND NO ONE WOULD KNOW WHAT TO DO WITH THE THINGS IN GRANDMOTHER'S ATTIC.

AND I WOULD SAY, GIVE THEM TO ME.

AND THEY DID.

SO THAT EVERYTHING IN MY COLLECTION HAS BEEN GIVEN TO ME.

I HAVE NOTHING THAT I HAVE BOUGHT.

EVERYTHING HAS A STORY BEHIND IT OF ONE KIND OR ANOTHER.

DORIS LIVES AT A RETIREMENT COMMUNITY IN A TWO-BEDROOM APARTMENT.

NOW, SPACE IS TIGHT, BUT SHE STORES HALF OF HER COLLECTION IN THE MASTER BEDROOM, WHICH IS FULL OF BUILT-IN STORAGE UNITS.

THE OTHER HALF OF THE COLLECTION HAS BEEN GIVEN TO SHIPPENSBURG UNIVERSITY FASHION ARCHIVES NEAR CARLISLE, PENNSYLVANIA.

- THE FIRST DRESS I WANT TO TALK TO YOU ABOUT IS A TRADITIONAL 1881 TUSSAUDS DRESS.

THIS WAS MADE FOR A WOMAN WHO LIVED IN ST. LOUIS AND MOVED TO DANVILLE, KENTUCKY AND LIVED THERE ALL HER LIFE.

IT IS ABSOLUTELY WHAT ANYONE WOULD WEAR IN 1881-- TIGHT, TIGHT WAIST, BUSTLE.

THERE IS A BUSTLE STICKING WAY OUT.

AND AN ELEGANT FRONT.

THAT DRESS REPRESENTS THE WOMEN OF 1881 AND WHAT THEY DID TO THEIR BODIES-- A TINY, TINY CORSET THAT MADE THEIR WAIST 22 INCHES, 21 INCHES.

THIS IS 22 INCHES.

YOU DON'T KNOW MANY PEOPLE THESE DAYS WHO ARE ADULTS WHO HAVE 22-INCH WAISTS.

BUT THEY PRIDED THEMSELVES ON THEIR WAISTS.

AND THEY PRIDED THEMSELVES IN LOOKING ALL ALIKE, ALL SMALL-WAISTED, ALL ELEGANT.

AT THAT SAME TIME, THERE WAS A GROUP OF WOMEN WHO WERE PART OF A GROUP CALLED THE AESTHETIC MOVEMENT.

THE AESTHETIC MOVEMENT WAS BACK TO SIMPLICITY, AWAY FROM VICTORIAN WHATNOTS ALL OVER THEIR TABLES, DARK WOOD.

AND THE WOMEN SAID, WE ARE NOT GOING TO BE TRAPPED BY FASHION'S EXPECTATIONS.

WE ARE GOING TO TAKE OFF OUR CORSETS, TAKE-- REFUSE TO WEAR BUSTLES, REFUSE TO WEAR HOOP SKIRTS, WEAR DRESSES THAT ARE FLOWING AND COMFORTABLE.

AND THIS IS AN 1883 DRESS, COMFORTABLE DRESS, LONG, FLOWING FRONT.

AND THEN MANY OF THE AESTHETIC DRESSES HAD WHAT WAS CALLED THE WATTEAU BACK, BASED ON THE NEGLIGEES OF WATTEAU, THE PAINTER, IN THE TAG END OF THE 18TH CENTURY.

THEY LOVED THAT.

THEY LOVED THIS.

THEY'VE HAD TOUCHES OF VELVET.

THEY WEREN'T GOING BACK TO SIMPLE LIVING.

THEY WERE GOING BACK TO THE BEAUTY OF THE HUMAN FORM.

THIS WAS SO REPULSIVE TO PEOPLE IN THE UNITED STATES THAT IN ONE CASE, THE MAYOR INSISTED THAT ANY WOMAN WHO WORE A DRESS LIKE THIS WITH NO CORSET WAS TO BE PUT IN JAIL AND FINED $5.

IT'S IMPOSSIBLE FOR ME TO SAY WHICH ONE OF THESE DRESSES IS MY FAVORITE.

