♪ AH, THOSE GLORIOUS GARMENTS.

JUST IMAGINE, INSTEAD OF QUILTS ON THE BED, THEY NOW ADORN YOUR WHOLE BODY.

FOLLOW ALONG WITH VIRGINIA AVERY AS SHE COMPLETES HER FAIRFIELD GARMENT.

THEN MEET JEAN WELLS AND JO DIGGS.

♪ Announcer: "LAP QUILTING" WITH GEORGIA BONESTEEL IS MADE POSSIBLE BY GRANTS FROM GINGHER, INCORPORATED, MAKERS OF SCISSORS AND SHEARS FOR THE HOME, CLASSROOM, AND INDUSTRY... AND COATS & CLARK, SERVING AMERICA'S SEWING NEEDS FOR OVER 125 YEARS, FEATURING J&P COATS' DUAL DUTY PLUS THREAD.

Georgia Bonesteel: TODAY, EVERY QUILTER PROUDLY DISPLAYS ALL THE MANY VESTS THAT SHE WEARS.

SHE WEARS THOSE TO ALSO SHOW OFF THE MANY PINS THAT SHE'S BEEN COLLECTING.

BUT OUR SHOW TODAY CONCENTRATES ON MORE THAN JUST VESTS, BECAUSE THIS YEAR CELEBRATES THE TENTH ANNIVERSARY OF QUILTED GARMENTS PREVIEWED AT THE HOUSTON QUILT MARKET.

THIS SHOW SPONSORED BY FAIRFIELD PROCESSING CORPORATION HIGHLIGHTS THE CREATIVE USE OF BATTING IN ALL STYLES OF WEARING APPAREL.

TODAY IN OUR STUDIO, WE HAVE THE OPPORTUNITY TO MEET VIRGINIA AVERY, A CONTRIBUTOR IN THIS YEAR'S TRAVELING FASHION SHOW, AND DONNA WILDER, THE SHOW'S COORDINATOR AND PAST FRIEND ON OUR SERIES.

WELCOME, DONNA.

HELLO.

IT'S GOOD TO SEE YOU AGAIN.

AND, VIRGINIA AVERY, IT'S SO NICE TO HAVE YOU HERE.

TELL US WHERE YOU'RE FROM, VIRGINIA.

AND HOW DO YOU IDENTIFY YOURSELF AS A QUILTER?

I'M FROM PORT CHESTER, NEW YORK, AND I THINK I'VE DONE A LOT OF THINGS IN QUILTING, BUT I'M PRIMARILY A TEACHER AND A LECTURER, ALTHOUGH I DESIGN AND MAKE QUILTS AND CLOTHING.

Georgia: AND YOU'RE AN AUTHOR, I UNDERSTAND.

YES, I'VE WRITTEN TWO BOOKS, "THE BIG BOOK OF APPLIQUE," AND "QUILTS TO WEAR," WHICH IS A BOOK, OF COURSE, ABOUT QUILTED CLOTHING.

AND BOTH OF THE BOOKS WERE PUBLISHED BY SCRIBNER'S.

WELL, WE'RE THRILLED TO HAVE BOTH OF YOU HERE, AND TO KNOW THAT THE EXCITEMENT OF ANOTHER FAIRFIELD SHOW IS ABOUT TO TOUR THE COUNTRY.

AND THIS IS THE BIG TENTH ANNIVERSARY.

ANYTHING THAT YOU'D LIKE TO SAY ABOUT THAT, DONNA?

WELL, I THINK IT'S EXCITING THAT WE HAVE BEEN ABLE TO BRING TO LIFE THE WHOLE IDEA OF WEARABLE ART.

AND, YOU KNOW, THINKING BACK THAT 10 YEARS HAVE ACTUALLY GONE BY, IT'S HARD TO BELIEVE.

AND EACH YEAR HAS BEEN EXCITING.

AND THEY ALWAYS OUTDO THEMSELVES, AND THIS YEAR IS NO EXCEPTION.

WELL, I THINK WHAT WE'D LIKE TO COVER TODAY WITH YOU, VIRGINIA, IS TO KNOW ABOUT THE CONCEPT, YOUR INSPIRATION FOR YOUR GARMENT, AND HOW YOU INCORPORATED THE BATTING IN THIS PARTICULAR GARMENT, AND THEN MAYBE ANY FINE POINTS OF ACTUALLY HOW YOU FINISHED IT.

NOW, THIS IS YOUR GARMENT.

YES, IT IS.

AND TELL US, DID YOU CREATE THE PATTERN?

HOW DID YOU START?

WELL, I WAS BLANK FOR A WHILE TRYING TO GET AN IDEA.

AND THE--INSPIRATION THAT I GOT REALLY CAME FROM AN EXHIBIT-- THE FASHION INSTITUTE OF TECHNOLOGY IN NEW YORK HAD ON FASHION AND SURREALISM.

AND I SAW SOME COATS THERE DONE BY A FRENCH DESIGNER.

AND ALTHOUGH THEY DON'T REMOTELY RESEMBLE EACH OTHER, THERE WAS A SPARK THAT LIT.

AND I WENT ON FROM THERE.

AND AS FAR AS THE BATTING WAS CONCERNED, I FELT THAT IT SHOULDN'T BE USED IN THE COAT SHELL BECAUSE IT MIGHT NOT HANG WITH ALL THESE POINTS AND ALL.

SO I USED IT IN THE LINING.

I SEE.

AND WE'LL SEE THAT LATER, BUT, NOW, YOU DIDN'T BUY A PATTERN LIKE THAT.

HOW DID YOU DEVELOP ALL THE-- WELL, IT TOOK ALMOST 3 DAYS TO DEVELOP A PATTERN.

AND I USED AN OLD RAGLAN SLEEVE COAT PATTERN, WHICH ARE A DIME A DOZEN.

EVERY PATTERN COMPANY HAS THEM.

AND THIS WAS SO SIMPLE.

