WELCOME.

ON TODAY'S SHOW, A VISIT FROM DONNA WILDER, WHO WILL SHARE WITH US SOME PRACTICAL WAYS AND SOME NOT SO PRACTICAL WAYS TO CREATE PATCHWORK GARMENTS.

FOLLOW STEP BY STEP FOR AN INNOVATIVE WAY TO WEAVE TIE SCRAPS.

♪ 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 OMNIGRID, THE ORIGINAL, PATENTED BLACK AND YELLOW RULER, BY LEISURE ARTS, PUBLISHER AND DISTRIBUTOR OF NEEDLEWORK AND CRAFT PUBLICATIONS, INCLUDING AN ASSORTMENT OF QUILT BOOKS AND RELATED PRODUCTS.

ADDITIONAL FUNDING BY FAIRFIELD PROCESSING, MAKER OF POLY-FIL BRAND PRODUCTS, FOR THE HOME, SEWING, QUILT, AND CRAFT INDUSTRIES, AND BY BERNINA, DELIVERING SEWING TECHNOLOGY AND EDUCATION TO SEWERS WORLDWIDE.

IT IS A PLEASURE TO WELCOME DONNA WILDER TODAY OF FAIRFIELD PROCESSING.

WE'VE BEEN DISCUSSING OUR HISTORY AND OUR PAST TOGETHER, IT GOES WAY BACK.

CAN WE EVEN REMEMBER, DONNA?

WELL, WE'VE BEEN DOING THE FASHION SHOW FOR ABOUT 16 YEARS.

AND I KNOW THAT WE HAVE BEEN TOGETHER AND WORKED ON THINGS SINCE THAT TIME SO IT DOES GO BACK PRETTY FAR.

WELL, YOUR INVOLVEMENT HAS BEEN WITH FAIRFIELD BATTING AND POLY-FIL.

AND THAT HAS LEAD YOU INTO MANY FACETS OF THE QUILT WORLD.

TELL US WHY YOU'RE HERE TODAY AND EXACTLY WHAT YOU DO IN YOUR BUSINESS.

WELL, AS YOU KNOW WE MAKE BATTING AND THE REASON I'M HERE TODAY IS TO SHARE SOME WEARABLE ART WITH YOU.

WE DECIDED ABOUT 16 YEARS AGO THAT BATTING AS YOU SEE IT IS NOT THAT EXCITING.

AND SO TO CREATE SOME EXCITEMENT, WE THOUGHT IT WOULD BE FUN TO ASK SOME QUILTERS TO MAKE A PIECE OF WEARABLE ART, UTILIZING OUR PRODUCT.

WELL, THIS BEGAN AS A SIMPLE LITTLE IDEA AND HERE WE ARE 16 YEARS LATER AND WE'VE SEEN A LOT OF CHANGES THAT HAVE TAKEN PLACE.

AND TO ME IT'S ONE OF THE MOST EXCITING ELEMENTS OF QUILTING.

WELL, WHAT'S THE MAJOR CHANGE THAT YOU FEEL THAT'S HAPPENED?

WELL, YOU KNOW, I THINK WHEN PEOPLE STARTED WITH THE WEARABLE ART, THEY WERE MAKING LITTLE STRING QUILTED VESTS.

AND WHAT I SEE TODAY IS THAT PEOPLE ARE REALLY EXPANDING.

NOT ONLY IN THEIR COLOR, BUT IN THEIR TECHNIQUES THAT THEY'RE DOING WITH THE SEWING MACHINE AND WITH MANIPULATING FABRIC.

I BROUGHT A JACKET TODAY TO JUST KIND OF GO THROUGH SOME OF THE THINGS.

AND WE'LL TALK ABOUT IT A LITTLE BIT LATER ON.

BUT THIS IS ONE THAT WAS MADE BY LIBBY LEEMAN AND WE'RE GOING TO SEE THIS ONE MODELED.

BUT YOU CAN SEE SOME INTERESTING THINGS HAPPENING.

AND YOU KNOW THERE ARE METALLIC THREADS THAT ARE OUT THERE NOW ON THE MARKET TODAY AND THESE ARE SO EXCITING, BECAUSE WHAT THEY CAN DO IS TO CREATE A VISUAL OF EXCITEMENT ON THE GARMENTS.

AS LIBBY HAS DONE HERE WITH THIS BEAUTIFUL THREAD PAINTING THAT SHE HAS DONE.

YOU KNOW, WHEN YOU TAKE THE SEWING MACHINE, IT MAKES IT A LOT EASIER TO WORK WITH.

YOU'RE NOT DOING A LOT OF HAND STITCHING AND I WOULD SAY THAT PROBABLY ONLY 80% OF THE GARMENTS IN THE SHOW ARE DONE WITH THE SEWING MACHINE AND VERY FEW UTILIZE THE HAND QUILTING.

THAT IS ONE MAJOR TREND I HAVE NOTICED.

AND I HAVE CONCLUDED THAT WHAT HAPPENS IN THE FASHION INDUSTRY IS YOUR BODY CHANGES AND THE STYLES CHANGE, SO WHY SPEND TIME HAND QUILTING WHEN YOU CAN ZIP IT OUT ON A SEWING MACHINE?

