All Quilty Roads Lead to Liberty

September 27, 2026September 26, 2026 Elizabeth E.11 Comments

That’s Janine and I, up there under the Liberty Arch.

Apparently all roads lead to Liberty of London if you are traveling to England. Janine, of Rainbow Hare, has also written about meeting up a stranger (that’s me!) from the US in the great city on the Thames, and has a wonderful overview of that store. She called her blog post A Grand Day Out, and it was!

I learned from Janine’s blog that it has the idea of a ship at its origins, and I can see it in the timbered and half-timbered exterior (from a ship!) and interior:

I didn’t quite figure out the floor plan, but basically there are central atriums and so many beautiful goods for sale.

These are from the first central atrium we entered. That giant rose with all its petals made me wonder how they crafted it. Magic, I think.

Another atrium. They don’t just sell Tana Lawn or fabric, but being quilters, Janine and I made a beeline for that section, with one quick stop on the fourth floor to see the (new) Christmas displays).

Eyeball ornament?

And…eyeball tree. Must have been some current bit of culture I missed out on.

Love seeing their golden ship weathervane through the skylight. [Truth: Janine spotted it first. It is totally the best to go to a store with a fellow blogger. They see things you don’t, and visa versa, and we “see” so much more!] Okay, time to go down one flight of stairs (we were always looking for the stairs) to the fabric floor.

I saw some of this, too, in Paris, where they drape the mannequins in yardage and ruffles to show you a dress in their exquisite fabrics.

We were moving so fast, I didn’t get a chance to read about this display of giant scissors.

With the open atriums you can see all the festive Christmas lights. It would be so fun to be in London at Christmas. (next trip, haha)

Knowing I would be overwhelmed by it all, before I left home, I did some “pre-shopping,” browsing their website and choosing one print of Tana Lawn — only one — to purchase. I showed the young man (with the fabulous brooch on his shoulder) my photo of what I wanted, and he took me right to the yardage. One meter, please.

It’s for a secret project later on this year, so here’s the slightly disguised view. We also combed through their boxes of “scraps” or remnants, and I picked up a lovely floral clip-dot:

I learned about this way back in the day when I took my textiles classes in college. We know it now as “dotted swiss” but that fabric really that is little dots of glue and bits of fluff.

Above is the “true” dotted swiss: a long thread is carried during the weaving and then clipped short to create those little dots. Then it is printed afterwards, which is why some dots are blue or red or green. This is one of the beauties of Liberty: you can find the traditional fabrics.

While we were looking for stairs, we ran into a few other interesting Liberty tidbits:

What your fabrics are made from: spools of yarns.

The “Sole Spa” for “fabulous hands, feet, and legs.”

No(se) comment.

Stained glass in one of the stairwells.

And then out! We grabbed some lunch at Pret (which used to be called Pret A Manger) then walked over to MacCulloch & Wallis Ltd, another sewing store.

What is haberdashery? In America, we’ve adapted it to mean mens’ clothing, but the original meaning, from Chaucerian times:

“a haberdasher is a business or person who sells fabric and small articles for sewing, dressmaking and knitting, such as buttons, ribbons and zips” (from here)

Here’s some haberdashery eye candy, for those of us in the States still mourning the loss of the JoAnn’s stores:

Yes, I bought buttons. And some elastic to replace some in my half-slip that had worn out, which led Janine to take me to Marks and Spencer Department Store next to find a “half-petticoat.” A great adventure! And why did we ever change out the word petticoat for “slip”? Or the word “haberdashery” to “notions”? We really have to reclaim these words!

Some London sights.

After a restorative beverage at McDonalds (no judging, it was right next door), she took off to the train station to head back to her lovely English countryside. But she left me a great present in the form of a magic wand:

I put it in my scissors-and-pens container when I got home; when I sew on my machine, I can hear the little bells jingle. A treasure, from the hands of Janine.