THIS PARTICULAR ONE MIGHT HAVE BEEN WORN BY ONE OF THE AESTHETIC MOVEMENT PEOPLE IN THE 1880S.

AT LEAST SHE WAS A WOMAN WHO WANTED TO BECOME A DOCTOR.

BLANCHE WONDERLY WENT TO WOMEN'S MEDICAL COLLEGE OF PENNSYLVANIA IN 1903.

HER MOTHER DIED, AND HER FATHER SAID, "YOU MUST HAVE A MOURNING DRESS.

YOU HAVE NO BLACK DRESS."

SHE ASKED, "MAY I HAVE A DRESS THAT IS TRULY ELEGANT?

I HAVE NEVER HAD A REALLY BEAUTIFUL DRESS ALL MY LIFE."

AND HER FATHER AGREED.

THIS PARTICULAR DRESS, WHICH IS AN UNUSUALLY BEAUTIFUL DRESS, COST $90 AND WAS ALWAYS KNOWN IN THE WONDERLY FAMILY AS AUNT BLANCHE'S $90 DRESS.

BEAUTIFUL DETAIL EVERYWHERE, AND ESPECIALLY LOVELY SLEEVE WITH A DIPPING SLEEVE, SOMETHING LIKE THE ONE I HAVE.

ONLY THIS IS A TINY PLEATS OF CHIFFON.

AUNT BLANCHE WENT ON TO GRADUATE FROM WOMEN'S MEDICAL COLLEGE.

AND THEN HER FATHER SAID TO HER, YOU ALWAYS WANTED TO BE A DOCTOR, DIDN'T YOU?

AND SHE SAID, YES, I DID.

AND HE SAID, NOW YOU ARE.

AND SHE SMILED, AND SHE SAID, YES, I AM.

AND HE SAID, AND NOW YOU STAY HOME, AND YOU TAKE CARE OF ME, BECAUSE I NEED A HOUSEKEEPER.

AND AUNT BLANCHE NEVER PRACTICED MEDICINE.

SHE WAS ALWAYS KNOWN AS DR. WONDERLY.

BUT SHE STAYED HOME AND TOOK CARE OF HER FATHER THE REST OF HER LIFE.

THIS DRESS IS AN EXAMPLE OF A QUAKER DRESS IN TRANSITION.

IT WAS WORN AT A QUAKER BOARDING SCHOOL IN 1907, AT A TIME WHEN THE FACULTY WENT THROUGH YOUR TRUNKS TO SEE WHAT YOU WERE WEARING, BECAUSE YOU WERE NOT ALLOWED TO HAVE SHORT SLEEVES.

YOU WERE NOT ALLOWED TO HAVE RED DRESSES OR BLOUSES.

YOU WERE NOT ALLOWED TO HAVE PINK.

BUT THIS DRESS, PAST MUSTARD, IT IS WHITE WITH A LITTLE TINY SPRIGGED PINK ON THE MATERIAL.

IT'S COTTON.

AND IT IS A DRESS THAT REFLECTS THE SHIFT TO A FULLER SLEEVE, TO MANY, MANY GATHERS.

YOU WOULD ONLY HAVE BEEN ALLOWED ONE PETTICOAT UNDERNEATH.

BUT THE OVERALL EFFECT IS ONE OF ELEGANT SIMPLICITY.

- DORIS, EVERYTHING IS SO INTRIGUING.

LET'S MOVE RIGHT ALONG TO THE 1920S.

- WELL, WE'RE MOVING TO ONE OF MY FAVORITE PERIODS AS FAR AS AUDIENCE PARTICIPATION AND AUDIENCE INTEREST IS CONCERNED, THERE IS NOTHING QUITE LIKE THE SHIFT, THE GREAT TRANSITION, FROM ALL OF THE ELEGANT EDWARDIAN DRESSES TO THE 1930S, WHEN THEY BECAME MUCH MORE SOPHISTICATED.

IN THE '20S, THEY REALLY THREW ALL THE CONCEPTS OF FITTED CLOTHES AND HAVING A WAISTLINE AND HAVING TWO BREASTS.

ALL OF THAT DISAPPEARED.

THEY JUST WERE FREE IN THESE CLOTHES.

AND THEY WERE-- I THINK THEY'RE OFTEN VERY FUNNY LOOKING.