ABSOLUTELY.

SOME OF MY EARLIER VESTS I WOULDN'T BE SEEN IN.

I DON'T KNOW HOW YOU FEEL-- I LOOK AT SOME OF THEM NOW, AND I THINK I CAN'T IMAGINE THAT I ACTUALLY WORE THAT.

I KNOW.

I KNOW.

AND YOU KNOW, THOUGHT IT WAS, YOU KNOW, REALLY HIGH FASHION.

I KNOW.

WELL, WE CANNOT GO ON TO THE MODELS WITHOUT MENTIONING THE MANY HATS THAT YOU WEAR IN THE INDUSTRY AND YOUR OWN SEWING SHOW.

TELL US ABOUT THAT, DONNA.

WELL, I HAVE A SHOW THAT'S CALLED "SEW CREATIVE" AND IT'S ALSO ON THE PUBLIC STATIONS.

AND IT'S REALLY KIND OF A MAGAZINE FORMAT.

I DO A LITTLE QUILTING, A LITTLE CRAFTING, AND IN EVERY SEGMENT WE HAVE A LITTLE CLIP ON WEARABLE ART.

AND THEN I HAVE SOME GUESTS ON THAT BRING NEW IDEAS AND NEW THINGS THAT ARE HAPPENING IN THE MARKET.

SO, IT'S KIND OF FUN TO DO.

I KNOW YOU ENJOY YOURS AND I ENJOY MINE, TOO.

OH, YES, IT'S A LOT OF FUN.

WELL, CAN WE LOOK AT THE GARMENTS?

SURE.

AND GET EXCITED ABOUT THE METALLICS.

ONE THING I WANTED TO MENTION WAS, YOU KNOW, WHEN YOU'RE DOING THESE GARMENTS, A LOT OF PEOPLE THINK WHEN YOU PUT A BATTING INSIDE, YOU'RE GOING TO GET A BULKY APPEARANCE.

AND ONE OF THE THINGS I WANT YOU TO LOOK AT AS WE WATCH THE GARMENTS AND TAKE A CLOSER INSPECTION OF THEM, IS THAT THE BATTING REALLY ADDS A LOT OF CONTOUR AND SHAPING TO IT.

THE ONE THAT WE USE IS A VERY LIGHT-WEIGHT THIN ONE.

SO, YOU TALK ABOUT USING BATTING AND A LOT OF PEOPLE SAY, I'M NOT GOING TO PUT BATTING IN THAT GARMENT.

BUT THIS ONE IS NICE, YOU CAN SEE, TOO, WE CAN ACTUALLY SPLIT IT, SO THAT IF YOU DON'T WANT THE DOUBLE LAYER, YOU CAN EVEN HAVE A VERY, VERY THIN LAYER.

YES.

I'M GETTING READY TO DO A SATIN.

I LEARNED ABOUT QUILTING ON SATIN IN ENGLAND.

AND DO YOU KNOW THAT WOULD BE JUST WHAT I'D NEED TO PUT INSIDE THAT.

IT WILL GIVE IT THE RELIEF AND THE CONTOURING WITH THE QUILTING, BUT YET IT WON'T, YOU KNOW, TAKE AWAY THE BEAUTIFUL SOFTNESS OF THE FABRIC ITSELF.

YES, BUT WHAT IF YOU WERE GOING TO DO A JACKET FOR GOING SKIING, THEN YOU'D USE THE BIGGEST, PUFFIEST... THEN YOU WOULD USE SOME OF THE LARGER LOFT BATS.

AND JUST TIE TACK IT, OR SOMETHING LIKE THAT.

EXACTLY.

LET'S TAKE A LOOK AT SOME OF THE GARMENTS THAT I BROUGHT WITH ME TODAY.

ALL RIGHT.

FINE.

GEORGIA, WE TITLED THIS SHOW "DIAMOND JUBILEE," BECAUSE IT WAS THE 15th ANNIVERSARY CELEBRATION.

THIS FIRST GARMENT WAS DESIGNED BY ALEXANDER DUPREE WHO IS FROM LONG BEACH, NEW YORK.

AND SHE CALLS HER GARMENT "COPPER INTERLUDE."

THE INTERESTING THING ABOUT THIS IS TAKING FABRIC AND DOING THIS INTO A VERY SOPHISTICATED LOOK.

AND I THINK YOU'LL AGREE IT'S SOMETHING THAT YOU MIGHT LIKE FOR AN EVENING OUT ON THE TOWN.

IT'S PERFECT.

IT LOOKS WONDERFUL.

SHE'S DONE A LOT OF DIFFERENT MANIPULATIVE TECHNIQUES ON THIS.

LOOK AT THE COLLAR AREA WHERE SHE SNIPPED, ACTUALLY PIECES OF FABRIC, TACKED THEM ON BY GLUE.

AND THEN EITHER AS SHE'S DONE IN THIS CASE, PUT A SHEER LAYER OF ORGANZA ON TOP AND THEN MACHINE STITCHED AROUND, TACKING EACH ONE OF THOSE THREADS.

