- BECOME INSPIRED AT THE WORLD QUILT AND TEXTILE EVENT IN CALIFORNIA WHERE OVER 400 CREATIVE QUILTS FILL THE PASADENA CONVENTION CENTER.

THEN MEET NEW ZEALAND TEACHER HELEN MARSHALL AND REVISIT HANNAH STAPLE FROM HOLLAND.

THEN WE VENTURE DOWN TO SAN DIEGO FOR A FIRST CLASS TOUR OF ROSIE'S CALICO CUPBOARD.

TEACHER ANN SCOTT GIVES US AN INSIGHT INTO HER LANDSCAPE APPLIQUE WHILE WE CALL THEM "LITTLE MINI WORKS OF ART."

STAY TUNED!

♪ 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.

[MUSIC] ♪ - OUR SHOW IS ENTITLED "THE REMARKABLE MANCUSOS."

NOW MEET THE ORGANIZERS OF THIS ENTIRE EVENT, PETER AND DAVID.

THE QUILT WORLD IS WELL AWARE OF THE MANCUSO BROTHERS.

PETER AND DAVID MANCUSO, WELCOME TODAY.

I THINK THE FIRST QUESTION IS HOW, AND THEN THE SECOND QUESTION IS WHY ARE YOU INVOLVED IN THE QUILT WORLD?

TELL US A LITTLE ABOUT HOW YOU GOT INTO PUTTING ON QUILT CONVENTIONS.

-WELL, IT'S KIND OF A LONG STORY, BUT I WAS ACTUALLY, MY FIRST THING WAS DEALING ANTIQUES AND I WAS AN ANTIQUE DEALER FOR ABOUT 10 YEARS DOING SHOWS AS A VENDOR, YOU KNOW, SETTING UP AT ANTIQUE SHOWS AND WHAT HAVE YOU.

AND I ALWAYS FOUND IT KIND OF FASCINATING THE WAY SHOWS WERE RUN.

AND 10 YEARS AGO, PETER JOINED UP WITH ME AND WE DECIDED TO START PRODUCING EVENTS.

AND OF COURSE WE WERE PRODUCING ANTIQUE SHOWS PRIMARILY AND THEN WE JUST KIND OF SPUN OFF AND EVOLVED INTO THIS END OF IT.

- WELL, IT'S NATIONWIDE.

I MEAN, I'VE BEEN WITH YOU IN WILLIAMSBURG AND PENNSYLVANIA, NOW ON THE WEST COAST IN CALIFORNIA.

TELL US A LITTLE BIT ABOUT EACH OF THOSE VENUES.

DO THEY VARY?

DO THEY CHANGE?

- WE STARTED OUR EVENT CALLED THE MID-ATLANTIC QUILT FESTIVAL, ACTUALLY THE VERY FIRST YEAR WE DID IT WAS IN WILMINGTON, DELAWARE.

AND THAT WAS ITS ORIGIN.

AND WE GOT A PRETTY GOOD RESPONSE TO IT.

AND WE THOUGHT WE HAD A REAL GOOD THING GOING AND THE FACILITY CLOSED.

AND WE DECIDED TO MAYBE FIND A NEW HOME FOR IT AND WE BROUGHT IT DOWN TO WILLIAMSBURG, WHICH OF COURSE IS A GREAT DESTINATION OF TRAVEL.

AND I THINK THE COMBINATION OF THE DESTINATION BROUGHT PEOPLE TO THE SHOW AND IT'S GROWN SINCE.

BUT WHEN WE DECIDED TO CREATE A SECOND SHOW, WE THOUGHT THAT FOR THE PURPOSES OF MANAGING IT, MANAGING THE ORGANIZATION, THAT WE WOULD DO IT AT THE OPPOSITE END OF THE CALENDAR AND THEN PROBABLY TAKE IT AWAY AND DO SOMETHING DIFFERENT.

AND WE TOOK IT TO THE WEST COAST.

AND WE THOUGHT THAT THE BAY AREA OF SAN FRANCISCO WOULD BE A GOOD PLACE FOR AN INTERNATIONAL SHOW BECAUSE IT'S A GREAT DESTINATION FOR INTERNATIONAL TRAVEL.

AND PROBABLY A BIG SURPRISE TO US WAS THAT WHEN WE WENT TO THE BAY AREA, WE FOUND THIS VERY, VERY TALENTED QUILTING AND COMMITTED QUILTING COMMUNITY THAT WAS REALLY A REAL SURPRISE TO US.

AND WE HAD NO IDEA.

LITTLE DID WE KNOW THAT THAT WAS SUCH A VIBRANT QUILTING COMMUNITY THERE.

- AND TELL US ABOUT THE EVENT CURRENTLY WHY WE'RE HERE TODAY.

SO WORLDLY.

I MEAN, YOU GO FROM ONE LITTLE STALL TO ANOTHER AND SEE FINLAND AND ITALY, SO MANY QUILTS.