IT HAD A TWO-PART SLEEVE, BUT IT HAD A FRONT AND A BACK.

AND I SPLIT THOSE SECTIONS AND THEN ADDED THE EXTENSIONS SO THAT I WOULD HAVE AN EFFECT OF RIPPLING SEAMS ALL THE WAY DOWN.

AND IT GRADUATES FROM NOTHING AT THE NECKLINE TO 5 INCHES DOWN HERE.

WELL, YOU REALLY CREATED YOUR OWN PATTERN.

AND I GUESS WE CALL THAT ADAPTING A PATTERN FROM AN ORIGINAL STORE-BOUGHT PATTERN.

EXACTLY.

WELL, I HAD AN AWFUL TIME COMING UP WITH AN IDEA THIS YEAR.

NOTHING WOULD REALLY COME TO ME.

AND FINALLY SOMEONE SENT ME A SLIDE IN THE MAIL INSIDE A CORRUGATED PACKAGE FOR A LIGHT BULB.

AND I THOUGHT THEY WERE SENDING THE IDEA.

SO ALL OF A SUDDEN, I THOUGHT THE LIGHT BULB OF CREATIVITY HAS FINALLY CLICKED ON.

AND I DECIDED TO TESSELLATE THE LIGHT BULB ON THE OUTSIDE OF MY JACKET THAT WAS TO COVER MY CRUISE ENSEMBLE.

SO, OF COURSE, THEN WALKING DOWN AN AISLE IN OUR HARDWARE STORE, I HAPPENED TO SEE THE CHAINS TO PULL ON THE LIGHT BULB.

SO I GOT A LITTLE CARRIED AWAY.

I THINK IT'S VERY CLEVER.

THEY LOOK WONDERFUL.

WELL, THEN I'D BEEN THINKING, I NEED TO QUILT IN "G.E."

AND "SYLVANIA" AND ALL THE DIFFERENT NAMES OF-- THERE'S NO STOPPING ONCE YOU START.

DONNA, YOU ARE ALSO A GARMENT MAKER.

NOW, SHOW US THE VEST THAT YOU BROUGHT TODAY.

WELL, I THINK EVERYBODY LIKES TO KNOW THAT I ALSO SEW-- AND NOT JUST WORK WITH THE FASHION SHOW.

SO I MADE THE VEST THAT I'M WEARING A COUPLE OF YEARS AGO.

AND THAT HAS ALL THE BRIGHTLY-COLORED POINTS.

AND THEN THE ONE THAT I MADE, I THINK, TWO YEARS AGO WAS INSPIRED WITH A PIECE OF WOOL FABRIC THAT I HAD.

I'VE USED OUR COTTON CLASSIC BATTING INSIDE THIS ONE.

AND THE VEST PATTERN IS AVAILABLE IN ONE OF OUR BATTINGS.

SO IF ANYONE IS INTERESTED IN THAT-- OH, MY.

YOU CAN JUST GET IT FREE WITH ONE OF THE BATTINGS.

THAT'S RIGHT.

THAT'S RIGHT.

WELL, NOW, THERE'S SOMETHING PARTICULAR ABOUT THESE VESTS.

THEY ARE SILK, I UNDERSTAND.

THEY ARE.

AND I HAVE FOUND OVER THE YEARS THAT I PREFER WORKING WITH SILK.

IT'S A WONDERFUL FABRIC, BECAUSE IT'S SO SOFT AND SILKY.

AND I THINK THE HIGHLIGHTS THAT COME OFF OF THE COLORS ARE SO VIBRANT-- AND I'M REALLY A COLOR PERSON, AS YOU CAN TELL TODAY.

OH.

AND THAT'S WONDERFUL.

NOW, YOU CHOSE THE COTTON FABRIC FOR YOURS, VIRGINIA.

YES.

THE SHELL OF THE COAT IS BLACK POLISHED COTTON.

AND THEN I HAVE USED QUITE A BIT OF COLOR INSIDE WITH DIFFERENT SHADES-- THE COUNTRY CLASSIC, WHICH IS PUT OUT BY CONCORD MANUFACTURING.

I SEE.

AND, NOW, HAVE YOU WORKED WITH WOOL ALSO?

YES, I HAVE.

AND I LIKE IT VERY MUCH.

I LOVE NATURAL FABRICS.

THEY JUST RESPOND SO BEAUTIFULLY.

AND WOOL IS PARTICULARLY NICE TO WORK WITH.

BUT I LIKE THE LIGHT TO MEDIUM WEIGHTS MUCH BETTER THAN ANYTHING ELSE.

AND I SELDOM USE A HEAVYWEIGHT.

WE'RE GONNA HAVE A CHANCE TO VISIT JO DIGGS AND SEE HOW SHE WORKS WITH WOOL RIGHT NOW.

THAT'S GOOD.

I'D LIKE THAT.

MODELING HER OWN GARMENT IS JO DIGGS FROM PORTLAND, MAINE.

WELCOME TODAY, JO.

THANK YOU.

GIVE US THE FULL VIEW.

WE FEEL SO CLASSY.

YOU HAVE REALLY MADE A GREAT CONTRIBUTION TO QUILTING WITH YOUR WONDERFUL SOFT LINES.

AND TELL US ABOUT HOW YOU GOT STARTED IN QUILTING AND HOW IT'S RESULTED IN GARMENTS AND WOOL QUILTS.

WELL, I'VE ALWAYS LOVED SEWING.

AND FOR YEARS, I WAS A SCHOOLTEACHER TEACHING ART.

AND I WAS JUST SORT OF POSTPONING THE TIME THAT I COULD START WITH A FABRIC.

AND AFTER I STOPPED TEACHING, IT'S JUST MUSHROOMED INTO WHERE IT IS NOW.

WELL, AND YOU LIVED IN THE SOUTHWEST...

I DID.

SO MAYBE WE CAN SAY SOME OF THE LINES THAT YOU'VE WORKED WITH, DEVELOPED-- ABSOLUTELY.