ON THE BACK AREA YOU'LL NOTICE, TOO, SOME MORE OF THOSE MANIPULATIVE TECHNIQUES WHERE SHE HAS DONE SOME THREAD WORK.

AND HERE'S SOME SCRUNCHING OF THE VARIOUS THINGS.

THE ONE THING I THINK IS MOST INTERESTING ABOUT THIS IS THE SKIRT.

NOW, YOU PROBABLY WOULD HAVE THOUGHT WE PURCHASED THE FABRIC LOOKING LIKE THIS.

IT'S ACTUALLY A SOLID PIECE OF GREEN VELVET THAT ALEXANDER THEN TOOK THE METALLIC YARNS AND STITCHED THEM ON BY MACHINE TO CREATE THE FABRIC THAT WOULD WORK PERFECTLY WITH THE ENTIRE OUTFIT.

THANK YOU, ERICA.

KIM IS WEARING ANOTHER OUTFIT THAT I THINK HAS SO MUCH-- THIS IS CALLED "EMBELLISHMENT TO THE HILL."

THIS ONE WAS DESIGNED BY KRISTIN BROWN FROM ESCONDIDO, CALIFORNIA.

AND SHE CALLS THIS ONE "A MIDSUMMER NIGHTS DREAM."

AND IT'S PROBABLY BECAUSE OF ALL THOSE BEAUTIFUL FLOWERS AND THE WORK THAT SHE'S DONE ON THIS GARMENT.

WHAT SHE DID WAS TO START OFF WITH SORT OF CRAZY QUILTING.

IF YOU CAN SEE, THE WHOLE BACKGROUND AREA HAS DIFFERENT FABRICS SEWN TOGETHER IN RANDOM DESIGNS.

SO, THAT'S HOW SHE CREATED THE FABRIC FOR THE BACKGROUND.

IN ADDITION TO FABRIC, SHE THEN USED A LOT OF RIBBONS.

AND ONE OF THE MOST EXCITING THINGS THAT I SEE IN WEARABLE ART AND IN DOING SOME DECORATING IS THE DIFFERENT USE OF RIBBONS.

AND YOU CAN SEE THAT THERE ARE SOME ABSOLUTELY BEAUTIFUL WAYS THE MACHINE HAS STITCHED THOSE RIBBONS ON.

THIS PARTICULAR GARMENT UTILIZES BOTH HAND AND MACHINE WORK.

SO, IF YOU DO A LOT OF LOVELY STITCHING, YOU MIGHT AS WELL SHOWCASE IT IN YOUR WORK AS WELL.

EACH ONE OF THESE TINY LITTLE FLOWERED AREAS ARE MADE BY EITHER USING THE SATIN RIBBONS, OR THE WIRE-EDGED RIBBONS, WHICH ARE EASY TO WORK WITH AND CREATE A NICE, YOU KNOW, TRUE-LOOKING FLOWER IN THE DESIGN.

ONCE SHE HAD DONE ALL OF THE FLOWER WORK AND EVERYTHING ELSE, SHE DIDN'T STOP THERE.

THEN SHE GOT OUT HER NEEDLE AND THREAD AND THE LITTLE TINY BEADS WERE PLACED ON, AS WELL AS SOME OF THESE DECORATIVE CHARMS THAT YOU SEE A LOT OF.

NOTICE, TOO, THE RIBBON UP IN THE COLLAR.

HERE'S SORT OF A GATHERED SORT OF CORDING THAT SHE HAS CREATED HERE.

YOU'LL EVEN NOTICE SHE DID THE HAT TO GO WITH IT AND ALL THE FLOWERS CASCADING AROUND.

AND THEN A LITTLE NOSE GAY TO SHOW ALL THESE BEAUTIFUL TECHNIQUES COMBINED TOGETHER.

THANKS, KIM.

YOU KNOW, WHEN YOU MAKE CLOTHING, YOU WANT SOMETHING THAT'S GOING TO BE WEARABLE.

AND LIBBY LEEMAN IS FROM HOUSTON, TEXAS.

AND SHE'S ANOTHER ONE OF THE QUILT DESIGNERS THAT'S OUT THERE ON THE CIRCUIT.

AND SHE DECIDED SHE WANTED SOMETHING THAT WAS WEARABLE, EASY TO PACK, AND HAD NO PROBLEMS AS FAR AS PUTTING IT TOGETHER.

SO, ERICA, PUT YOUR ARMS OUT.

WE'RE GOING TO SHOW YOU THIS IS ALMOST LIKE A TEA COAT.

WHEN YOU'RE DOING PATCHWORK, ONE OF THE EASIEST THINGS THAT I FIND IS THAT IF YOU SELECT A DESIGN THAT HAS NO EXTRA SEAMS, OR EXTRA DARTS, IT MAKES PUTTING IT TOGETHER SO MUCH EASIER.

THIS IS THE ONE WE LOOKED ATA LITTLE BIT EARLIER.

AND NOW YOU ACTUALLY SEE IT IN MOTION.

IT HAS MANY DIFFERENT PLAINS.

SHE STARTED OUT WITH THE BLACK FABRIC AND THEN SHE SEWED IT TO SOME OF THE GRADATIONS OF THE BRIGHT COLORS, THEN SHE DID THAT EXTENSIVE THREAD WORK.