IT'S AMAZING TO THINK OF THE TIME THAT PEOPLE HAVE PUT IN IN THESE QUILTS AND OUR SPONSORS.

WE MUST RECOGNIZE THEM.

- OH, YES.

AND THAT WAS REALLY WE WERE REALLY JUST BEGINNING.

AND WE JUST HAD, I MEAN, THE ABSOLUTE NERVE TO ASK PEOPLE TO COME AND HELP SPONSOR US.

AND WE DIDN'T KNOW EXACTLY WHAT THE RESPONSE WOULD BE.

BUT PEOPLE LIKE BONNIE LEHMAN, BERNINA, AND OF COURSE, LATER ON, MARY LEHMAN AUSTIN, FAIRFIELD PROCESSING, DONNA WILDER, SPRINGS INDUSTRIES, COATS AND CLARK, THEY HAVE ALL COME TO TO SPONSOR OUR COMPETITIONS AND REALLY HELP MAKE IT ALL POSSIBLE.

BECAUSE WITHOUT THEM, IT REALLY DOESN'T HAPPEN.

AND THEY REALLY HAVE BEEN SUPER PEOPLE TO WORK WITH.

AND THEY'VE DONE THIS FROM EARLY ON.

ALSO, IT'S NOT, YOU KNOW, BEFORE WE WERE REALLY ANY KIND OF A FORCE IN THIS INDUSTRY.

THEY WERE THERE RIGHT IN THE BEGINNING TO SPONSOR OUR EVENTS.

- I THINK ALL OF US APPRECIATE THAT THE QUILTING IS A CRAFT AND AN ART FORM, BUT IT IS A BUSINESS, TOO.

AND THESE PEOPLE RECOGNIZE AND WANT TO PUT THEIR FAITH IN WHAT WE DO.

AND THAT MAKES US FEEL GOOD.

I THINK AS QUILT MAKERS AND AS TEACHERS, TOO.

- OH, ABSOLUTELY.

I KNOW THAT I MET WITH THE PRESIDENT OF BERNINA IN SWITZERLAND.

I COULD SEE HIS ENTHUSIASM FOR AMERICAN QUILTING AND HIS DESIRE TO KIND OF INFECT THE WORLD WITH QUILTING IN A SENSE.

AND THIS IS WHAT THE WORLD COMPETITION IS ABOUT IN A WAY.

IT'S REALLY ABOUT TRYING TO TAKE THIS WONDERFUL ART FORM AND CREATE A KIND OF INTERNATIONAL MEDIUM FOR ART EXPRESSION.

AND I THINK THAT IS REALLY WHAT'S HAPPENING HERE, YOU KNOW, THAT WE HAVE SOMETHING THAT IS A BEAUTIFUL ART FORM AND THERE IS A WAY OF DISPLAYING IT.

AND QUILTING IS A VERY EASY FORMAT TO DISPLAY IN, IN A SENSE.

YOU CAN HANG IT AND IT'S VERY VISIBLE AND SO FORTH.

THE WORLD COMPETITION WAS A TREMENDOUS CHALLENGE FOR US TO TRY TO ORCHESTRATE IT WITH BERNINA'S HELP IN ORGANIZING IT AND HAVING THE SHIPPING DONE.

WE TRANSLATED OUR CONTEST RULES INTO NINE LANGUAGES.

OH, MY GOODNESS.

IT WAS QUITE AN INTERESTING PROJECT.

- WE CAN'T THANK YOU ENOUGH FOR BEING IN THE QUILT WORLD AND TAKING IT TO A VERY HIGH PROFESSIONAL LEVEL FOR US.

I THINK THAT MEANS A LOT TO US AS QUILT MAKERS.

- THANK YOU, GEORGIA.

IT'S A PLEASURE.

-IT'S ALWAYS A PLEASURE - HELEN, IT'S A PLEASURE TO BE WITH YOU HERE AT THE MANCUSO WORLD QUILT AND TEXTILE EVENT.

YOU'VE COME ALL THE WAY FROM-- NEW ZEALAND.

WHEREABOUTS?

I LIVE AT RAUMATI BEACH, WHICH IS JUST NORTH OF WELLINGTON, WHICH IS THE CAPITAL CITY AT THE BOTTOM OF THE NORTH ISLAND.

- GIVE US AN OVERVIEW OF THE STATE OF QUILTING IN YOUR COUNTRY.

- WE HAVE ABOUT 6,000 QUILTERS AND WE HAVE A SYMPOSIUM EVERY BIENNIALLY AND WE'D GET ABOUT 800 PEOPLE, BUT WE'RE SUCH A LONG, NARROW COUNTRY THAT WE DON'T GET TOGETHER THAT MUCH.

- WHAT ARE THE QUILTS LIKE?

TELL US THAT.