THE FLAT LANDSCAPES THAT WENT ON, SORT OF LAYERED COLOR FOREVER.

AND, YOU KNOW, ACRES OF SKY WITH WHITE CLOUDS.

I MEAN, THE ROUND SHAPES IN THE DISTANCE WERE WHAT TURNED ME ON.

WELL, I REALLY IDENTIFY WITH YOUR WONDERFUL GARMENTS.

I AM LUCKY TO OWN ONE OF YOUR DRESSES.

YES.

AND I JUST CHERISH IT.

AND LET'S LOOK AT SOME OF THE WAYS YOU DO YOUR OWN GARMENTS.

NOW, IS THIS YOUR OWN PATTERN?

IT IS MY OWN PATTERN.

IT'S ONE I'VE DEVELOPED OVER THE YEARS.

AND YOU CAN SEE THERE'S VERY LITTLE FIT, AND YET IT'S NOT A TERRIBLY FULL DRESS.

AND IT WILL FIT ALMOST ANYBODY AND BE FLATTERING.

I SEE.

THIS IS THE SHORT-SLEEVED VARIETY, WHICH CAN ALSO BE WORN WITH A TURTLENECK.

AND THEN THIS IS THE SAME DRESS, BUT--I CALL IT THE VOLKSWAGEN OF APPLIQUE DRESSES, BECAUSE IT JUST DOESN'T CHANGE.

I'VE SOLD THE SAME DRESS FOR ABOUT 10 YEARS.

AND THEN THE SET-IN YOKE, WHICH IS ACTUALLY PART OF THE DRESS, HAS THAT OVER AND UNDER, ALMOST "ON THE WAY TO GRANDMOTHER'S HOUSE" KIND OF LOOK TO IT, BUT IT HAS A LOT OF CLASS.

IT REALLY DOES.

BUT NOW TELL ME ABOUT YOUR WOOL QUILTS.

THIS IS AN ENTIRELY NEW VENTURE.

THERE AREN'T TOO MANY PEOPLE WORKING IN WOOL.

BUT THERE ARE SOME.

YES.

IT TURNS OUT TO BE AN EXTREMELY EASY FABRIC TO WORK WITH, THE STANDARD-- IT DOESN'T FRAY WHEN YOU TURN UNDER... NO.

THAT'S THE STANDARD QUESTION.

AND IT JUST DOESN'T BECAUSE OF THE NATURE OF WOOL.

PEOPLE ARE A LITTLE AFRAID ABOUT MAINTAINING IT.

FRANKLY, I DON'T THINK THERE'S ANY PROBLEM IF THE WOOL IS CLEAN.

MM-HMM.

AND I FIND THAT MEN RELATE TO IT ABOUT 5 TIMES MORE HAPPILY THAN THEY DO TO THE COTTON THINGS.

WELL, NO WONDER.

I SEE A MEN'S SUITING RIGHT HERE ON THE OUTSIDE.

YES, YES.

MAYBE THAT'S WHAT THEY GET INTO.

AND I THINK IT'S REMARKABLE THE WAY THE STITCHING, THE ACTUAL QUILTING, DOES SHOW UP.

I'VE ALWAYS THOUGHT THAT THE NAP WOULD HIDE IT.

BUT HOW DO YOU DO THAT?

I THINK THE WOOL ACTUALLY SHOWS THE DEPTH OF YOUR QUILTING MORE.

YOU CAN'T DO REALLY FINE 20-STITCHES-TO-THE-INCH QUILTING ON IT.

THAT'S IMPOSSIBLE.

THEN A LOT OF PEOPLE MIGHT LIKE THIS.

YEAH!

DO YOU JUST DO A STRAIGHT RUNNING STITCH, OR HOW DO YOU DO THAT?

NO.

I'M DOING A FUNNY LITTLE BACKSTITCH.

AHA!

AND SOMETIMES IT'S A STAB STITCH.

A SECRET YOU HAVE SHARED WITH US.

YEAH.

JUST A QUILTING THREAD?

A QUILTING THREAD, YES.

I SEE.

I'M NOT VERY PARTICULAR ABOUT THAT.

I'M NOT THE FUSSY PERSON THAT--I'M NOT THE TECHNICIAN THAT SOME PEOPLE ARE.

I SEE.

AND TELL ME, IS THIS ONE NAMED, THIS PARTICULAR PIECE?

THIS IS CALLED "SNOWSCAPE," ACTUALLY "SNOWSCAPE 2," BECAUSE THE FIRST ONE WASN'T A QUILT.

AND I DECIDED I NEEDED A QUILT.

AND THIS IS ALL THE PIECING YOU WILL PROBABLY EVER SEE ME DO.

AND IT'S NOT MINE.

HA HA.

OH, SO APPLIQUE IS REALLY YOUR BAG.

APPLIQUE IS MY BAG.

I LIKE THE BACK.

THIS IS WONDERFUL.

WELL, IT WAS A 2-COLOR PRINT.

AND AT MY LOCAL STORE, IT DIDN'T SELL.

YOU RESCUED IT, THEN.

I RESCUED IT.

THE PIECE ABOVE US, WHAT IS THAT NAMED?

THAT'S CALLED "TOWARDS THE OCEAN."

AND IT'S LAYERS AND LAYERS OF WOOL TO SHOW THE WATER BREAKING OUT IN THE DISTANCE.

YOUR PIECES ARE SO PEACEFUL-LOOKING.

I THINK THAT'S ANOTHER THING.

THEY WOULD BE LOVELY TO HAVE ON A WALL.

THE WORD THAT HAS COME TO ME OFTEN--I MEAN, IT'S NOT COME FROM ME, BUT PEOPLE SAY "YOUR WORK SEEMS SERENE."

YES.

I THINK THAT HAS A LOT TO IT.

AND THAT FLATTERED ME VERY MUCH.