BUT MY MODELS JUST LOVE THEM.

- WELL, WHAT EXAMPLES DO YOU HAVE HERE?

I HAVE JUST THAT ONE FLAPPER DRESS OVER THERE, WHICH IS A CHIFFON AND THE KIND OF DRESS IN WHICH YOU ARE THINNER THAN THE DRESS IN ORDER TO FLUIDLY MOVE AROUND AND LET ALL OF THE LAYERS FLOW AND GIVE LIFE TO THE DRESS.

THIS NEXT GARMENT, DORIS, IS VERY PERSONAL.

TELL US ABOUT THE CHAMPAGNE SATIN DRESS.

WELL, I WAS A STUDENT AT BRYN MAWR COLLEGE.

AND I HAD NEVER GONE TO A SINGLE DANCE.

AND I DECIDED IT WAS TIME I DID.

AND I WAS GOING TO INVITE HOWARD DARNELL, WHO JUST HAPPENED TO BE A CLOSE FRIEND OF MINE.

WHAT WAS I GOING TO WEAR?

I HAD NOTHING NEW.

AND I FELT THIS DESERVED A NEW DRESS.

AND I SAW THIS DRESS.

AND IT COST TOO MUCH MONEY.

IT COST $40 IN 1937.

WHEN IT GOT DOWN TO $20, THEN I GOT A JOB.

AND I EARNED MONEY LIKE MAD.

AND I GOT THAT DRESS AND WORE IT TO THE DANCE.

TELL ME ABOUT THIS GREEN GARMENT.

WELL, THAT REFLECTS THE BIAS.

THE BIAS CAME IN AT THE TAG END OF THE '20S AND MOVED INTO THE '30S.

AND EVERYONE FELL IN LOVE WITH IT.

I HAVE VELVET DRESSES.

THAT'S A CUT CHIFFON VELVET.

I HAVE LACE DRESSES.

THE BIAS IS SO UNFORGIVING THAT EVERYBODY WHO HAD THE SLEEK, SLIM, HIPLESS DRESS LOVED IT.

AND THE REST OF THE WORLD HATED IT.

BUT THAT WAS ONE OF THE DEFINING POINTS THAT PEOPLE COULDN'T WEAR IT UNLESS THEY WERE SLEEK AND SVELTE.

- ABOUT THIS ELEGANT BLACK DRESS, THERE MUST BE A STORY HERE.

- WELL, THERE IS A STORY.

I DO SHOWS ON CRUISE SHIPS.

I'VE BEEN ON 11 CRUISES ALMOST AROUND THE WORLD.

AND WHEN I WAS ON THE QE2 ONE TIME, I HAD A DELIGHTFUL SMALL MODEL WHO LOVED MY SHOWS AND MODELED FOR ME TWICE.

AND THEN SHE WANTED ME TO MEET HER BEST FRIEND, WHO HAD COME TO EVERY ONE OF THE FOUR SHOWS I DID ON THE CRUISE.

AND THREE MONTHS LATER, THAT BEST FRIEND CALLED ME UP AND SAID, WOULD I LIKE THE DESIGNER CLOTHES THAT SHE HAD WORN IN THE 1930S AND '40S AND THIS INTO THE '50S?

THIS IS A DIOR DESIGN SKIRT THAT REFLECTS THE BOUFFANT SKIRTS OF THE 1950S.

AND THAT AMAZING DESIGNER WAS IN THE FOREFRONT IN DESIGNING UNUSUAL CLOTHES THAT CARRIED ON FOR A NUMBER OF YEARS.

- AS YOU TRAVEL AROUND THE COUNTRY, I KNOW IT TAKES A LOT OF PREPARATION.

AND YOU MUST HAVE A SECRETARY OF SOME SORT.

WELL, WHAT I HAVE IS MUCH MORE IMPORTANT.

I HAVE AN EXPEDITER EXTRAORDINARY.

HOWARD, I WOULD LIKE THEE TO COME IN AND MEET GEORGIA.

AND I HAVE-- - THANK YOU SO MUCH, HOWARD.