- A LOT OF THEM, WE'VE GOT A LOT OF TRADITIONAL QUILTERS, BUT WE'VE GOT A LOT OF INNOVATIVE PEOPLE WHO USE THE COUNTRYSIDE AS THEIR, WITH THEIR COLOR SCHEMES, THE COLORS OF THE BUSH, OUR LONG COASTLINE.

- AS I LOOK AT THESE QUILTS, THEY'RE VERY NATURE-RELATED.

YEAH, I THINK WE'RE A VERY OUTDOORSY COUNTRY.

WE'VE GOT LOTS OF BUSH AROUND OUR HOUSES AND WE JUST LIKE OUR ENVIRONMENT.

LOTS OF HUNTING, SHOOTING, FISHING PEOPLE.

- OH, OKAY.

TELL US ABOUT THE OTHER QUILTS THAT YOU BROUGHT.

WE'RE STANDING IN FRONT OF ONE OF YOUR QUILTS.

THE NAME OF THAT IS-- - STARS OF THE SOUTHERN OCEAN.

IT WAS A QUILT BLOCK THAT I SAW IN A QUILTERS' NEWSLETTER MAGAZINE AND IT RATHER FASCINATED ME AND I THOUGHT, WELL, CAN I COLOR WASH IT?

SO I HAD TAKEN A PHOTOGRAPH FROM THE BEACH AT OUR PLACE AND THIS IS LOOKING ACROSS TO THE SOUTH ISLAND IN THE DISTANCE AND I COLOR WASHED THE COLORS.

THERE'S 90 FABRICS IN IT AND THERE'S 12 DIFFERENT COLORS OF COLORED THREAD.

- AH, YES, YES.

YOU'RE EXPERIMENTING WITH THREAD THEN.

- YES, YES.

- AND THESE ARE A COUPLE OF YOUR OTHER PIECES.

THE NAME OF THIS IS-- - ABSOLUTELY POSITIVELY WELLINGTON BECAUSE WELLINGTON SITS AROUND A HARBOR WITH LOTS OF HILLS AND OUR LOGO IS ABSOLUTELY POSITIVELY WELLINGTON AND THE HOUSES ARE BUILT IN AMONGST THE TREES AND THE BUSH.

AND I DYED THE BOTTOM OF THE HOUSES AND THEN MACHINE EMBROIDERED.

THESE ARE ALL MACHINE EMBROIDERY IN THERE -- I'M A VERY KEEN MACHINE EMBROIDERER.

- I SEE.

ALL RIGHT.

-- TO GET THE TEXTURE.

- AND THEN THE PIECE YOU'RE HOLDING IS QUITE DIMENSIONAL.

WHAT GOT INTO YOU HERE?

- WELL, I HAD A COMMISSION TO WRITE A CHAPTER FOR A BOOK AND THE PEOPLE THAT HAD SEEN MY COURT WAS OF SOUTH AFRICAN FLOWERS AND I FELT THAT THAT WOULDN'T BE MUCH GOOD FOR THE NORTH AMERICAN CONTINENT SO I DID ONE ON WATER LILIES AND THEN I GOT CARRIED AWAY WITH THE GARDEN.

I HAVE A BIG GARDEN AND THOUGHT THAT I WOULD TRY SOMETHING WITH A GARDEN TRELLIS AND THEN WHAT CAME OVER IT WHEN YOU TURN YOUR BACK?

I MEAN, WE WERE ALL GARDENERS, THAT HAPPENS TOO.

- YES.

WELL, I KNOW YOU'VE HAD A GOOD TIME OVER HERE AND YOU'VE BEEN OUT SHOPPING FOR FABRIC TODAY.

YES.

I UNDERSTAND.

- YES.

- ANOTHER QUILTER, ANOTHER COUNTRY.

WE NOW VISIT HANNE VIBEKE DEKONING STAPLE AT THE END OF HER CLASS IN TEACHING HOW TO USE SILK IN QUILT MAKING.

HANNAH, IT'S A PLEASURE TO SEE YOU ONCE AGAIN IN THIS COUNTRY AND TO KNOW YOU'RE CONTINUING YOUR MISSION ON SILK QUILTS.

TELL US ABOUT TEACHING HERE IN THE STATES.

- IT HAS BEEN WONDERFUL.

IT'S THE SECOND TIME I'VE BEEN TEACHING OVER HERE AND MY SUBJECT IS SILK, AS YOU KNOW, AND I HAVE EXPERIENCED THAT SILK IS A VERY LITTLE USED MATERIAL OVER HERE, WHICH I THINK REALLY IS A BIG PITY BECAUSE SILK HAS SO MANY QUALITIES THAT IT SHOULD BE INCORPORATED IN MANY, MANY MORE QUILTS THAN THIS OVER HERE.

AND THIS WORKSHOP, ACTUALLY I HAVE TWO WORKSHOPS ON SILK AND THESE WORKSHOPS, THEY FURNISH THE QUILT MAKERS WITH THE CONFIDENCE THAT SILK IS NOT THAT DIFFICULT TO WORK WITH.