AND WHEN THEY SAID IT, THEN I REALIZED, YEAH, THAT IS ONE OF THE THINGS I WANT.

ALL RIGHT.

WELL, I'VE HEARD A NEW ENGLAND EXPRESSION THAT CLAIMS A STRAIGHT LINE IS A LINE OF DUTY AND A CURVED LINE IS A LINE OF BEAUTY.

OH, THAT'S WONDERFUL.

AND SO THAT'S WHAT YOU'VE GOT HERE.

AND ANOTHER FAVORITE OF MINE.

TELL ME ABOUT THIS ONE.

THAT'S CALLED "MOTHER EARTH, FATHER SKY."

IT'S ALL COTTON, AND IT'S ALL COTTON SOLIDS RATHER THAN PRINTS.

TO GET THAT TO BE EFFECTIVE, YOU HAVE TO HAVE MANY LAYERS AND MANY SURFACE BREAKINGS UP.

THE SOLIDS BY THEMSELVES CAN BE VERY DULL, BUT THEY WILL GIVE YOU THAT SAME SERENITY THAT WE WERE TALKING ABOUT.

I SEE.

AND THEN YOU'VE BROUGHT OUT, YOU'VE CAPTURED THAT BLOCK IMAGE THAT WE SAW REPEATED IN YOUR YOKES AGAIN.

YES, YES.

IT WAS SORT OF FALLING INTO THE SAME PATTERN, PUTTING MY TRADEMARK ON THE QUILT.

IT IS CALLED "MOTHER EARTH, FATHER SKY," BECAUSE THAT'S A NAVAJO PRAYER, AND THE TITLE HAD ALWAYS THRILLED ME SO MUCH.

WELL, THAT'S ANOTHER WAY TO GET AN INSPIRATION FOR A QUILT AND A FINE ONE.

WELL, WHAT'S AHEAD FOR YOU, JO?

DO YOU THINK ABOUT THE FUTURE WHEN YOU'RE WORKING OR-- A NEW SERIES OF QUILTS AND TWO OR 3 MORE OF THE BIG QUILTS OR PONCHOS.

WELL, WONDERFUL.

WELL, WE WISH YOU LUCK.

THANK YOU.

AND CONTINUE WITH ALL YOUR WONDERFUL PROJECTS.

THANK YOU VERY MUCH, GEORGIA.

NOW, VIRGINIA, YOU HAVE ANOTHER LIFE OTHER THAN JUST A QUILTER.

TELL US ABOUT THAT.

WELL, I PLAY PIANO FOR 8 MEN IN A DIXIELAND JAZZ BAND.

WE'VE BEEN TOGETHER FOR A LONG TIME, AND I WANT YOU TO KNOW WE'VE EVEN BEEN ON "THE TODAY SHOW."

WELL, THAT IS SOMETHING TO SHOUT ABOUT.

NOW, DOES THAT RELATE TO HOW YOU'VE NAMED THIS GARMENT?

IT DOES, BECAUSE MOST OF THE GARMENTS THAT I MAKE ARE NAMED AFTER POPULAR TUNES OR SOME FORM OF JAZZ.

AND THE NAME OF THIS ONE IS "THERE'LL BE A HOT TIME IN THE OLD TOWN TONIGHT."

LET'S SEE WHY, OK?

OH, MY GOODNESS.

OH, MY GOODNESS.

IT WILL BE WILD.

NOW, IS THIS THE SHELL UNDERNEATH?

AND WHAT HAPPENS?

WELL, THIS IS A REAL FLIPPY LITTLE SHEATH UNDERNEATH THE BLACK POLISHED COTTON.

AND THIS IS WHAT I CALL EITHER AN OVER-LAYER OR A BODY ORNAMENT.

AND IT'S MADE BY 3 DIFFERENT SIZES OF-- THEY'RE REALLY SQUARES, ALTHOUGH THEY'RE SET ON POINT.

THEY LOOK LIKE DIAMONDS.

AND EACH ONE HAS A LAYER OF COTTON CLASSIC IN IT.

AND THEY WERE VERY RANDOMLY QUILTED, AND THEN I HAND-BEADED, OR EMBROIDERED, ALL OF THEM AND LAID EVERYTHING OUT ON THE WORK TABLE SO THEY CAN JUST SLIP IT ON OVER YOUR HEAD.

AND IT'S FREE.

OH, WHAT FUN!

YOU CAN WEAR IT, THEN, WITH A NUMBER OF DIFFERENT OUTFITS.

AND WE WANT A CLOSER LOOK AT THIS WONDERFUL COAT.

NOW, TELL US ABOUT THIS.

DONNA'S GONNA HELP US PUT THIS ALL THE WAY UP ON HERE.

WHAT'S THE STORY BEHIND THE INSIDE?

Virginia: WELL, I FELT THAT AS LONG AS THE SHELL OF THE COAT WAS BLACK THAT I OUGHT TO HAVE A LOT OF COLOR ON THE INSIDE, AND I ENDED UP, AS YOU CAN SEE, WITH 7 DIFFERENT SHADES OF CONCORD'S COTTON.

AND I USED THEM IN EACH SECTION.

AND I ALSO WANTED TO BREAK UP THE BIG EXPANSE OF COLOR, SO I QUILTED EACH SECTION WITH A DOUBLE NEEDLE ON THE MACHINE.

AND ANOTHER THING THAT I DID HERE YOU MIGHT BE INTERESTED IN WAS TO USE JUST RANDOM STITCHING.

THIS IS JUST FORWARD AND BACK WITH NO PATTERN, NO LINES, NO GUIDE, OR ANYTHING.

BUT THEY DO FILL UP THE SQUARES.

AND THEN, OF COURSE, I APPLIQUED LITTLE LEFTOVER SQUARES IN THIS.

AND THEN YOU ADDED SOME LITTLE DOODADS.

I ADDED LEFTOVER BEADS.

I HAVE LEFTOVER EVERYTHING AT HOME.