- HOWARD HAS BEEN WITH ME AND WORKING WITH ME AND UNDERSTANDING AND ACCEPTING THIS ASTOUNDING RETIREMENT CAREER WITH ZEST AND ENTHUSIASM.

- IT'S GOOD TO BE HOME AGAIN.

THE PASTEL PIECE PLEASURES QUILT HAS FOUND A HOME HERE IN THE PANELED GUEST ROOM.

THIS QUILT TOP, A GIFT FROM A QUILTING FRIEND AND QUILTED BY MARIE DETWEILER, BECOMES A STUDY IN NEW WAYS WITH OLD-FASHIONED PATTERNS.

WHAT A LIGHT TOUCH TO BRIGHTEN A VERY DARK ROOM.

WHERE IS THE VERY BEST PLACE TO STORE A QUILT?

ON THE BED, NATURALLY.

HERE IS AN OPPORTUNITY TO SPREAD OUT EACH QUILT IN FULL AND SIMPLY ROLL THEM UP WHEN GUESTS COME.

A CLOSET WITH A MUSLIN SHEET SPREAD OUT TO COVER THE WOODEN SHELF, AND THEN THE QUILTS ROLLED ON TUBES THAT HAVE BEEN COVERED IN ACID-FREE PAPER IS ANOTHER STORAGE PLACE.

ARE YOU READY FOR SOME HEAVY-DUTY PATCHWORK TODAY?

BY NOW, YOU ARE FAMILIAR WITH MY ANNUAL FREEDOM ESCAPE LESSONS IN WEAVERVILLE, NORTH CAROLINA.

LAST YEAR, THIS QUILT WAS OUR PROJECT.

AND WHAT A PROJECT.

I'D LIKE TO TAKE A FEW MINUTES AND TALK ABOUT THE ORIGINAL MAKER OF THIS QUILT TOP.

WE GAINED A LOT MORE RESPECT FOR HER AS WE PIECED THE PIECES.

NOTICE THAT THIS IS WHAT WE REFER TO AS THE ELONGATED HEXAGON.

NOW, WHEN SHE MADE THIS TOP, SHE SET ALL OF THESE IN WITH SQUARES.

A LOT OF WORK.

WE'VE UPDATED THE METHOD BECAUSE NOW WE CAN PUT A SEAM HERE, A SEAM HERE, CREATE SOME QUARTER-SQUARE TRIANGLES, AND THEN THINK OF LONG VERTICAL ROWS TO PUT IT TOGETHER WITH.

A FEW OF THE RESULTS ARE HERE FROM THAT CLASS, AND I'D LIKE TO SHARE SOME OF THOSE WITH YOU.

PERHAPS THE SMARTEST QUILTER WAS LINDA GARAWOOF FROM CLINTON, IOWA.

SHE WAS THE ONE TO MAKE THE SMALLEST AND THE ONE TO FINISH FIRST.

NOTICE HOW SHE STAGGERED HER ELONGATED HEXAGONS FROM ROW TO ROW AND THEN COMBINED THEM WITH JUST TWO PASTEL ACCENTS.

WANDA MADE A WALL HANGING TO GO ABOVE HER COUCH, AND SHE COMBINED HER ELONGATED HEXAGONS INTO RINGS.

YOU CAN SEE HOW IT STOPS AND COMES AROUND, FOUR FOR EACH RING.

THE OTHER QUILTS ALL CONCENTRATED ON VERTICAL PANELS, WHERE COMBINATIONS OF JUST TWO CALICOS FORM EACH ELONGATED HEXAGON, OR PERHAPS A QUILT IN JUST BLUE AND WHITE.

AN EXCITING QUILT IN PROGRESS IS THE ONE THAT CONTRASTS YELLOW HEXAGONS AGAINST A BACKGROUND OF WHITE AND MULTI-CALICOS.

TWO NEW WORDS FOR YOUR QUILT VOCABULARY-- WHIPS, WORKS IN PROGRESS, AND UFOS, UNFINISHED OBJECTS.

THAT'S WHAT WE HAVE HERE.

THE QUILT IS IN PROGRESS IN THREE LONG PANELS, WHICH MEANS I CAN LAP QUILT IT.

NOTICE HOW I HAVE COMBINED THE BORDERS ON THE OUTSIDE OF THOSE PANELS.