IT'S NOT FRAGILE AND THAT'S WHAT I WANT TO TELL THEM.

USE IT BECAUSE IT'S NOT 1% MORE DIFFICULT TO WORK WITH THAN YOUR COTTONS ARE AND IT'S NOT AS FRAGILE AS PEOPLE THINK.

SO THAT'S WHY ONE OF THE WORKSHOPS IS CALLED "WHO'S AFRAID OF SILK?"

BECAUSE ALMOST EVERYBODY IS AFRAID OF SILK, WHICH IS JUST NOT NECESSARY.

- EVEN THE PIECES BEHIND YOU RELATE TO STARTING WITH THE SAME BLOCK ONCE IN COTTON BUT THEN GOING FURTHER.

- YES, I JUST WANTED TO IN PICTURE GIVE WHAT I TELL THE STUDENTS THAT A PIECE OF SILK WILL REALLY ENHANCE YOUR BLOCK.

SO AFTER THE COTTON BLOCK, WHICH I THINK IS BEAUTIFUL ENOUGH, IT'S MIXED COTTONS FROM HOLLAND AND FROM THE USA, AND I THINK THAT BLOCK IS OKAY.

BUT THE SECOND BLOCK, I HAVE PUT SOME BLUE SILKS INSTEAD OF THE BLUE COTTONS IN, AND SOME GREEN SILKS, AND I DO THINK THAT THESE ACCENTS IMPROVE THE LOOK OF THE BLOCK.

SO I COULDN'T STOP, SO I WENT ON TO THE THIRD BLOCK AND I REPLACED MORE OF THE COTTONS WITH OTHER SILKS AND THEN OF COURSE THERE WAS NO STOPPING, SO THE FOURTH BLOCK IS JUST ALL SILKS.

AND IF YOU COMPARE THE FIRST BLOCK WITH THE LAST BLOCK, I THINK THERE'S A BIG DIFFERENCE.

TELL ME ABOUT YOUR BOOK THAT RELATES TO SILK QUILTS.

I HAVE BEEN DOING RESEARCH ON SILK FOR MANY, MANY YEARS AND NOW I HAVE WRITTEN IT INTO A BOOK AND IN THAT BOOK I'LL TELL EVERYTHING ABOUT THE VARIOUS QUALITIES AND THE VARIOUS CHARACTERISTICS OF MANY, MANY KINDS OF SILK.

ALSO, I DISCOVERED, WHICH I THOUGHT WAS A GREAT THRILL, THAT IN THE UNITED STATES, IN EUROPE ALSO, MANY, MANY MUSEUMS HAVE VERY, MANY OLD, ANTIQUE SILK QUILTS.

ACTUALLY, I DISCOVERED IN PORTUGAL, IN SWEDEN, IN HOLLAND, QUILTS FROM THE 1700S AND 1800S.

THE OLDEST QUILT IS FROM 1600-SOMETHING AND THEY'RE ALL IN THE BOOK.

I THINK THAT WAS REALLY A REVELATION TO ME THAT SILK QUILTS, SOME OF THE OLDEST QUILTS THAT HAVE SURVIVED NOW ARE SILK QUILTS, AND THAT PROVES TO ME THAT SILK IS NOT THAT FRAGILE AS IMAGES.

ALSO, THERE'S A WHOLE SECTION WITH CONTEMPORARY QUILTS, TRADITIONAL AND ART QUILTS, IN WHICH MOST OF THE FABRICS ARE SILKS.

- TELL US THE NAME SO WE KNOW WHAT TO LOOK FOR.

- IT'S GOING TO BE CALLED SILK QUILTS BECAUSE THAT'S WHAT IT'S ALL ABOUT.

- WONDERFUL.

WELL, THANK YOU FOR THE INTERVIEW AND COME AGAIN AND WE LOOK FORWARD TO MORE BEAUTIFUL, LUXURIOUS SILK QUILTS.

SEEING HANNAH'S SAMPLES GAVE ME THE ENCOURAGEMENT TO TRY SILKS.

OF COURSE, HAVING A NIECE LIVE IN HONG KONG WAS EVEN A BETTER REASON.

LOOK AT THESE WONDERFUL COLORS AND THEY'RE SO SILKY.

THE SIZE OF MY WALL HANGING THAT I'M GOING TO MAKE IS ALREADY DETERMINED BY MY EMPTY WALL ABOVE THE MANTLE.

I HAD SEVERAL DESIGNS I PLAYED WITH.

THE FIRST ONE, KIND OF AN OVERLAPPING DOUBLE WEDDING RING THAT THE COLORS WOULD REALLY WORK WELL IN.

I STARTED CUTTING OUT, I BACKED ALL MY SILK AND ALL OF A SUDDEN I REALIZED I HAD ALL THESE LITTLE PIECES.