When we were at MacCulloch & Wallis Ltd, we each got a tote bag with our purchase. Which leads me to confess I have a true love of tote bags. And Scotland and London feed that habit as they are Very Serious about no plastic bags. Maybe if we here in America had all these cute bags, we’d get rid of our plastic bags, too (except for special necessary occasions). Here’s most of the bags I toted home:

Topping & Company was the beautiful bookshop right around the corner from our flat in Edinburgh

Detour Story:
When I was chatting with the clerk at Topping and Co. bookstore, telling him how much I enjoyed being in his shop, I mentioned that it was not like our bookshops at home. He asked me what they were like. And I said well, most of the things in the bookstores are not books. He then said the owner made a calculated decision to not even let pens be sold in the store because if pens come in, then you have to have journals and if you have journals, you have to have stationary, and so on. The whole place is just gloriously filled with books, along with a couple of racks of greeting cards, but that’s it.

Scottish Parliament Building (another tote). The deal in that gift shop is this: you can buy a paper bag for £1. Or you can buy a cloth tote bag for £2. That’s a no-brainer to someone who loves textiles.

National Gallery of Art (London) Some of the art is posted here.

The Royal Yacht Brittania, Queen Elizabeth’s decommissioned yacht, AKA Corgi City. I carried this bag around after that, but turned inside out so it wasn’t sooooo obvious I was a tourist.

National Galleries of Scotland (there are actually four of these linked museums, but they all share the same style of tote bag). Here’s a post about the tiled floors in the National Museum of Scotland. Above is the inner atrium of the National Portrait Gallery.

Holyroodhouse Palace. I was there on the “special day.” If I coughed up a bunch more £-notes, I could see the Queen’s Royal Apartments. I met some a mother and daughter who’d come up from Essex just to tour these rooms. I asked them “Do we like Camilla now?” Oh, yes, was the reply. “And how about your most recent returning royal, Prince Harry and his wife?” The two women looked at each other and shook their heads, saying something about how they need to keep their heads down and be proper royals. And in true British fashion, both of these women’s middle names were Elizabeth.

Last photo from London, in the Heathrow airport. I never did ride on the Elizabeth underground.

Next trip!

Bonus Tote Bags:

Backside of the National Gallery in London bag. Somewhere in the millions of title cards I read while going through museums, there was a line about what will we do when we don’t have museums to learn from? I loved that they were teaching me even on a tote bag.

As fellow lovers-of-cloth, you will understand when I tell you that I grabbed this from the tray in the hallway with someone’s garbage from their take-out dinner. I dumped out their cartons (neatly) and took it back to our hotel room. This heroic rescue made us just late enough that we had to run to catch our bus. #worthit

Free Download · Museums

Quilt Care | Surface Designs

August 11, 2024August 2, 2026 Elizabeth E.8 Comments

Freebie alert!

Now you can give them to the people who get your quilts. Download the freebie below by clicking on the button.

Quilt Washing Instructions 4x Download

This is what it looks like: four to page. Print it out on cardstock, cut it apart and pass them out with your quilts.

I did have an old Quilt Care Card, but when my sister Susan needed one for the quilt she was making, I rustled up a new one. Much better.

As a person who often wishes she’d studied graphic design (or as they sometimes reference it: surface design) in college, I’ve been amazed by all the graphics I saw on our nightly broadcasts of the Olympics. I want to do something with them all, like making a heart block seen above. Or that very cool half-circle in segments. Another color way is below:

Here’s some links to gaze at, if you’d like seeing some of the graphics in motion:

The cool pictograms denoting the different sports
You know that box the Olympians receive with their medals? Here’s what’s inside.
I liked the little video on this post.
And the connection between the pictograms and a few sports.

Oh. Okay. (Need to update my thinking.)

*Dreams Between the Earth and Sky, 2018* by Judithe Hernández from here

We went over to The Cheech [museum] last week, on the last day of Judith Hernández’s exhibit, most done in pastel chalks. So many intrigued me, but the two ladies on either side of this triptych were “clad” in the embroidered designs from huipils, a typical dress.

Here’s a snapshot of the huipil I brought back from Guatemala in 2019, when I visited my sister Cynthia (she has since returned from her church mission), and she took me to so many interesting places that involved needles, thread, looms, cloth. I could have stayed a week, but we only had a weekend.

Here we are, clowning around in a woven shawl. Don’t worry; I bought a couple.)

Three women, one of them just crowned Queen of her Village, all wearing huipils (woven and embroidered tops).

Patchwork quilt made of woven scraps, with some embroideries here and there. Somewhere I have about 10 of these parches, tucked away (of course). This entire post has more information if you are interested.

But back to the tryptich, above.