TO START PIECING, WE'LL CONCENTRATE ON THOSE ELONGATED HEXAGONS.

WELL, YOU ONLY NEED 72 OF THEM.

THE MEASUREMENTS TO KEEP IN MIND ARE 2 AND 1/2 INCHES THAT WILL FORM THE HALF-SQUARE TRIANGLES, 2 AND 1/2 INCHES FOR THOSE CORNER TRIANGLES, AND THOSE LITTLE ENDS THAT ARE GOING TO BE CUT IN A CERTAIN WAY ARE 2 AND 7/8.

ONCE THOSE ELONGATED HEXAGONS ARE PIECED, YOU SIMPLY COMBINE THOSE WITH TRIANGLES SEWN ON OPPOSITE SIDES, WHICH WILL ENABLE YOU TO MAKE ONE SEAM TO CREATE THAT LONG VERTICAL ROW.

WE NEED TO GO TO THE MACHINE SO I CAN SHOW YOU EXACTLY HOW THESE ARE STITCHED.

THE HEXAGONS ARE MADE UP OF LOTS OF CALICOS.

WE FOUND THE BEST WAY IS JUST PUT THE TWO RIGHT SIDES OF CONTRASTING CALICOS TOGETHER AND WORK WITH A RECTANGLE.

NOW, YOU'RE GOING TO NEED, IN THE CASE OF EACH HEXAGON, 11 HALF-SQUARE TRIANGLES.

WELL, WE GO AHEAD AND CONCENTRATE ON DOING 12 HALF-SQUARE TRIANGLES IN ONE RECTANGLE.

NOW, REMEMBER OUR MEASUREMENT WAS 2 AND 1/2.

SO WE KNOW 3 ACROSS, 3 TIMES 2.5, IS GOING TO GIVE US 7 AND 1/2 INCHES BY 5.

WE'LL TAKE CARE OF WHAT WE NEED FOR ONE OF THE HEXAGONS.

IN MY CASE, I MIXED THEM ALL UP AFTER I'D MADE THEM.

BUT SOMETIMES YOU JUST KEPT TWO CALICOS IN ONE OF THE HEXAGONS.

ONCE YOU'VE GOT THAT SEWN, OF COURSE, ARRANGE HOW YOU WANT TO DO THAT STITCHING BY SIMPLY DRAWING A LINE IN EACH OF YOUR SQUARES.

I'VE GOT ONE THAT'S ALREADY SEWN.

AND ONCE I'VE CUT THAT, I CAN SIMPLY PRESS MY CLOSED SEAM IN ONE DIRECTION AND GET RID OF THOSE DOG EARS.

ANY TIME YOU CAN GET RID OF EXCESS FABRIC ON THE BACK SIDE, PEOPLE MAKE FUN OF MY DOG EARS.

BUT LOOK AT THE WONDERFUL COLLECTION I'VE GOT OF DOG EARS OVER THE YEARS.

NOW, THE OTHER MEASUREMENTS WE NEEDED WERE 2 AND 1/2 INCHES FOR THOSE CORNER OR THOSE SIDE SECTIONS.

THEY'RE IN THE CORNER, BUT THEY'RE ALSO ON THE SIDE.

AND SO YOU'LL JUST TAKE YOUR CALICOS, AND 2 AND 1/2 INCHES OF A SQUARE WILL GIVE YOU THOSE FOR EITHER SIDE.

YOU'LL NEED TWO OF THOSE FOR EACH HEXAGON.

THEN THE END TRIANGLES, THAT 2 AND 7/8, WE DO A DOUBLE CUT.

AND BY THAT, I MEAN YOU CUT ONCE AND THEN GO ON THE OPPOSITE DIAGONAL AND CUT AGAIN, SO THAT EACH OF THOSE WILL GIVE YOU ENOUGH FOR TWO HEXAGONS.

WHEN IT COMES TO STITCHING, THINK KITE SYSTEM.

IN OTHER WORDS, I WOULD LINE UP MY HALF SQUARE TRIANGLES ALL READY TO GO AND SIMPLY SEW IN A LONG KITE, KNOWING THAT ONCE THAT IS OPEN, I CAN ADD MY OTHER.