SO I'VE ADDED THESE TO GIVE IT A LITTLE BIT OF SWING AND SWAY THERE.

AND THEN, NOW, YOU WENT AHEAD AND QUILTED RIGHT ON THE COTTON CLASSIC BATTING.

YES, I DID.

I WANTED TO DO THAT, AND I QUITE OFTEN DO THAT WITHOUT USING ANY BACKING AT ALL.

BUT I WAS JUST GONNA TELL YOU A MINUTE ABOUT THE SEAMS.

I THOUGHT YOU WERE GONNA BE INTERESTED IN THIS... OH, YES.

I'D LOVE TO KNOW ABOUT THAT.

BECAUSE THIS IS REALLY A HONG KONG FINISH ON EACH SECTION OF THE LINING.

AND THIS IS BY A STRIP OF BLACK, WHICH IS STITCHED RIGHT SIDES TOGETHER, THEN TURNED OVER AND UNDER.

NOW, ORDINARILY, THE LINE OF STITCHING THAT HOLDS ALL THIS IN PLACE IS STITCH IN THE DITCH RIGHT ALONG HERE.

BUT I WANTED IT TO SHOW, BECAUSE I USING METALLIC THREAD.

SO I STITCHED ON THE OUTSIDE.

AND WHEN EACH EDGE WAS BOUND, I BUTTED THEM TOGETHER AND USED A ZIGZAG STITCH TO HOLD THEM TOGETHER.

AND IT GIVES A NICE FLAT FINISH, AND THE BLACK SEPARATES THE COLORS IN EACH SECTION.

HOW CLEVER.

IT REALLY IS NICE.

I BET OVER THE YEARS, YOU'VE SEEN ALL KINDS OF CREATIVE USES OF BATTING, HAVEN'T YOU?

OH, THEY'VE DONE EVERYTHING.

WE EVEN HAVE A DESIGNER THIS YEAR WHO'S TAKEN THE COTTON CLASSIC, DYED IT.

AND HE'S NOW KNITTING IT BACK TOGETHER INTO PANELS FOR HER VEST.

IT'S QUITE AMAZING.

WE HAVE 5 DIFFERENT TYPES OF BATTING.

AND THEY ALL REALLY HAVE DIFFERENT END USES.

WELL, THAT OPENS UP A WHOLE NOTHER NEW THING--DYED BATTING.

IT SURE DOES.

MY GOODNESS.

YOU WERE GONNA HAVE, I GUESS, SLEEVES THAT WERE GOING TO BE COLORED.

AND WHAT HAPPENED?

THEY ENDED UP IN HER PURSE.

WELL, HERE THEY ARE.

HERE'S THE LOWER HALF OF THEM.

IN FACT, I HAD MADE THE QUILTED SLEEVES.

AND I DIDN'T LIKE THE WAY THEY SET.

SO I TOOK THEM OUT AND USED JUST THE PLAIN BLACK FABRIC WITHOUT ANY BATTING AND THEN USED SECTIONS OF THE SLEEVE SEWED TOGETHER TO MAKE THE PURSE.

OUR DESIGNERS ARE SO CREATIVE IN EVERY WAY.

I KNOW.

OUT OF NECESSITY.

BUT I THINK IT'S NICE TO KNOW THAT NOT EVERYTHING WORKED THE FIRST TIME.

NO, IT CERTAINLY DIDN'T.

AND YOU HAD SOME REJECTS THAT WENT OVER THE SHOULDER.

I DID, INDEED.

AND, IN FACT, WITH THE BODY ORNAMENT, I STARTED OUT WITH CIRCLES.

I WAS GOING TO MAKE AN OPENWORK VEST, OR BOLERO, AND I DIDN'T LIKE THE WAY THE CIRCLES LOOKED.

SO THEN I MOVED ON TO HEXAGONS.

AND THERE WERE TOO MANY POINTS ON THE HEXAGONS.

SO I ABANDONED THOSE AND WENT TO THE GOOD OLD SQUARE.

AND THEN WHEN I WAS SEWING THESE ON-- I COLLECT EVERYTHING, OF COURSE--- SO I USED RIBBONS AND SOME OF THE BEADS THAT I HAD LEFTOVER FROM OTHER PROJECTS.

AND I ALSO SEE YOU USED SOME OF THE METALLIC THREAD.

I USED THAT, TOO.

AND I RAN INTO SOME STINKER OF A SITUATION.

LET'S GO OVER TO THE SEWING MACHINE AND TALK ABOUT METALLIC THREAD.

OH, I'D LOVE TO, BECAUSE THAT'S VERY DEAR TO MY HEART.

I USE A LOT OF IT.

OK. Georgia: I DID A ZIGZAG STITCH WITH MY TRANSPARENT NYLON THREAD ACTUALLY THROUGH THE NEEDLE AND THEN SIMPLY PUT THE METALLIC THREAD ON TOP AND LET THAT RUN THROUGH A LITTLE OPENING IN MY APPLIQUE FOOT.

SO IT WAS ALMOST AS IF I WAS COUCHING, AND THE METALLIC THREAD IS JUST ON THE TOP OF THE FABRIC AND THE ZIGZAG'S HOLDING IT IN PLACE.

IT WAS MY ONLY ANSWER, BECAUSE THE METALLIC THREAD KEPT CATCHING.

WELL, YOU MADE THINGS VERY HARD FOR YOURSELF BECAUSE RIGHT HERE ON YOUR WORK TABLE, YOU'VE GOT THE BEST THREAD THAT'S MADE, AS FAR AS METALLICS ARE CONCERNED, AS IT'S ONE THREAD THAT YOU CAN PUT INTO THE NEEDLE ASSEMBLY.

IT DOESN'T BREAK, IT DOESN'T FRAY, IT DOESN'T DO ANYTHING BUT BEHAVE PERFECTLY.

OH, MY.