AND THIS IS DONE ALL ON THE SEWING MACHINE.

I'VE NEVER QUITE FIGURED OUT HOW SHE GETS THESE SHARP EDGES ON THERE.

GEORGIA, MAYBE YOU KNOW HOW TO DO THESE TECHNIQUES.

MAYBE ADHESIVE TAPE OR SOMETHING.

I'M GOING TO HAVE TO TRY THAT.

IT'S INCREDIBLE.

I'M NOT SURE.

I'M NOT SURE.

AND THEN AFTER SHE HAD FINISHED ALL OF THOSE LAYERS, THEN WHAT SHE DID WAS SHE WENT WITH THE METALLIC THREAD AGAIN AND OUTLINE CREATED A DESIGN RUNNING AROUND.

AND THIS IS FREE MOTION QUILTING, WHERE YOU DROP THE FEED DOG AND YOU JUST DO YOUR OWN CREATIVE QUILTING, WHICH IS LOTS OF FUN.

AND THEN TO TOP IT ALL OFF, I THINK SHE WAS INFLUENCED BY THE LINING INSIDE HERE THAT SORT OF PICK-UP STICKS, OR CONFETTI.

SHE TOOK HER ZIGZAG ON THE SEWING MACHINE AND THEN DID TINY LITTLE BARS OF COLOR THAT SHE JUST TOSSED AROUND THE EDGE.

AND THAT JUST MAKES IT.

IT DOES.

IT REALLY DOES.

IT'S WONDERFUL.

AND THEN, OF COURSE, SHE CREATED THE HAT AND THE CUMMERBUND TO PULL THIS WHOLE SIMPLE OUTFIT TOGETHER.

THE OTHER THING I WANTED TO POINT OUT, YOU KNOW, WE TALK ABOUT FINISHING OFF THE EDGE OF OUR QUILTS.

THE SAME THING IS TRUE WHEN YOU'RE DOING A GARMENT.

YOU'LL NOTICE THAT CORDING SHE HAS USED HERE, IT'S JUST LIKE A LITTLE BIT OF SASHING YOU MIGHT USE ON A QUILT.

AND THEN SHE FINISHED OFF WITH THE KNIT EDGE ALONG THERE.

JUST AS IMPORTANT, THE SAME TECHNIQUES AS YOU USE IN YOUR OWN QUILTS, YOU WOULD ALSO EMPLOY INTO THE WEARABLE ART THAT YOU'RE DOING.

THIS IS PRETTY COMFORTABLE, ISN'T IT?

MM-HMM.

I THINK YOU'D LIKE TO TAKE THAT ONE HOME.

OH, YEAH.

[LAUGHTER] THANKS, ERICA.

THE LAST GARMENT IS ONE OF MY FAVORITES.

AND THE REASON I BROUGHT THIS GARMENT TO SHARE WITH YOU IS THE FACT THAT QUILTING IS NOT JUST POPULAR HERE IN THE UNITED STATES.

AND I KNOW THROUGHOUT YOUR SERIES YOU BROUGHT IN SOME OF THE QUILTERS IN SCOTLAND, BUT WE ARE FINDING THAT QUILTING REALLY GOES AROUND THE WORLD.

THIS GARMENT WAS DESIGNED BY SHIZUKO ONO, WHO IS FROM TOKYO, JAPAN.

AND SHIZUKO CALLS THIS ONE "KIN KARA KIN."

IT'S FROM THE FEELING THAT SHE WANTED TO COMBINE THE EAST AND THE WEST.

THE EAST BEING THE SILK AND ALL THE FABRICS THAT COME FROM HER HOMELAND OF JAPAN AND THE WEST BEING FAIRFIELD, LIVING HERE IN THE UNITED STATES.

AND WHAT I THINK IS PARTICULARLY ATTRACTIVE ABOUT THIS IS THAT SHE HAS BROUGHT A LOT OF HER HERITAGE INTO IT.

SHE HAS UTILIZED FABRICS THAT WERE FROM THE OBI SASHES AND FROM THE OLD KIMONOS AND PUT THEM INTO THIS.

ISN'T IT WONDERFUL?

THIS LOOKS ALIVE HERE.

YES.

SORT OF-- AND THE FLOWERS.

LOOK AT DOWN HERE THE DELICATENESS OF THE FLOWERS.

SHE'S CREATED ALMOST LIKE A WARRIOR'S ARMOR.

YES.

THIS WAS THE SORT OF FEELING.

HOLD YOUR ARMS OUT HERE.

YOU CAN SEE THE SHAPE IS VERY SIMPLE HERE.

THE SORT OF STRAIGHT LINE AND THEN THIS WHOLE PANEL OF ARMOR AS SHE CALLS IT, WHICH IS REALLY BASICALLY THE EMBELLISHMENT.

AND LOOK AT THESE SLEEVES.

AREN'T THEY MAGNIFICENT?

AGAIN, JUST LIKE THE CRAZY QUILT.

THIS REALLY LOOKS ALMOST LIKE THE 1890s, OR THOSE REAL CRAZY QUILTS, BECAUSE THE COLORS ARE VERY SIMILAR.