I'VE GOT ONE IN PROGRESS THAT I THINK YOU CAN BETTER UNDERSTAND.

THESE ARE ALL STILL ATTACHED.

SEE THE THREADS IN BETWEEN?

AND NOW I'VE PINNED MY NEXT ONE IN PLACE.

AND WHEN YOU DO THAT PINNING, BE CAREFUL THIS DOESN'T HAPPEN.

IT'S EASY TO TURN THAT DIAGONAL.

ALL RIGHT, WITH THAT IN PLACE, I'M READY TO JUST GIVE IT A LITTLE PIN SO IT'S NOT GOING TO COME LOOSE.

I'M READY TO START FINISHING MY CENTER NINE PATCH.

I DO NOT LIKE TO SEW OVER PINS.

SO ONCE THAT'S BEEN DONE, I'M READY FOR THAT 1/4 INCH SEAM ALLOWANCE AND SIMPLY COME TO THE END.

AND WHAT'S NICE IS JUST WITH MY KNEE, I CAN LIFT MY PRESSER FOOT AND SLIDE THAT RIGHT IN AGAIN.

AND HERE I'M READY TO GO AGAIN.

LIFT THAT AND READY TO GO.

AND ONCE THAT HAS BEEN DONE, THEN I CAN PUT MY NINE PATCH TOGETHER.

AND IF YOU WANT TO SEPARATE THOSE THREADS, YOU CAN.

THE IMPORTANT THING THAT I WANT TO CONCENTRATE ON HERE IS TO MAKE SURE THOSE SEAM ALLOWANCES GO OUT.

THEY'RE GOING AWAY FROM THAT CENTER SECTION SO THAT AS I PUT THESE RIGHT SIDES TOGETHER, THOSE ARE COMING IN.

AND YOU CAN JUST FEEL THAT STAGGERING HAPPENING DOWN THERE.

CAN YOU SEE THAT?

I THINK I WILL TAKE THOSE THREADS AWAY SO YOU CAN SEE THAT A LITTLE BIT MORE.

SEE HOW MY SEAMS ARE STAGGERED GOING IN OPPOSITE DIRECTIONS HERE?

AND NOW I'M READY TO FINISH THAT NINE PATCH.

AS I'M COMING DOWN, I WANT TO CONCENTRATE THAT IF THE SEAM IS GOING TOWARDS THE NEEDLE THAT I HAVE KEPT IT GOING IN THE RIGHT DIRECTION.

THIS SEAM'S GOING OUT, SO THE ONE UNDERNEATH IS GOING TO GO TOWARDS THE NEEDLE.

AS I'M COMING, KEEP THAT NEEDLE DOWN THE MACHINE SO I CAN PEEK.

IT REALLY ANCHORS MY MATERIAL IN PLACE.

AND THEN I'M READY TO FINISH THAT SEAM.

WHEN I PULL MY THREADS OUT, I TRY TO MAKE SURE THAT I DO NOT BEND THE NEEDLE BY ALWAYS PULLING MY THREADS INSIDE THE PRESSER FOOT.

ALL RIGHT, NOW I'M READY TO COME AND LOOK AT MY HEXAGON, REALIZING THAT THESE SIDE TRIANGLES ARE THEN SEWN TO THE HALF SQUARE TRIANGLE AT EACH END, WHICH IS DONE, ALREADY DONE HERE, AND THEN THE END TRIANGLES, WHICH REALLY COMPLETE THAT ELONGATED HEXAGON.

ANOTHER IMPORTANT PART OF THIS TECHNIQUE IS THE PRESSING, HOWEVER.

WHEN I GET THEM ALL DONE, I GO TO THE IRON.

I CONCENTRATE ON RELEASING SOME OF THOSE STITCHES RIGHT HERE, BECAUSE I'VE GOT A VERY BULKY INTERSECTION.

AND ONCE I'VE RELEASED THOSE, YOU'LL JUST SEE HOW THEY START TO RELEASE.

AND YOU'RE NOT CUTTING ANYTHING.

THAT INITIAL STITCHING ALL THE WAY TO THE END IS JUST UNDONE.