AND THEN I COULD HAVE DONE THE GOLD AROUND HERE AND THEN THE SILVER FOR THE FILAMENT AND NOT HAVE TO HAVE COUCHED IT THE WAY I DID.

RIGHT.

NOW YOU TELL ME, VIRGINIA.

WELL, JUST GO BACK AND START OVER AGAIN.

OH, NO, NO.

AND TALKING ABOUT EMBELLISHMENT, DONNA, YOU KNOW SOMEONE... WELL, THERE ARE SO MANY DESIGNERS THAT DO EMBELLISHMENT ON THEIR GARMENTS.

AND ONE OF THE ONES THAT REALLY COMES TO MIND IS JEAN WELLS.

I THINK OF ALL THE PEOPLE, SHE HAS THAT WAY OF ADDING A PERSONAL TOUCH TO THE EMBELLISHMENT ON HER GARMENT.

LET'S HAVE A LOOK AT HOW SHE DOES IT.

I'D LIKE TO.

I CERTAINLY AGREE WITH WHAT YOU'VE SAID.

THIS IS FANTASTIC.

YES, WE'RE WITH JEAN WELLS FROM SISTERS, OREGON.

AND SHE IS ALL CAUGHT UP IN FAN WORK, GRANDMOTHER'S FAN.

HOW DID THIS ALL START, JEAN?

GRANDMOTHER'S FAN IS A REAL TRADITIONAL BLOCK.

AND SOMETIMES, YOU THINK, WELL, IT'S NOT TOO EXCITING, BUT I WAS LOOKING FOR A BLOCK THAT I COULD EMBELLISH THAT I COULD ADD THINGS TO.

AND I LIKE TO USE A VARIETY OF FABRICS.

AND I FIND WHEN I START WORKING WITH SOMETHING, ONE THING LEADS TO ANOTHER.

AND THAT'S WHAT ALL OF THIS IS.

WELL, YOU KNOW, PEOPLE COLLECT FANS.

AND THAT BOOK I SHARED WITH YOU HAD SO MANY FANS GO WAY BACK IN OUR HISTORY.

IT WAS A WONDERFUL BOOK.

AND I FOUND IN READING IT, I HADN'T REALIZED, I GUESS, HOW FAR BACK FANS GO, AND THAT THEY WEREN'T SURE IF THEY CAME FROM THE EGYPTIAN CULTURE OR FROM CHINA OR WHERE.

BUT THEY USED TO BE AN ORNAMENT FOR WOMEN, JUST LIKE A PIECE OF JEWELRY.

RIGHT.

AND A WAY TO TEASE, AND MANY WAYS TO USE IT.

AND, NOW, LOOK HOW WE HAVE UPDATED IT.

CAN YOU GO THROUGH AND JUST TELL US ABOUT HOW YOU'VE USED AND ADAPTED THE PATTERN?

OK.

THIS IS THE FIRST PROJECT I DID.

AND IT IS A TABLECLOTH.

ONCE I HAD THE TABLECLOTH DONE, I DID THE NAPKIN RING.

THIS IS PART OF WHAT GOES INTO A CENTERPIECE WITH BABY'S BREATH.

I HAVE SEVERAL.

IT'S THAT SAME SORT OF IDEA.

YOU START ON IT, AND YOU KEEP SEEING OTHER POSSIBILITIES.

YOU ARE KNOWN AS THE DRIPPY, GUSHY, EMBELLISH GIRL.

TELL US HOW THAT GOT STARTED.

I THINK IT PROBABLY STARTED BECAUSE I EMBROIDERED AND SEWED.

AND WHEN I GOT INTO QUILTING AND THEN OPENED MY STORE, I HAD TO GIVE UP SOMETHING, BECAUSE I WAS DOING WEAVING AND EMBROIDERY AND PATCHWORK.

SO I GAVE UP EVERYTHING BUT PATCHWORK.

AND THEN THE EMBROIDERY CREPT BACK IN.

IT WAS LIKE I WAS ALMOST NEEDING TO DO THAT.

AND I LIKE HANDWORK.

AND SO THAT'S HOW ALL OF THIS HAPPENED.

JEAN, THIS HAS BEEN MY FAVORITE.

I ABSOLUTELY LOVE THIS JACKET.

YOU HAVE REALLY GUSHED THIS ONE UP.

TELL US ABOUT IT.

WELL, I LIKE USING THE BACKSIDES OF BUTTONS.

AND WHAT I DO, YOU CAN SEE HERE THAT THERE'S MORE DETAIL ON THEM, BECAUSE IT'S THE IMPERFECT SIDE SO THERE'S MORE COLOR.

IS THAT A FRENCH KNOT WITH SATIN RIBBON?

WHAT IS THAT?

YES.

IT'S 1/16-INCH RIBBON.

AND THOSE ARE FAN BLOCKS WHERE I USED RIBBONS ALMOST AS STRIPS, AS YOU WOULD IN STRIP PIECING.

I SEE.

AND YOU TREAT THEM THE VERY SAME WAY-- IN LAYERING ONE TO THE OTHER.

OH, MY GOODNESS.

AND WHAT LITTLE GIRL WOULDN'T WANT TO WEAR THIS?

NOW, CAN YOU WASH SOMETHING LIKE THAT?

WILL IT SPRING BACK?

WHAT HAPPENS THERE?

YES, YOU CAN.

WELL, WHAT I USUALLY-- I FIND THAT THE RIBBONS-- THEY'RE POLYESTER AND THEY HAVE A MIND OF THEIR OWN, WHICH WE DON'T LIKE IN SOME THINGS, BUT IN RIBBONS IT'S GREAT, BECAUSE WHEN YOU DO WASH THEM, THEY STILL SPRING BACK.

SOMETIMES YOU HAVE TO RETRIM AN END EVERY ONCE IN A WHILE.

CERTAINLY.

BUT ON SOMETHING THAT'S REAL SPECIAL LIKE THIS, IT'S WORN FOR SPECIAL OCCASIONS.