AND THE BAROQUED TYPE FABRICS THAT SHE'S UTILIZED HERE.

LET'S TAKE A LOOK IN THE BACK HERE AND SEE.

WHAT'S SHE'S DONE IS TO TAKE DOWN HERE ON THE HEMLINE, SOME OF THESE OLD PANELS FROM THE OBI GARMENTS AND UTILIZED THOSE AND SOME OF THE METALLIC FABRICS.

LOOK INSIDE HERE WHAT SHE'S DONE ON THE LINING.

OH, MY GOODNESS.

YOU KNOW, OFTEN TIMES, PARTICULARLY IN A GARMENT LIKE THIS, WHERE THE SIDES REMAIN OPEN, IT'S JUST AS IMPORTANT WHAT YOU'RE DOING ON THE INSIDE.

WHEN WE DO THE FASHION SHOW, WE OFTEN GET JUST SOME OF THE QUILTERS TO COME IN AND DO THE PRESSING FOR US.

AND WE NEVER ARE AT A LOSS AS TO GETTING PRESSERS, BECAUSE THEY LOVE TO COME AND DO THE PRESSING, BECAUSE THEY SEE THE INSIDE OF THE GARMENT, AS WELL AS THE OUTSIDE.

THANKS, KIM.

WELL, DONNA, IT'S SO EXCITING SEEING THESE.

IT MAKES ME WANT TO ANTICIPATE THE NEXT HOUSTON SHOW AND THEN TO SEE THESE AT THE GILDS AS THEY TRAVEL AROUND THE COUNTRY AND THAT'S THE IMPORTANT THING.

HOW CAN SOMEONE GET A GARMENT IN THE SHOW?

WELL, IT'S REALLY QUITE EASY, BECAUSE WHAT WE DO IS WE HAVE SOME POPULAR NAMES, SUCH AS YOURSELF, WHO HAVE DONE GARMENTS FOR US MANY TIMES OVER THE YEARS.

WE DO A GROUP OF PEOPLE THAT ARE UP AND COMING DESIGNERS, WHO MAYBE HAVE HAD A VENUE AT WHICH THEIR WORK HAS BEEN SHOWN.

AND THEN BEST PART OF IT IS, A THIRD OF THE SHOW IS MADE UP OF PEOPLE JUST LIKE THE AUDIENCE WHO'S WATCHING, WHO HAVE SOME GOOD IDEAS, WHO ARE THINKING ABOUT MAKING WEARABLES, OR EVEN KNOW SOMEBODY DOING THIS.

AND THEY JUST NEED TO WRITE TO US AT FAIRFIELD AND WE'D BE HAPPY TO GIVE THEM THE INFORMATION.

THE UNIQUE THING HERE, IS THAT WE WANT TO LET PEOPLE, WHO GENERALLY DON'T HAVE A VENUE TO SHOW THEIR WORK, HAVE THIS OPPORTUNITY.

TO BREAK FORTH.

YES.

THAT'S WONDERFUL.

WELL, I AM ANXIOUS TO TRY THESE TECHNIQUES ON THE SEWING MACHINE, AT LEAST A COUPLE OF THEM.

AND I CAN'T THANK YOU ENOUGH FOR COMING TODAY.

WELL, IT'S ALWAYS MY PLEASURE TO JOIN YOU, GEORGIA.

BEFORE WE GO TO THE SEWING MACHINE, I THOUGHT WE'D HAVE A LITTLE TRIP BACK IN TIME AND MAYBE SOMEWHAT A REVIEW OF HOW I STARTED IN GARMENT MAKING.

WHEN WE MOVED TO THE MOUNTAINS IN NORTH CAROLINA, I WAS MAKING CAFTANS WITH EMBROIDERY WORK ALL DONE BY HAND.

THEN I SLOWLY TURNED INTO PATCHWORK AND WAS DOING A LOT MORE WORK ON THE SEWING MACHINE.

SO, WE'RE GOING TO ASK YOU FOR THE REST OF OUR SHOW TO TURN ON THE LIGHT BULB OF CREATIVITY, PULL YOUR CHAIN.

DO YOU REMEMBER THE TESSELLATED LIGHT BULBS?

AND LET'S LOOK AT SOME OF MY PAST GARMENTS.

A FAVORITE JUMPER OF MINE WAS THE BLUE HOMESPUN JUMPER.

IT TRAVELS EVERYWHERE WITH ME.

IT'S NOTHING MORE THAN A 9-INCH PANEL BY 16 AND, OF COURSE, I SLOPED THE SHOULDERS OUT THIS WAY OF JUST BLUE ON BLUE TRIANGLES.

I MADE IT ONCE AND DISCOVERED I HAD PUT THE OPENING ON THE WRONG SIDE.

SO, I MADE IT AGAIN IN RED.

AND THEN I HAD THIS MOLA THAT CAME BACK FROM A CRUISE, AIRPLANE, FUN IDEA, DIDN'T KNOW WHAT TO DO WITH IT.

IT ENDED UP IN A DRESS COMBINED WITH OLD PATCHWORK BLOCKS AND SOME EXTRA DOO-DADS I HAD HANGING AROUND.