ONCE THAT IS UNDONE, THEN I CAN COME AND REALLY TWIRL EACH OF THOSE INTERSECTIONS.

IT MAKES FOR A VERY SOFT INTERSECTION.

IN OTHER WORDS, THIS SEAM'S GOING ONE DIRECTION, AND THIS IS GOING THE OTHER.

I HAVE ONE THAT'S ALREADY PRESSED, AND I THINK YOU CAN GET THE EFFECT.

DO YOU SEE HOW THAT SEAM WAS GOING OUT AND THAT'S IN?

THEY'RE JUST GOING IN OPPOSITE DIRECTIONS.

AND LOOK AT THAT NICE, SOFT TWIRLING EACH TIME.

ONCE THE HEXAGONS ARE ALL PRESSED, THEN REMEMBER YOU HAVE TO ADD THOSE TRIANGLES ON OPPOSITE SIDES.

THEY WOULD BE STITCHED RIGHT HERE AND RIGHT HERE.

AND EACH TIME, THEN YOU CAN MAKE A LAST SEAM, COMBINING THOSE IN THE LONG VERTICAL ROW.

NOW, THE MEASUREMENT FOR THAT IS 6 AND 1/8 CUT ON THE DIAGONAL TWICE.

TO ALTERNATE WITH THE HEXAGONS ARE THE QUARTER SQUARE TRIANGLE ROWS.

THOSE ARE MADE UP OF QUARTER SQUARE TRIANGLES AND SIMPLE SOLID SQUARES CUT 5 AND 3/8.

HOWEVER, THE QUARTER SQUARE TRIANGLES ARE CUT THAT 6 AND 1/8 MEASUREMENT.

WE'VE DONE THAT SO MANY TIMES.

REMEMBER, TWO CONTRASTING FABRICS, ONE DIAGONAL, STITCH ON EITHER SIDE, AND THEN CUT APART.

THEN YOU REPOSITION THOSE WITH CONTRASTING SIDES.

BUT REMEMBER, STAGGER THOSE SEAMS.

YOU CAN JUST FEEL THOSE MELT RIGHT INTO PLACE.

DRAW ANOTHER DIAGONAL, STITCH ON EITHER SIDE.

AND WHEN YOU CUT APART, THIS TIME YOU GET TWO QUARTER SQUARE TRIANGLES.

I THINK THAT ONCE MY ROWS AND MY PANELS ARE COMBINED, I'M ANXIOUS TO QUILT.

LET'S DO SOME OF THAT.

THIS IS WHAT LAB QUILTING IS ALL ABOUT, SOMETIMES INDIVIDUAL BLOCKS OR LONG PANELS SUCH AS THIS QUILT.

NOW, I STARTED WITH A CENTER ROW, JUST QUILTING A CABLE.

NOW I'M GOING TO THE PATCHWORK ROWS.

AND I'VE DECIDED TO AVOID THOSE INTERSECTIONS AND QUILT RIGHT DOWN THE CENTER OF EACH OF THOSE THREE ROWS.

TO DO THAT, I HAVE POSITIONED SOME MASKING TAPE IN PLACE.

BUT I NEED TO START WITH THAT SHORT NEEDLE.

I PREFER A NUMBER 12, BUT SOME PEOPLE WILL QUILT WITH A 10 OR A 9.

I HAVE A NICE OFF-WHITE THREAD ON.

I QUITE OFTEN MATCH MY THREAD TO THE BACKING ON MY QUILT.

THIS TIME I'M USING MUSLIN.

I'LL MAKE THAT FOOLPROOF KNOT BY HAVING THE UNKNOTTED END COME TOWARDS THE NEEDLE.

AND IT SIMPLY IS HELD IN PLACE WHILE I GO AROUND IT THREE TIMES, AND THEN SLIDE IT DOWN THE NEEDLE AND THE FULL LENGTH OF THAT THREAD.

WHEN I COME DOWN, I WILL HAVE A LITTLE WHAT I CALL A TAIL.

AND I SOMETIMES JUST SNIP THAT OFF, KEEPING THE KNOT IN POSITION.

THEN I'M READY TO GET A NICE GRIP ON MY LAYERED PIECES.

AND I'LL START AT THIS END AND WATCH THAT KNOT COME THROUGH.