AND THE LAUNDERING ISN'T LIKE A DAY-TO-DAY GARMENT.

I KNOW.

AND I JUST SEND IT TO THE CLEANERS SOMETIMES, TOO.

SWEATERS ARE IN, AND LOOK HOW YOU'VE ADAPTED THAT.

YES.

THIS DESIGN, I WAS OUT TO LUNCH ONE DAY AND SAW THIS REPEAT ON A PIECE OF WALLPAPER, COPIED IT OFF ON A NAPKIN, CAME HOME, AND THEN I HAD TO FIGURE OUT HOW TO DO IT.

AND THE SURPRISE WAS, I WAS GOING TO DO JUST A SINGLE PANEL AND HAVE GREEN IN THE MIDDLE, THAT WHEN THEY CAME TOGETHER, THEY FIT SO BEAUTIFULLY THAT I ENDED UP CHANGING MY MIND.

OH, THAT'S WONDERFUL.

AND THEN THIS EVEN HAS A FAN MOTIF HERE.

THIS IS A GINGKO LEAF.

AH!

WHICH IS A FAN.

RIGHT.

BASICALLY, IT'S THAT SAME KIND OF SHAPE.

AND YOU'VE CULMINATED ALL THESE PROJECTS AND IDEAS INTO A WONDERFUL BOOK WITH YOUR LOVELY WHITE-ON-WHITE QUILT ON THE COVER.

AND THEN ON THE BACK, THIS IS KIND OF AN AMISH FAN, OR WHAT... WELL, IT'S WHERE I LIVE, TOO.

I LIVE IN THE NORTHWEST, AND THE MOUNTAINS REALLY INSPIRE ME.

AND THESE ARE THE DUAL SORT OF COLORS THAT YOU SEE IN THE SUNRISES AND SUNSETS.

SO I JUST WANTED TO CAPTURE THEM IN MY QUILT.

IT'S BEAUTIFUL.

NOW, YOU ENJOY TEACHING THIS AS A PART OF YOUR LIFE, AND IT HAS BEEN FOR A LONG TIME.

HOW DID YOU GET STARTED DOING THAT?

WELL, I'VE BEEN TEACHING, I THINK, SINCE I WAS A LITTLE GIRL, SINCE I WAS THE OLDEST SISTER.

AND I WAS ALWAYS HELPING OUT AND DID GET A DEGREE IN TEACHING, IN HOME ECONOMICS, BUT ALWAYS LIKED THE REAL CREATIVE WORK.

AND SO EVEN THOUGH I WAS TEACHING JUNIOR HIGH, I WAS TAUGHT IN AN ADULT EDUCATION CLASS.

AND PATCHWORK WAS A WAY FOR ME TO EXPRESS MYSELF CREATIVELY.

AND I STARTED DOING IT ABOUT 16 YEARS AGO.

AND IT RELATES TO THE HOME.

AND THE FEEDBACK FROM STUDENTS, I THINK THAT YOU SAID THAT THAT REALLY IS A SPRINGBOARD FOR YOU AND HELPS A LOT.

IT IS.

I FIND THAT BEING WITH STUDENTS MAKES YOU AN EVERYDAY PERSON.

YOU KNOW, THEY ASK YOU QUESTIONS THAT MAKE YOU REALLY THINK ABOUT WHAT YOU'RE DOING.

AND I FIND THAT'S HOW I IMPROVE MYSELF, IS BY LISTENING TO THEM AND TAKING THOSE THINGS IN AND THINKING ABOUT IT.

AND THERE'S ALWAYS A CHALLENGE.

IT'S KIND OF LIKE YOU GO ON AND ON AND ON WITH IT.

I KNOW.

JEAN, WHEN I COME TO A CONVENTION, SOMETIMES I FEEL A LITTLE INTIMIDATED OR INADEQUATE.

I THINK, "WELL, I'M GONNA THROW IN THE TOWEL.

I CAN'T MAKE QUILTS LIKE THIS.

I CAN'T DO THIS SORT OF THING."

DO YOU HAVE ANY RESPONSE FOR THOSE FEELINGS?

WELL, I FEEL THAT WAY, TOO, SOMETIMES, ESPECIALLY WHEN I SEE THE FAIRFIELD FASHION SHOW, AND HERE'S MY GARMENT, AND I SEE ALL THESE OTHER WONDERFUL THINGS.

SO I KNOW HOW STUDENTS FEEL.

BUT I TRY TO TALK TO THEM ABOUT THAT.

AND I TELL THEM THAT IT'S A TIME FOR REFUELING IN THEIR LIFE.

IT'S WHEN THEY COME AND GET ALL THE IDEAS THAT THEY POSSIBLY CAN BUT THEN GO HOME AND PUT IT WITH WHAT THEY ALREADY KNOW, AND TRY TO ENCOURAGE THEM THAT THEY DO HAVE TALENTS.

AND I'M A FIRM BELIEVER IN TRYING TO DEVELOP EVERYBODY'S OWN TALENTS.

I ALSO THINK SOMETIMES I HEAR STUDENTS SAY, "WELL, I DIDN'T GET A THING FROM THAT WORKSHOP."

THAT WE DO.

AND YOU KNOW THAT ABOUT A YEAR LATER, THEY'LL THINK, "I CAN USE THAT LITTLE TIDBIT I LEARNED BACK THEN," AND THEY'LL PULL IT OUT.

AND THEN THEY'LL SAY, "WELL, I WAS WRONG ABOUT THAT."

SO I THINK THAT'S ANOTHER THING, TOO.

YOU KNOW WHAT HAPPENS, I THINK, SOMETIMES WITH STUDENTS, YOU KNOW, YOUR FRAME OF MIND THAT DAY...

YES.

DETERMINES WHETHER YOU'RE GOING TO GET SOMETHING OR NOT OUT OF IT.