THIS WOULD BE FOR THE WILDER SIDE, WOULDN'T IT?

I'VE TRIED ALL SORTS OF GARMENTS.

SEMINAL, WE TRIED SOME HAND APPLIQUÉ.

I REMEMBER THIS MEDALLION FROM JENNY BUYER'S FIRST SYMPOSIUM.

AND, OF COURSE, THE ROW HOUSES IN A VEST.

OF ALL THE GARMENTS I'VE MADE ISN'T IT FUNNY THAT THE CRAZY PATCH SEEMS TO BE THE ONE THAT LASTS AND LASTS?

IT JUST GOES ON AND ON, NEVER GOES OUT OF STYLE.

WHEN IN DOUBT, WHAT DOES A QUILTER DO?

WHY, SHE JUST QUILTS.

IT COULD BE BY HAND, OR TODAY WE'RE TURNING TO THE SEWING MACHINE.

DON'T FORGET ABOUT THE METALLIC THREADS WITH A DOUBLE NEEDLE FOR SIMPLE CROSS-HATCHING.

THEN I TRIED MAKING THAT OLD-FASHIONED STRING VEST.

THIS TIME I PUT A BULLET ON THE BACK.

I CAN'T BELIEVE I WORE THIS.

TRIED MAKING A VEST OUT OF ALL THINGS, PLACEMATS.

IT WAS OK, BUT IT GOT REAL HEAVY AS I WORE IT.

LET'S LOOK AT SOME MORE MODERN, UP-TO-DATE THINGS WITH PATCHWORK GARMENTS.

HOW ABOUT YIPPIE-KI-YO QUILTER?

THIS IS MY GARMENT I MADE FOR ONE OF THE FAIRFIELD FASHION SHOWS.

I'D LIKE TO SHARE WITH YOU A FEW OF THE IDEAS FROM IT.

OF COURSE, ROAD RUNNER IS THE HEADLIGHT ON THE HAT, THE COWBOY HAT.

CONCENTRATED MACHINE STITCHING, PLUS THE COTTON BATTING REALLY GIVES THE HAT BRIM AND THE INSIDE QUITE A LOT OF BODY.

CAN YOU SEE ALL THE STITCHING IN THERE?

AND, OF COURSE, FOR THE COWBOY PANTS, I DID SOME MOCK CHAPS.

AND THEN WITH THE FRINGE ON THE SIDE, CUT ON THE BIAS, EVERY, OH, ABOUT EVERY 1/2 AN INCH THIS TIME.

LOOK AT HOW IT JUST CURLS SO NICELY.

MAKES ITS OWN PUFF THERE.

AS FOR THE SHIRT, I DID MACHINE PIECING.

AND OF COURSE, "BEEP BEEP."

AND THEN THE JACKET, OR THE LONG DROVERS COAT ITSELF, HAS A CACCINA DOLL DOWN THE FRONT.

AND THEN, NOT ONLY ON THE CAPE, BUT ALL AROUND THE BOTTOM, I'VE GOT THE ROAD RUNNER RUNNING AROUND.

NOW, WHAT'S KIND OF FUN HERE IS THAT I'VE GOT THE REVERSE COLOR ON THIS SIDE AND THEN REPEATED THE BLUE ON THE BACKSIDE.

SO, LET ME GIVE YOU AN IDEA FOR ANY DESIGN THAT YOU'D LIKE TO PUT 2 SIDED ON FABRIC.

GO AHEAD AND CUT YOUR DESIGN OUT OF SOME GRID GRIP.

PRESS IT ON THE FABRIC THAT YOU DESIGN ON THE FRONT SIDE PLUS PUT THE RIGHT SIDE OF YOUR CONTRASTING FABRIC AGAINST THE FOUNDATION ON THE BACKSIDE.

WITH THAT PRESSED IN PLACE, I SIMPLY DID A STRAIGHT LINE OF STITCHING ALL AROUND THE OUTLINE OF THE BIRD.

THEN WITH THAT REMOVED, I COULD THEN VERY EASILY COME WITH MY APPLIQUÉ SCISSORS AND SNIP AWAY, ALWAYS KEEPING THAT LIP UNDERNEATH.

SNIP THAT AWAY.

AND WITH THAT REMOVED, NOT ONLY ON THAT SIDE, BUT ON THIS SIDE, TOO.

NOW, I'LL HAVE TO CONTINUE TRIMMING.

SO, I HAVE A YELLOW BIRD ON ONE SIDE AND RED ON THE OTHER.

AND THIS TIME I TURNED TO SOME OF THE METALLIC THREAD AND DID A NICE SATIN STITCH ALL ON TOP WITH A MATCHING THREAD ON THE BOTTOM SIDE.

WHAT A NICE WAY TO PUT SOME GLITZ ON YOUR GARMENT AND CREATE THE DESIGN ON BOTH SIDES.

NOW, THAT'S ADDING A DESIGN.

WHAT ABOUT TAKING AWAY?

REMEMBER THE THISTLE VEST HERE, I'VE SEWN AROUND THE THISTLE OUTLINE, CUT THE RED AWAY TO REVEAL THE GREEN AND THEN ON THE REVERSE SIDE, CUT THE BLUE AWAY.