IT'S VERY VISUAL.

SOMETIMES YOU CAN EVEN HEAR IT.

NOW SOMETIMES I'LL START WITH ONE LITTLE HALF BACKSTITCH.

BUT THEN I AM QUILTING THROUGH ALL THREE LAYERS.

AND IT'S IMPORTANT WHEN I START-- NOW I'VE GOTTEN THAT CAUGHT ON THE MASKING TAPE.

THERE WE GO.

WHEN YOU START, TO TRY TO GO INTO THAT MATERIAL THE SAME EACH TIME.

AND IT'S NOTHING MORE THAN A RUNNING STITCH.

BUT YOU ARE FEELING THAT NEEDLE GO THROUGH ON THE UNDERNEATH SIDE.

AND OF COURSE, I'M TRYING TO KEEP MY STITCHES EVEN AND UNIFORM.

BUT I ALWAYS SAY, IF YOU'RE A QUILTER, YOU'RE GOING TO TAKE CONSISTENTLY UNEVEN STITCHES.

IT'S BECAUSE YOU'RE A HUMAN BEING, I THINK.

WHEN YOU'RE AT THE MACHINE AND YOU'RE QUILTING, YOU'RE GOING TO TAKE CONSISTENTLY EVEN STITCHES.

I'M JUST SIMPLY GOING UP AND DOWN.

NOW SOME PEOPLE PREFER A HOOP.

IN THAT CASE, I BELIEVE THE SUPPORTED LAP HOOP WORKS VERY NICE.

AND I LIKE THESE JASMINE HOOPS BECAUSE I CAN ADJUST THEM.

AND I CAN ALSO, IN THIS CASE, QUILT TOWARD ME.

NOW YOU NOTICED I WAS QUILTING WITH A NEEDLE PARALLEL TO MY BODY.

WHEN I QUILT THIS WAY, I TIGHTEN THIS WITH MY OFFHAND UNDERNEATH.

AND SEE HOW CLOSE I CAN BRING THIS?

THEN I'M REALLY USING THE WELL OF MY THIMBLE.

I POSITION THAT NEEDLE, GO BACK THERE, AND THEN I'M JUST QUILTING TOWARDS ME.

AND IT'S MORE OF THAT ROCKING MOTION.

NOW IN BOTH CASES, YOU'RE CONNECTING THREE LAYERS.

THAT'S THE WHOLE ESSENCE OF QUILTING.

AND THAT IS WHAT EVENTUALLY IS GOING TO PUT THE LOVELY SHADOWS ON THE SURFACE OF THE QUILT.

THAT'S WHAT BRINGS THE QUILTING TO LIFE.

NOW WE HAVE A TWO-FOR-ONE ON THIS QUILT ALSO.

BUT I HAVE TO SHOW YOU THAT AT OUR DESIGN WALL.

WHAT BETTER WAY TO CONNECT THESE QUILTED PANELS THAN WITH MORE CALICO, CONNECTING HALF-SQUARE TRIANGLES?

WE'LL SEE YOU NEXT TIME WHEN WE GO DOWN TO THE FARM.

THIS ENTIRE WALL WILL BE COVERED WITH JERSEY COWS.

[MUSIC PLAYING] ♪ ♪ - LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM OXMOOR HOUSE, PUBLISHER AND DISTRIBUTOR OF NEEDLEWORK AND CRAFT PUBLICATIONS, INCLUDING AN ASSORTMENT OF QUILT BOOKS AND RELATED PRODUCTS.

BY BERNINA, MAKERS OF SEWING MACHINES MANUFACTURED WITH THE CARE OF TRADITIONAL SWISS WORKMANSHIP.

NOTHING SEWS LIKE A BERNINA.

NOTHING.

BY GAMMILL QUILTING MACHINE COMPANY, OFFERING LARGE THROAT, MOBILE, HAND-GUIDED QUILTING MACHINES.

ADDITIONAL FUNDING BY OMNIGRID, THE ORIGINAL PATENTED BLACK AND YELLOW RULER.

AND THE WARM COMPANY, MAKERS OF WARM AND NATURAL COTTON BATTING AND STEAM-A-SEAM FUSIBLE WEB.