NO WAY.

I DIDN'T LEARN MY LESSON WELL FROM HANNAH.

SHE WORKED IN JUST HALF SQUARE TRIANGLES.

INSTEAD, I TRIED ANOTHER DESIGN THAT CAME FROM A FRIEND'S SUGGESTION.

ELIMINATED A FEW MORE SEAM LINES AND CAME UP WITH SOME QUADRILATERAL, JUST SOME ODD SHAPES THAT ARE GOING TO WORK INTO A PIECE THAT I THINK ALMOST HAS A CHINESE LANTERN LOOK TO IT.

I WANT TO GIVE YOU SOME TIPS ON PIECING AND BEGINNING A PROJECT LIKE THIS AT THE SEWING MACHINE.

I BROUGHT A COUPLE OF ROWS THAT I'M WORKING ON TO THE MACHINE.

WE NEED TO START WITH STABILIZING THE SILK.

IT'S JUST TOO FLIMSY WITHOUT HAVING SOME REINFORCEMENT.

TRY YOUR OWN STABILIZER.

I PREFER A KNIT STABILIZER.

IT COMES IN BLACK OR IN WHITE.

I LEARNED SOMETHING ABOUT THIS SILK BY MAKING A MISTAKE.

I HAD A BIG HUNK ALREADY IRONED ON WHEN I REALIZED I HAD IT ON THE WRONG SIDE.

HOW DID I FIGURE THAT OUT?

I WAS STUDYING THE SILK AND LOOKING AT THE SELVAGE VERY CAREFULLY.

SURE ENOUGH, IT IS PRINTED IN CHINESE AND IN ENGLISH, PURE SILK.

THEN I COULD DETERMINE THE RIGHT SIDE.

MY OTHER TIP IS TO MAKE CERTAIN THAT YOU TAKE YOUR TEMPLATE, DECIDE HOW MUCH YOU NEED FOR EACH ROW OR PERHAPS ALL THE TRIANGLES IN YOUR PIECE, AND THEN CUT OUT THE APPROPRIATE AMOUNT OF SILK.

THEN PUT A BACKING, YOUR STABILIZER, WITH THE STICKY SIDE TO THE BACK SIDE OF YOUR SILK.

I USE MUSLIN AS JUST A PRESS CLOTH.

ONCE THAT IS IN PLACE, YOU SIMPLY HOLD YOUR IRON, A DRY IRON, ON THERE FOR ABOUT A COUNT OF TEN AND GO FROM THE NEXT POSITION.

ONCE THAT IS ALL REINFORCED, THEN YOU'RE READY TO CUT OUT YOUR TEMPLATES.

I'VE BEEN DOING THIS ROW BY ROW.

I DO KEEP MY WIDER PRESSER FOOT ON HERE.

I SIMPLY MOVE MY NEEDLE POSITION.

THEN I'M DOING MY STRAIGHT SEWING.

WHAT'S WORKED OUT VERY NICELY IS THAT AS I DO ONE WHOLE ROW, AFTER I FINISH ONE, I CAN JUST PICK UP AND DO THAT KITE SEWING AND GO TO THE NEXT.

I JUST SLIDE THAT UNDER, REMOVE MY PINS, AND THEN I'M READY TO GO.

SO I CAN JUST CONTINUALLY FINISH ONE ROW, AND THEN WHEN I'M DONE, JUST SNIP THOSE KITE SECTIONS APART.

ANOTHER SECRET TO THIS GOING TOGETHER SO WELL IS THAT I AM PRESSING THE SEAMS OPEN.

WHEN I DO THAT, I USE THE PRESS CLOTH AGAIN.

WITH IT ON TOP, I JUST KEEP THE POINT OF MY IRON RIGHT ON TOP OF THAT OPEN SEAM.

I'M REAL PROUD OF THESE INTERSECTIONS.

THE WEIGHT IS WORKING VERY NICELY.

WHILE WE WERE IN SOUTHERN CALIFORNIA, WE TOURED ROSIE'S CALICO CUPBOARD.

WHAT A STORE!

WHAT QUILT EXCITEMENT!

YOU NEED TO GO AND FILL A BAG.

ALL THE EMPLOYEES SIGNED THIS ONE, AND IT'S A REAL TREASURE.

(SOUND OF MACHINE) ROSIE GONZALES, I CAN FEEL THE EXCITEMENT IN YOUR STORE, NOT ONLY WITH YOUR EMPLOYEES, BUT YOURSELF.

I KNOW YOU'RE PROUD OF THIS ESTABLISHMENT.

TELL US HOW YOU GOT STARTED.

- GEORGIA, IN 1983, MY HUSBAND AND I WERE PUTTING TWO CHILDREN TO CATHOLIC SCHOOL, AND I WAS A CRAFTER.

I NEEDED TO MAKE ENDS MEET, SO I DECIDED TO SELL FABRIC.

WHATEVER I DIDN'T USE, I'D SELL.