THE GREEN BECOMES OUR BATTING ON THE INSIDE.

WHAT ABOUT THAT FRINGE?

EVEN THE FRINGE THAT I DID ON THE 9 1/4 CIRCLE VEST, HERE I'VE GONE AHEAD AND CUT A 6-INCH WIDE BIAS CUT.

NOW, THIS IS THE BIAS CUT OF THE DENIM.

FOLDED IT IN 1/2.

AND THEN I USE A DUAL RULER SYSTEM HERE SO THAT I'VE GOT ONE RULER HOLDING ON TO THE SIDE.

THIS I'M GOING TO ATTACH, OR PLACE IN THE SEAM OF MY GARMENT.

AND THEN THIS ONE COMES TO ALLOW ME TO HOLD IN 2.

SO, I GO ONCE, GO DOWN 1/4 OF AN INCH AND COME AGAIN.

COME DOWN 1/4 OF AN INCH AND JUST CONTINUE SO I GET THAT NICE, THAT NICE FRAYING HAPPENING, BUT NO LOOSE THREADS BECAUSE IT'S NOT THE STRAIGHT OF THE GRAIN.

I THINK YOU'LL ENJOY THAT.

I USE THE KNIT TUBING A LOT TO FINISH OFF MY GARMENTS.

LET ME SHOW YOU ANOTHER ONE.

QUILTERS ARE USING THE CLASSIC BOMBER JACKET AS A DESIGN MEDIUM MAINLY BECAUSE IT FINISHES OFF SO NICELY WITH JUST THE KNIT TUBING.

I CALL THIS MY PATRIOTIC JACKET WITH STARS WITH PERSONALITY.

I TRIED THIS SIMILAR IDEA WITH THE TIE SCRAPS.

NOW, TO FIRST GIVE ME AN IDEA OF HOW TO DO IT, I TESTED IT WITH SOME PRICEY ULTRA SUEDE ON JUST A LITTLE VEST.

ALL I DID WAS TO SLICE ON DIAGONAL ONE INCH APART ALL OF MY ULTRA SUEDE.

THEN I TOOK MY TIE SCRAPS IN ONE-INCH STRIPS AND WOVE THEM IN AND OUT.

I USED THE KNIT INTERFACING THAT'S FUSIBLE TO ATTACH IT ON THE BACKSIDE AND THEN JUST-- WHERE ALL THOSE FRAYED EDGES ENDED OUT, USED BUTTONS TO ANCHOR IT IN PLACE.

LET ME SHOW YOU HOW THAT WORKS.

I HAVE A PIECE OF DENIM JUST AS A SCRAP, THE FRONT OF THE JACKET, TO SHOW YOU HOW IT WORKS.

I LIKE TO START WITH MY ROTARY CUTTER AND GET A NICE DIAGONAL GOING.

I USE THE DIAGONAL BECAUSE THEN I KNOW I WON'T HAVE ANY FRAYED EDGES.

IN THIS CASE, I HAVE STARTED WITH 1 1/2 INCH STRIPS IN EACH INSTANCE 1 1/2 INCHES APART AND COMING OUT.

BUT DON'T GO OFF THE EDGE, STOP AT THE FRONT OF THE SHOULDERS AND THE ARM AREA.

THEN, KNOWING THAT I'VE WASHED MY-- ALL OF MY TIES, I SPLIT THEM OPEN.

AND THEN I GOT THEM NICE AND FLAT.

I'LL CUT THOSE INTO 1 1/2 INCH STRIPS.

NOTICE THAT WHEN YOU WOULD COME TO THE VERY EDGE, THAT YOUR 45-DEGREE ANGLE IS NOT GOING TO BE TRUE TO WHERE THAT STRIPE HAS BEEN WOVEN.

SO, THEN YOU SWING THAT ALL THE WAY AROUND SO YOUR 45 IS EVEN.

THAT GIVES YOU A NICE CUT THAT YOU KNOW IS A TRUE BIAS.

ONCE YOU'VE GOT THOSE CUT, I'D GO AHEAD AND START WEAVING, BUT I FIND IT'S REALLY NECESSARY TO TAKE THAT KNIT FUSIBLE INTERFACING AND PUT IT DOWN FIRST.

YOU KNOW THAT IN A FEW MINUTES YOU'RE GOING TO BE PRESSING THAT ON THE BACKSIDE TO STABILIZE YOUR WEAVING.

THEN I SIMPLY GO UNDERNEATH...

UNDER AND OVER AND, OF COURSE, EACH TIME GO THE OPPOSITE WAY.

GO UNDERNEATH LIKE THIS AND THEN WITH SOME BRIGHT YELLOW, I'D BE GOING UNDER AND OVER.

AND BUTT THOSE UP RIGHT NEXT CLOSE TO EACH OTHER.

YOU CAN SEE WHAT I'VE DONE ON THE JACKET.

ON THE BACK I HAVE THE TIE SCRAPS ON THE DIAGONAL ON BOTH SLEEVES AND THEN ON THE FRONT I DID MORE OF AN ASYMMETRICAL ARRANGEMENT.