AND, YOU KNOW, MAYBE EVEN THOUGH YOU COME TO CLASS KIND OF IN A BAD MOOD OR HAD A BAD DAY, YOU KNOW, IF YOU CAN LET GO OF SOME OF THAT AND JUST ENJOY THE EXPERIENCE.

IT DEPENDS ON WHAT SIDE OF THE BED YOU'VE GOTTEN UP ON, WE SAY.

WELL, YES!

HA HA!

WELL, JEAN, WE WISH YOU CONTINUED GOOD LUCK.

AND KEEP TEACHING.

YOU HAVE SHARED SO MUCH.

AND WE FEEL ALWAYS UPLIFTED WHEN WE'VE BEEN AROUND YOU.

THANK YOU.

THANK YOU, JEAN.

DONNA AND VIRGINIA, THANK YOU SO MUCH FOR BEING IN OUR STUDIO TODAY.

I WISH YOU MANY MORE BEAUTIFUL, GLORIOUS GARMENTS.

THANK YOU.

THANK YOU FOR ASKING US.

AND JEAN WELLS IS GOING TO SHARE WITH US THE TIP OF THE DAY.

JEAN, WE'VE ADMIRED YOUR COLLAR.

AND NOW YOU'RE GOING TO SHARE WITH US SOME OF THE TECHNIQUES.

TELL US HOW YOU GO ABOUT DOING THIS.

YOU DO MAKE YOUR COLLAR, LIKE, FROM A TRADITIONAL PATTERN.

GO AHEAD AND LINE IT.

AND THEN THE FANS ARE LIKE LITTLE EMBELLISHMENTS.

I CUT OUT A BASE FABRIC AND CRAZY PATCH TO IT, LAID THE LINING ON TOP OF THAT, TURNED IT, AND THEN I SLIT THE BACK...

CLEVER.

TO TURN THE FAN.

THE NICE THING ABOUT IT IS THAT YOU GET YOUR EDGES ALL FINISHED.

NOW, BECAUSE I'M GOING TO TACK IT ONTO HERE, I DON'T EVEN FINISH THE BACK.

BUT YET IT CAN COME UP A LITTLE BIT BECAUSE THERE'S SOME DIMENSION THAT YOU WANTED.

IT IS A MORE 3-DIMENSIONAL EFFECT.

THEN TO DO MY EMBELLISHMENT WITH THE FRENCH KNOT, I TAKE MY 1/16-INCH RIBBON AND PUT A KNOT IN THE END, JUST LIKE YOU WOULD IF YOU WERE GOING TO EMBROIDER.

THEN I KEEP MY KNOTS UNDER THE FAN...

I SEE.

SINCE IT WILL BE COVERED UP.

AND YOU HAVE THE NEEDLE TRAVEL UNDER THAT SPACE.

AND THEN WILL COME RIGHT THROUGH.

IT PULLS RIGHT THROUGH.

DO YOU HAVE TO USE A SPECIAL NEEDLE AT ALL?

YES, YOUR NEEDLE NEEDS TO BE SHARP.

AND, OF COURSE, THE EYE HAS TO BE ABLE TO ACCOMMODATE THE RIBBON.

IF YOU'RE WORKING ON A REAL LIGHTWEIGHT FABRIC, YOU WILL NEED TWO LAYERS.

NOW, YOUR ORDINARY FRENCH KNOT, YOU PLACE YOUR NEEDLE BESIDE WHERE THE RIBBON'S COMING OUT.

GO OVER THE TOP AT LEAST TWICE.

PUT THE NEEDLE BACK IN BUT NOT IN THE SAME HOLE.

I SEE.

THEN DON'T PULL IT TOO TIGHT.

YOU JUST BARELY KIND OF BRING IT DOWN TO THE OPENING.

A LITTLE SLACK THERE.

MM-HMM.

AND THEN AS YOU PULL IT THROUGH AND IT COMES DOWN, LET IT SIT UP.

LET THOSE LOOPS SHOW.

IT GIVES MORE DIMENSION.

OH, IT'S BEAUTIFUL.

THE LIGHT CATCHES THE SATINY LOOK OF IT.

AND YOU CAN DO THAT IN A ROW OR ALTER THEM HOWEVER.

MM-HMM, MM-HMM.

AND THIS COULD ALSO BE A CONNECTOR.

YOU COULD ALMOST USE IT TO CONNECT THE FANS, TOO.

UH-HUH.

HAVE YOU EVER TRIED PUTTING A FRENCH KNOT ON TOP OF A BUTTON?

HAVE YOU DONE THAT?

SOME, YES.

OH, WELL, IT'S JUST ENDLESS.

UH-HUH.

THE JUICES CAN START FLOWING THEN.

Georgia: "HANDS ALL AROUND THE LANDS" IS OUR NEXT "LAP QUILTING" SHOW.

WE'LL SHOW YOU SASHIKO, A VERY DRAMATIC BUT SIMPLE TECHNIQUE OF DECORATIVE STITCHING.

THEN ANCIENT CELTIC DESIGNS ARE ADAPTED TO MODERN QUILTING BY PHILOMENA WIECHEC.

IT'S ANOTHER GREAT SHOW FULL OF NEW IDEAS.

DO JOIN US.

♪ Announcer: "LAP QUILTING WITH GEORGIA BONESTEEL" WAS MADE POSSIBLE BY GRANTS FROM GINGHER, INCORPORATED, MAKERS OF SCISSORS AND SHEARS FOR THE HOME, CLASSROOM, AND INDUSTRY... AND COATS & CLARK, SERVING AMERICA'S SEWING NEEDS FOR OVER 125 YEARS, FEATURING J&P COATS' DUAL DUTY PLUS THREAD.

GEORGIA BONESTEEL IS THE AUTHOR OF "LAP QUILTING," "MORE LAP QUILTING," AND "NEW IDEAS FOR LAP QUILTING," PUBLISHED BY OXMOOR HOUSE AND AVAILABLE IN BOOKSTORE AND LIBRARIES NATIONWIDE.