MY HUSBAND AND I HAD $250, AND WE BOUGHT FIVE BOLTS OF FABRIC.

WE STARTED OUT AT YARD SALES, DID THE SWAP MEET, MOVED INTO OUR GARAGE FOR FOUR YEARS, AND THEN MOVED INTO THIS BUILDING IN 1991, I BELIEVE, WITH 900 SQUARE FEET.

NOW WE'RE GETTING READY TO ADD ANOTHER 1,100 SQUARE FEET, SO WE'LL HAVE 4,700 SQUARE FEET WITH PART OF THAT BEING CLASSROOM.

- ROSIE, I UNDERSTAND YOU GIVE BACK TO THE COMMUNITY.

- GEORGIA, I BELIEVE THAT THE MORE YOU GIVE, THE MORE YOU GET BACK.

ONE OF THE THINGS THAT WE DO IS BREAST CANCER, AMERICAN CANCER SOCIETY, SO WE SUPPORT BREAST CANCER.

WE HAVE SEVERAL EVENTS EACH YEAR.

OUR FIRST EVENT IS OUR 24-HOUR FALL QUILTERS MADNESS, WHICH HAPPENS IN NOVEMBER, AND WE'RE OPEN FOR 24 HOURS.

WE PROBABLY GET AROUND 600 LADIES THAT COME THROUGH THE DOOR.

WE HAVE A SILENT AUCTION, AND ALL THE PROCEEDS FROM THAT SILENT AUCTION GO BACK TO THE AMERICAN CANCER SOCIETY.

WE HAVE TWO POTLUCK SILENT AUCTION BINGO EVENTS THAT WE DO WITH ALL THE PROCEEDS GOING BACK.

AND THEN OUR LATEST IS THE CAMP REACH FOR THE SKY, WHICH IS A CAMP THAT HOUSES 100 CHILDREN FROM THE AGES OF 8 TO 18 WHO ALL HAVE CANCER OR HAVE HAD CANCER.

SO IT'S MY GOAL TO GIVE THEM EACH A QUILT TO TAKE HOME WHEN THEY LEAVE FROM CAMP.

AND WE'VE MADE 40.

I KNOW WE'RE GOING TO REACH OUR GOAL OF 100, AND I'M HOPING 70 MORE.

- THAT'S GREAT.

WHAT IS THIS THING ABOUT COMING TO SHOP HERE AT MIDNIGHT IN YOUR NIGHTGOWN?

WHAT IS THAT THAT GOES ON?

- FOR SOME REASON, I DECIDED TO TRY OPENING THE STORE FOR 24 HOURS TO SEE IF ANYBODY WAS CRAZY ENOUGH TO COME.

WE OPEN OUR DOORS AT MIDNIGHT ON FRIDAY AND STAY OPEN UNTIL MIDNIGHT THE FOLLOWING SATURDAY.

THE FIRST YEAR WE DID IT, WE THOUGHT IF WE GET 75 PEOPLE THROUGH BETWEEN MIDNIGHT AND 6 A.M., WE'D BE LUCKY.

WE GOT 150 LADIES BETWEEN MIDNIGHT AND 6 A.M. LAST YEAR WE GOT 300 LADIES BETWEEN MIDNIGHT AND 6 A.M. ALL IN THEIR PAJAMAS BECAUSE WE GIVE COUPONS IF THEY WEAR THEIR PAJAMAS.

IT'S A FUN THING.

AND THEN THEY CAN GO HOME AND MAKE A QUILT, JUST KEEP SEWING ALL DAY.

THEY ACTUALLY KEEP COMING BACK, THOUGH, EVEN DURING THE DAY BECAUSE WE HAVE THE SILENT AUCTION GOING ON AND WE RAFFLE OFF PRIZES EVERY HOUR.

MANY OF THEM STAY FOR THE WHOLE 24 HOURS BECAUSE WE RAFFLE A PRIZE EVERY 30 MINUTES.

- WELL, WE ARE GOING TO TAKE OUR CAMERAS AND GO AROUND AND LOOK AT EVERY NOOK AND CRANNY OF YOUR STORE AND THEN SPEAK TO ANN SCOTT, ONE OF YOUR TEACHERS.

WE THANK YOU SO MUCH FOR ALLOWING US TO COME AND VISIT YOUR STORE.

- THANK YOU FOR COMING TO VISIT OUR STORE.

- A STROLL THROUGH ROSIE'S SHOP REVEALS SEVERAL INTERESTING MARKETING IDEAS.

FIRST, ALL THE FABRIC IS ARRANGED AT ANGLES IN SPECIAL BINS FOR EASY VIEWING AND SELECTION.

THE SOLID FABRIC IS ALL TOGETHER IN ONE AREA RATHER THAN WITH THE PRINTS.

SECOND, ONCE YOU MAKE THAT IMPORTANT FABRIC CHOICE, THE STACK IS GUARDED BY A CALICO BEAN BAG.