In the linked video, Hernández explains the iconography of the red ram in the center image. It’s that thing that seems to come around and interrupt the smooth flow of whatever you are doing. Of course, I’m paraphrasing. I’m all too aware of red rams in my life, in the life of friends far away, in our families. I loved that this idea was put into a visual image.

My husband and I walked on the beach this last week, as we had a mini-celebration for our anniversary. The waves drawing out the different grains of sand into patterns fascinated me.

Celebrate the bits and pieces of surface design you run across in your lives–

Post Script:

One can never have too much paper or too many pencils. The pencil above is a quilt clapper made by Modern American Vintage, with the loot from the Field Notes most recent sale: I’m a sucker for small notebooks. The pencil below is a Blackwing, purchased last year. It glows 🙂 in the dark!

Museums · Quilt Shows · Quilts

The 2022 Springville Art Museum Quilt Show

July 26, 2022September 7, 2025 Elizabeth E.17 Comments

I was a judge this year for the Springville Art Museum Quilt Show, and while I can’t include all the quilts that were hung, I thought I would post up a few that were my favorites or that caught my eye.

Details from quilt. She used the pattern from Piecemakers: “His Majesty – the Tree.”

Pizzazz! designed and quilted by Ruth Davis — an original pattern!

Never a Blue Heart
Made and quilted by Lisa Johnson
(pattern here)

Sheryl Gillilan designed and quilted this quilt, titled, It’s All a Game!

The Boys on the Block
Designed, made and quilted by Marian Eason

Afternoon Delight
Made by Patsy Wall; Quilted by Kim Peterson

Winter Bouquets
Made by Katherine Porter; Quilted by Emmy Evans

At first glance, I thought the flowers were broderie perse, but it’s all appliqué!

Ann Larsen started Nature’s Chorus in 1999 and finished about 30 of the blocks. During the pandemic she finished it. Quilted by Shelly Dahl.

I loved the simplicity and elegance of this design, with outstanding quilting.

Pamela (a fellow judge) and Wendy (Chair of Quilt Committee) on the day the show opened. (Lisa’s quilt is in the background.)

Julie Saville first created the borders of her quilt Star Garden, then did the center. She also did the quilting.

I could have looked at this one for hours–sorry about the images. Photographing in high contrast light (like spotlights on quilts) often does funny things. It was stellar, though!

Florence Evans’ Bow Wow Chow Mein
Made by Evans; Quilted by Quilts on the Corner

Improv Curves, Made and Quilted by Marian Murdock

Effervescence • Made and Quilted by Sheryl D. Gillilan

I loved this quilt, with all its blues and aquas (my colors!). It is titled Straits of Mackinac and was made by Lani Brower (my second scribe) in a Bonnie Hunter class on Mackinac Island, Michigan. Peggy Cameron did the quilting.

Just a handful more quilts for this post.

Diversity – Unity – Harmony (Mobius Radial Quilt)
Made and Quilted by Luanne Olson

I hope you can see what a wide variety of quilts there are in this show!

Andrea Erekson made and quilted Happy Golden Days

Katherine Porter’s Fan Flower • Quilted by Virgina Gore

There were quite a few more quilts, but next year you’ll just have to go and see for yourself. Thank you, Springville Art Museum and the Utah Valley Quilt Guild!

Museums · Quilt Shows

Judging a Quilt Show • July 2022

July 24, 2022September 7, 2025 Elizabeth E.16 Comments

It starts like this.

Or this.

Or really, it started with an email from the Quilt Show Committee asking me if I would consider judging one of my favorite small shows: the Springville Art Museum Show. The quilt show is put on by the museum, but the Utah Valley Quilt Guild provides the bulk of the volunteers, the manpower to get it all put together. According to Wendy, the chair of the Quilt Show Committee, I would be there all day, and they would provide lunch (which was delicious!). It was a 9-5 job, in other words.

Yes, I was a bit nervous never having done this before, so I did pretty extensive reading before I went, carrying copies of the NQS guidelines, and other references I found. In reviewing them the night before, I thought: “After nearly five decades of quilting, I either know this…or I don’t.”

What I wasn’t always aware of was how to compare quilts that are quite dissimilar in style, execution, materials, etc. According to NQS guidelines, it often comes down to the number of design decisions made by the maker. I let that be a guide as I worked through the quilts.

