A Log Cabin Quilt Challenge... as interpreted by a Wearable Artist, Judith Pipher

A Log Cabin Quilt Challenge with Sewing, Machine Knitting and Beading...
as interpreted by a Wearable Artist, Judith Pipher

Front of Garment

Judith shares her process of following a Quilt Challenge and incorporating multiple textile arts to create a one-of-a-kind garment.

My goal in life is to surround myself with like-minded people. In the world of fabric the nearest group to me is a quilt guild . I joined the guild and appreciate the art form that quilting gives. Now to explain, I am not a quilt maker. I am a quilter. I quilt garments. I do try to fit in sometimes and I do take part in guild challenges.

This Challenge was to do a log cabin design. Of course it was meant to be a wall hanging or quilt. My interpretation was a garment. The  inspiration came from The Asymmetrical Layered Jacket from Cochenille Design Studio's The Easy Seven Series book. 

All pieces were charted out using Garment Designer pattern making software (www.cochenille.com). 

Both sleeves, left front and half the back were knit using my knitting machine. All hems were knit first using stocking stitch. The fabric was an assortment of Chinese inspired quilt fabrics. I took the right front pattern piece and the upper back piece from my pattern and then cut  the shape out of light weight cotton. Then the Log Cabin pattern began to take shape. On the centre back, the quilt pattern was overlapped to lay on the knitting. This was done to extend the log cabin square and to draw the eye away from the line of  sewing. The V-shape was then hand sewn on top of the knitting. The seam that joins the knitting and quilting was above the armhole to making it easier to manage. 

Front and Back of the garment

The inside of back quilting was finished by using a bias-trimmed lining to cover the stitching of the fabric. On the right front fabric side I used the same pattern shape to create the lining and slip stitched it in place. On the left side, a knit  facing was made to allow  the v-neck to lay flat and not curl. 

Inside of the garment

I continued to think about the art form of the Victorian Era of Crazy Quilting. On a black ultra suede strip on the fabric side  a dragon was created with embroidery and beading. A zipper was used for the closure and the stitches were concealed with an embroidery stitch. On the knit side, appliquéd strips of cloth were used at the shoulder matching up with the back fabric, creating an over the shoulder flow. Brass Chinese coins  were added to create whimsical detail.

To  add other focal points Bead work was done in the centre of a large flower, plus a small floral brass charm was added on the back.

Details

Once finished I realized that the back length was not the correct proportion for me. I shortened it by undoing the side seams, picking up stitches, then rehung the garment on my knitting machine finishing it with a hem and mitre corners at the side slits. 

The results of this design are, it is not a traditional quilt but it is wearable and  keeps me warm and best of all it forms a part of my one of a kind Signature garments !

"Each of us has a unique part to play in the healing of the world".  Marianne Williamson.

A Little about Judith

Judith is a retired historical interpreter. She loves history and now volunteers to do textile management at different museums.  She does condition reports, exhibits and cares for them. Her first and best love? Fibre of all kinds.

Judith travel to learn, to meet like-minded people and to be inspired. She went back to college at the age of 64  to learn pattern making. She continued on to study tailoring with Le Grand Chic school In Italy through Georgian College Barrie. and she graduated at 70!  We were honored to have Judith study with Cochenille in both Italy and San Diego. she has also studied with Jon Moore in London,  Susan Khalje in NYC, and Kathryn Brenne in North Bay (ON, Canada)