THAT'S A DON'T TOUCH SIGNAL.

ONE ENTIRE ROOM IS DEVOTED TO CHILDREN'S PRINTS AND FLANNEL PRINTS.

ROSIE SAID FLANNEL MOVES ALL YEAR ROUND.

BATTING IS DISPLAYED ALL OVER THE STORE IN PLASTIC BAGS, ON THE ROLL, AND IN BROWN BAGS.

SOMETIMES AT WORK MUST BE PART OF ROSIE'S MOTTO SINCE EVERY EMPLOYEE CREATED THEIR OWN BACKSIDE VIEW IN CLOTH, OF COURSE.

NOTHING IS OVERLOOKED AT ROSIE'S.

A TRUNK LOAD OF BUTTONS WHERE YOU CAN JUST SCOOP UP A TIN FULL.

A TRAVELING HOFFMAN CHALLENGE EXHIBIT.

AND THIS IS WHERE WE CAUGHT MR. ROSIE, VIC GONZALES, WORKING.

BY THE WAY, THE WORD IS OUT THAT HE HAS A REAL EYE FOR FABRIC SELECTION.

AND WHAT LUCK, WHY THERE'S A SHOP NEXT DOOR FOR QUILTING ALL OF THOSE QUILT TOPS.

WE FINISHED OUR TOUR AND WENT INTO THE CLASSROOM TO MEET ONE OF THE STORE'S TEACHERS, ANN SCOTT.

SHE TELLS US ABOUT HER LANDSCAPE CLASS.

ANN SCOTT FROM SAN DIEGO.

I'D LIKE TO TAKE THIS CLASS.

TELL ME A LITTLE BIT ABOUT IT.

- THE CLASS IS MINIATURE LANDSCAPES.

IT IS A DAY CLASS.

AT THE END OF THE DAY, STUDENTS HOPEFULLY WILL HAVE AT LEAST A LITTLE QUILT TOP.

THEY'LL LEARN A LOT ABOUT THE COLOR VALUE OF FABRIC, HOW TO GET A FEEL AND A MOOD FOR A PIECE.

THEY NEED TO BRING AS MANY DIFFERENT FABRICS AS THEY CAN.

STUDENTS USUALLY FIND THAT THEY DECIDE THEY'RE NOT GOING TO USE WHAT THEY THOUGHT THEY WERE GOING TO USE IN THE FIRST PLACE.

SO I ENCOURAGE THEM TO BRING AS MANY, IF THEY HAVE A REALLY GOOD WATER FABRIC OR A REALLY GOOD SKY FABRIC.

- THERE'S PROBABLY A LOT OF SHARING THAT GOES ON.

- THERE IS, YES.

THAT'S TRUE.

- FOR INSTANCE, THIS LOOKS LIKE THE PACIFIC OCEAN RIGHT HERE.

- THIS FABRIC DOES LOOK LIKE WATER FABRIC, AND THAT'S MAYBE ALL YOU WOULD THINK.

BUT WHEN WE'RE USING IT IN MINIATURE LANDSCAPES, I USED IT FOR THE MOUNTAIN, AND IT WAS A SNOWY TOP.

SO WHEN WE LOOK AT FABRIC, WE REALLY LOOK AT THE FABRIC, GET DOWN, AND I TELL THE STUDENTS TO LOOK AT IT AND SEE DIFFERENT THINGS.

- TECHNIQUE-WISE, WHAT KIND OF SYSTEM WORKS OUT HERE?

I CAN SEE SOME NUMBERS HERE.

DO YOU TELL THEM WHAT HAPPENS NEXT?

- I DO.

IF I SUPPLY THE LINE DRAWING, IT'S ALREADY NUMBERED, AND IF THEY BRING THEIR OWN, I HELP THEM WITH THAT.

WE START WITH REALLY SIMPLE LINES, BUT THERE IS A SEQUENCE.

IF YOU START WITH THE SKY, THAT'S THE FURTHEST BACK POINT, AND YOU JUST CONTINUE ON DOWN.

SOMETIMES IF THERE ARE TREES THAT ARE LAYERED ON, THEN IT WOULD CAUSE A LITTLE BIT DIFFERENT NUMBERING.

USUALLY IT'S JUST ONE ON TOP OF THE OTHER.

- I SEE PLASTIC TEMPLATES, IS THAT WHAT YOU USE TO CUT OUT?

- WHEN I GIVE THE LINE DRAWING OUT, I ALSO HAVE THE STUDENT HAVE FREEZER PAPER, AND WE MAKE ANOTHER PICTURE OF THE EXACT SAME MASTER LINE DRAWING, AND YOU KEEP YOUR LINE DRAWING, BECAUSE WE WANT TO BE ABLE TO LOOK AT THAT AS WE GO.

I ALSO HAVE THEM CUT OUT THE SAME PICTURE IN TEMPLATE PLASTIC.