Wendy (shown here at the end of the day when she was relaxed) was my first scribe, and Lani (on the right) was my “interim scribe” when Wendy went to assemble lunch for us all. In the morning, I met my other two judges, Pamela and Chris (our bios are at the bottom of this page), along with our the other scribes. The Museum Curator, Emily, and Wendy gave us instructions.

Each quilt was to be judged twice, but each judge was to only judge a portion of the quilts (roughly 60). We would look at the quilt, check off the items on the scoring sheet, leave a comment or two about the overall impression of the quilt, then the scribe would leave the paper upside-down under the quilt, to be picked up later.

The scoring sheet had the usual items dealing with construction, design, quality, straightness, buckling or cupping of edges, tension of stitches, and so forth. Having participated in larger shows, I was suprised that they didn’t have two categories for machine: stationary head or moving head (long-arm), but instead lumped them all together (I will compose an email to the curator, later). And I was surprised about the fixation with binding on the score sheet — was it straight? was it even? was it filled? I dutifully did my inspection, but thought this was a minor detail overall. I’d heard about this from others, but still roll my eyes a bit.

The fun part was getting to put my hands all over the quilts. I kept them clean, washing them often, but it was necessary to determine — in one case — whether the tiny circles were appliquéd or painted onto the quilt (painted). I had to pull at design motifs to figure out if it was a panel or appliquéd (panel), and check other various parts of the quilt.

I’d read the phrase in my studying, “If you can see it, the judge can see it.” Yes we can. I spent a lot of time picking off threads only to find they were attached, like this one, above. We had about an average of 3-4 minutes per quilt. I’d read that some shows are judged “flat” and other shows are judged “hung.” Ours was obviously hung, so we couldn’t really examine the top corners, but could do the rest of the quilt pretty well. I spent a lot of time running my fingers down the bindings, picking up corners to check for construction.

My scribe dutifully wrote what I dictated. I soon learned that I was better about commenting about the design right off the bat, then could address the “needs improvement” comment after I’d gotten up close and personal. I think that what I said about those first few quilts were a bit clunky, and wish I could go back and re-do some of them, but we had pretty hard and fast deadlines, so I pressed on.

In later afternoon, after we had all judged the quilts, the real discussion began back at the table. We needed to fill out the top winners, settle our differences about what quilts should be elevated to awards, and choose our own Judge’s Choice. I thought we worked really well together as a team.

There were three major awards, with Best of Show being one of them. Then a few more Awards of Excellence, then Honorable Mentions, along with Sponsor Awards, Museum Awards and others. We had a lot of norming of the score sheets to do, which meant running off to see the quilts yet again, discussing them among ourselves. I liked this part of the best, as I felt we each had different tastes and approaches and this gave a good evaluation of which quilts should get an award. I could point out details in the quilts I’d judged, and they could point out details in the quilts they’d closely looked at. Finally our awards lists were complete and we handed them in…early!

Here I am holding my Judge’s Choice ribbon in front of the quilt I chose. There were some specifications for what we chose, but generally we had free rein. Notice the two judging sheets on the floor (we each had a different color), and the paper pinned to the corner of the quilt with the barest amount of info: no names, no stories of the quilt. It was just us and the quilts that day.

I was surprised that they gave me an honorarium, so I promptly went across the street to Corn Wagon Quilts (one of the sponsors) and went shopping. The Circle of a Quilter’s Life, right? I spent the night at my sister’s house in Provo, and over dinner, she dutifully listened while I talked about my experiences. She also had listened to me years before, after I’d gone to Quilt Market; I’m glad she was there.

So, in the end, did I “know it?”Confidently, I can say yes. Do I want to judge another show? Yes. Do I want to judge a show like Quilt Market or Paducah? Heaven’s no! But many small regional and guild shows need judges, and I feel I could do this. Like every quilter, I’ve made a lot of stitching mistakes in my life which brings one kind of education, but being able to go to — and participate in — some of the shows such as Quilt Market, Houston, Atlanta, PIQF, Road to California and other large national/international shows has given me another kind. After participating all these years, I was happy to be able to give back.

If you haven’t entered a Guild Show, or a regional or national show yet, give it a try. They can only say no, and you might be surprised about getting in!

Happy making–