A LITTLE BIT ON THE BOTTOM ON THE RIGHT AND THEN A LITTLE TOUCH ON THE TOP ON THE LEFT SIDE.

I'M ALL DONE, EXCEPT FOR THE KNIT TUBING.

AND YOU CAN SEE WHAT HAS TO BE DONE THERE.

WITH MY LINING IN PLACE, I HAVE FOUND THE MID-POINT ON THE BOTTOM OF MY JACKET ON THE BASE AND THE SAME MID-POINT FOR THE TUBING.

I STRETCH THAT ALL THE WAY TO COME NEAT ON THE FRONT AND, BELIEVE ME, IT'S A LOT OF STRETCHING YOU HAVE TO DO.

YOU ALMOST NEED AN EXTRA SET OF HANDS FOR SOMEONE TO PIN THAT AT THE MID-POINT.

THEN I'M READY TO GO TO MY SURGER WITH MY BLACK THREAD ON MY SURGER.

IT MAKES SUCH A NICE WAY TO FINISH.

YOU MIGHT, UH, YOU COULD DO THIS, WITH YOUR ZIGZAG, BUT IT WORKS VERY NICE WITH THE SURGER.

THEN I'M GETTING READY TO PUT THE BULK OF THIS AND IT'S BULKY RIGHT AT THE BEGINNING, BUT I'M GOING TO PUT THE BULK OF THIS RIGHT IN THE SURGER AND START MY CONNECTION.

MAKE CERTAIN THAT YOU'RE REMOVING THE PINS AS YOU GO ALONG.

KEEPING THE STRETCH, KEEPING THE TAUTNESS, BUT YOU ARE REMOVING THE PINS.

AND BEFORE YOU KNOW IT... YOU'RE GOING TO HAVE ALL THAT TUBING ATTACHED TO, NOT ONLY THE BASE, THE SLEEVES AND THE NECKLINE OF YOUR JACKET.

I THINK MORE AND MORE WE'RE USING THIS OVERLOCK MACHINE TO FINISH THE INSIDE OF OUR GARMENTS.

AS FOR THOSE NOVELTY IDEAS DONNA SHARED WITH US, I TRIED 3 OF THEM ON JUST A SAMPLE VEST FRONT.

I DID SOME THREAD SKETCHING, TRASH TRAPUNTO WITH SOME OF THAT SILK ORGANZA LOCKING THE LITTLE PIECES IN PLACE, AND EVEN SOME SCRUNCHING WITH SATIN MATERIAL.

WITH THREAD SKETCHING, I USED A STABILIZER UNDERNEATH.

A NARROW HOOP WHERE THE LARGER HOOP IS ON THE BOTTOM ON THE OUTSIDE, MAKING SURE TO DROP MY FEED DOGS ON THE MACHINE AND WITH THAT OPEN DARNING FOOT IN PLACE, I WAS ABLE TO JUST RAISE UP THE BOBBIN THREAD.

HOLD ON TO THAT FOR A COUPLE OF INSTANCES BEFORE YOU ACTUALLY START GOING IN ANY DIRECTION YOU WANT TO.

ISN'T THIS NICE?

THE MEANDERING AND LOITERING CAN BE SO MUCH FUN.

NOW, WE WONDERED HOW SHE GOT SUCH AN EVEN EDGE UP HERE.

I TRIED MASKING TAPE, THAT DIDN'T WORK.

AND I DISCOVERED THAT JUST PAPER IN PLACE, IRONED IN PLACE, CAN REVEAL A NICE STRAIGHT EDGE.

IT TELLS YOU WHERE TO STOP.

AS FOR THE TRASH TRAPUNTO IS NOTHING MORE THAN THOSE LITTLE TIDBITS OF, IN THIS CASE, TIE SILK.

JUST PLACED AGAINST THE DENIM, THE SILK ORGANZA LOCKS THOSE IN PLACE.

THEN I JUST PUT SOME SATIN RIBBON DOWN, EVEN PUT A KNOT IN IT AND SATIN STITCH ON TOP--WELL, THE EDGE OF THE RIBBON.

AS FOR SCRUNCHING, IT MEANS A PLEAT DONE IN THE MIDDLE OF EACH ONE OF THESE SQUARES.

AND LOOK AT THE FUN SHADOWS AND TEXTURE THAT'S CREATED AS THAT SIMPLY SCRUNCHES IN PLACE.

THE GOLD CORDING ANCHORS IT EVEN MORE AND LOOK-- JUST LEAVE IT FRAYED AT ONE END.

LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM OMNIGRID, THE ORIGINAL, PATENTED BLACK AND YELLOW RULER, BY LEISURE ARTS, PUBLISHER AND DISTRIBUTOR OF NEEDLEWORK AND CRAFT PUBLICATIONS, INCLUDING AN ASSORTMENT OF QUILT BOOKS AND RELATED PRODUCTS.

ADDITIONAL FUNDING BY FAIRFIELD PROCESSING, MAKER OF POLY-FIL BRAND PRODUCTS, FOR THE HOME, SEWING, QUILT, AND CRAFT INDUSTRIES, AND BY BERNINA, DELIVERING SEWING TECHNOLOGY AND EDUCATION TO SEWERS WORLDWIDE.