THEN THEY CUT THE TEMPLATE PLASTIC APART, AND THE TEMPLATE PLASTIC IS WHAT I USE TO GO OVER THE FABRIC.

I FLOAT THE TEMPLATE PLASTIC ACROSS THE FABRIC TO PUT THE LIGHT WHERE I WANT IT ON THAT FABRIC.

WHEN THE PIECES ARE LAID OUT, AND THE PERSON IS HAPPY WITH THEM, THAT WOULD BE WHEN WE PUT THE FREEZER PAPER BACK ON, BASTE IT, AND THEN APPLIQUE.

- YOU START USUALLY AT THE TOP AND WORK DOWN.

IS THIS YOUR WORK?

BEAUTIFUL APPLIQUE WORK, BY THE WAY.

VERY, VERY NICE.

TOO BAD WE DON'T SEE THE BACK MORE OFTEN IN A WALL HANGING.

I THINK IT'S AMAZING TO SEE WHAT HAPPENS WITH THREE DIFFERENT COLORATIONS.

SHOW US THAT ONE LINE DRAWING HERE.

- THESE THREE ARE ALL FROM THE SAME LINE DRAWING.

I HAD A MORE REALISTIC SKY HERE, AND THEN YOU JUST GO ON WITH SOMETHING MAYBE MORE REALISTIC.

WHEREAS IF I HAVE A SKY THAT'S SORT OF SURREAL, THEN MY WATER MAYBE WOULD REFLECT THAT AND NOT BE VERY REALISTIC, BUT YOU GET A MOOD, AND IT IS THE SAME ROCKS AND THE SAME MOUNTAINS.

SO IT'S JUST YOUR CHOICE OF VALUE.

IF IT'S A LIGHT, AND YOU SORT OF CARRY IT OUT.

IF YOU FIND WITH THE SKY THAT IT'S A DARK VALUE, THEN THAT WILL HELP DETERMINE WHAT FABRICS YOU CHOOSE FOR THE REST OF THE LANDSCAPE.

THESE THREE ARE ALL OF THE SAME LINE DRAWING, BUT THEY ALL HAVE A TOTALLY DIFFERENT LOOK BECAUSE OF THE FABRIC CHOICE.

- AMAZING.

WHAT ABOUT THIS ONE THAT REMINDS ME OF THE GRAND CANYON?

THIS IS WHERE THE TEMPLATE PLASTIC REALLY COMES IN A HELPFUL TOOL.

FOR ME, I KNEW THAT I WANTED SOME SUN HITTING THIS MESA AND COMING DOWN, SO I TOOK MY TEMPLATE PLASTIC AND FLOATED JUST THAT PIECE, FLOATED ALL ACROSS MY FABRIC UNTIL I FOUND THAT SPOT, AND THEN I CUT IT OUT.

SAME WITH ANY OF THE OTHER PIECES THAT HAVE LIGHT ON THE TOP OR WHERE I WANT IT DARK.

- TRY THE GREEN.

THIS WAS AN INTERESTING TEST, I THOUGHT YOU DID.

- DEPENDING ON WHERE YOUR WATER OR YOUR SKY, WHERE THE LIGHT AND THE DARK FALL, THAT CAN MAKE THE PICTURE OF THE LANDSCAPE LOOK TOTALLY DIFFERENT.

IF WE CHANGE THIS AND PUT THE DARK IN THE BACKGROUND AND BRING IT LIGHTER TOWARD YOU, YOU GET A DIFFERENT FEEL.

THE DEPTH CHANGES.

THIS ISN'T TO SAY ONE IS RIGHT AND ONE IS WRONG.

IT'S JUST A MATTER OF WHAT VISUALLY YOU WANT TO ACHIEVE.

- ANNE, YOU'VE GIVEN US SOME NEW IDEAS IN PICKING OUT THESE FABRICS, AND I THINK YOUR BORDERS SURE PULL IT TOGETHER AT THE END.

ANY TIPS ON THAT?

- I ALWAYS TELL THE STUDENT, EVEN IF IT'S ONLY BASTED AND THEY'RE GETTING ANXIOUS, TO TAKE THAT PIECE TO THE SHOP AND AUDITION IT.

IF THEY CAN LAY THE BOLT SO THAT THE FABRIC IS HANGING DOWN AND PUT THE LANDSCAPE ON IT, JUST WITH A LITTLE BORDER AROUND IT.

YOU REALLY NEED TO SEE THE WHOLE PICTURE LIKE THAT.

- YOU'VE GOT A FEW CHOICES HERE IN THIS SHOP, HAVEN'T YOU?

YES.

THANK YOU SO MUCH, AND I WISH YOU CONTINUED SUCCESS.

- THANK YOU.

- WE HAD A GOOD TIME.

HOPE YOU DID, TOO.

NEXT TIME, OREGON.

SEE YOU THEN.

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