This material in this page has been copied from our previous website, created using Dreamworks and maintained for many years by Irene MacWilliam.
In 1989 to celebrate the Northern Ireland’s Patchwork Guild’s first ten years Quiltfest, a large exhibition with a weekend of talks and workshops was held in Stranmillis Training College, Belfast. Teachers and Speakers were from England, Scotland, Ireland and within the Guild.
10 Years On a 36 page colour booklet showing members’ quilts was published. The cover left shows a guild quilt designed by Jane Lloyd and made as a group quilt by members of the guild. An open competition of blue and white star blocks had contributions from all over the UK, Ireland, Germany, Netherlands and the USA. The ten winning blocks were made up into a wallhanging for the Northern Ireland Hospice Chapel. The rest of the 240 blocks were made into a quilt that was raffled, a large quilt to cover the Physio plinth, lap quilts and cushion covers for use in the Hospice. A video of the weekend was produced and Quiltfest sweatshirts with the guild logo were a great success.
Millennium Exhibition. Quilts in the Cathedral. June 2000.
This exhibition, in the historic Cathedral in Dromore Co Down was a meaningful celebration of the year 2000. The theme for the quilts was Ecclesiastes 3 v.1-8. It was inspiring to view the different interpretations. Ninety three quilts, each one a unique example of the quilter’s art, hung from rafters, balcony, pillars and walls.Visitors to the Cathedral were amazed at the beauty of the individual pieces and how together they created such an impact. The exhibition travelled to five other venues; Greenisland; Carrickfergus; Holy Trinity Church, Glencraig, Craigavad; St George’s, Belfast; and St Patrick’s, Ballymena. This was a very successful as it gave an opportunity to visitors from all over Northern Ireland to view and enjoy the work.
Round Robin Quilts for Nepal. 2003
During 2003 a number of guild members made 21 Round Robin Quilts. Created on the ’round robin’ principle, five people worked on each quilt, using a particular format to give uniformity. The first person worked the central motif, the next a border of triangles, the next a border of appliqué, the next a border of squares and finally it went back to the first person for the final border and quilting. It worked surprisingly well and gave some unusual and sometimes unexpected results. After exhibition in the Island Arts Centre, Lisburn these hangings were taken by Jane Lloyd to the hospital in Nepal.
Tactile Quilts for Blind Children. 2003 In early 2003 the guild was approached about the possibility of making tactile copies of famous paintings for Jordanstown School for the Visually Impaired. In June two blind pupils from the school came to a guild meeting to receive 6 hangings.
25th Anniversary Meeting. May 2004 To celebrate our 25th we had a show and tell of members’ first quilts.This was followed by a buffet meal attended by 14 out of 19 past chairmen. Among them was Laura Jones the first Chairman. Every guild member received a present of pieces of red and white fabric. Members were challenged to produce a new piece of work of any size using these fabrics for the December meeting. President of the NIPG Deborah Baillie cut the anniversary cake. An anonymous donor donated money for the cake which was made and iced by guild member Anna Campbell.
Hands Across the Border This is a biennial exhibition organised alternately by the Northern Ireland Patchwork Guild and the Irish Patchwork Society. The NIPG ran the 2007 show with the theme ‘Hanging Together’. 2009 was to the theme ‘A Journey’ The 2011- the theme was ‘Dreamcatcher’.
A Short History of Patchwork and Quilting
Art and culture are a great manifestation of beauty in all of its forms. Craftsmanship can be easily included in the category of beautiful representations of artistic creation and talent envisioned by people around the world. Quilting has also become highly popular among people interested in decorative crafts worldwide for various reasons.
Even though there have also been encountered numerous fluctuations in popularity in the case of patchwork guilds in Northern Ireland for example due to numerous changes in society those interested in arts have always appreciated them at their true value. These are still highly valued nowadays by people like escorts working and travelling around the world. These people have a real sense of appreciation for beauty in all of its artistic manifestations.
An Introspective View into the History of Decorative Crafts
The history of quilting became obvious in written work in the 18th century. Although not numerous, those few examples of crafts items dated back then are the real proof of how valuable this form of art was perceived at that moment. Expensive models of silk were used and have remained in history as a treasurable material for decades to come.
The earliest models of craft pieces were made by piecing over paper templates. Before their incorporation into the coverlet, the valuable silk materials were kept safe and highly treasured for many years. Such materials were not easy to find or purchase and have kept their special status up until now. Escorts as well as other culture and art fans still value the quality of this material and how it can be used to create something that can be considered a special form of art.
Gorgeous escorts around the world are used to living a luxurious life surrounded by the most beautiful things in every possible domain. They are highly educated and have an eye for beauty in all possible forms. Discovering the world through travels in luxurious locations is their main hobby. Whenever you meet an appealing escort from http://www.eros.com/ get ready to hear some interested real-life stories discovered by them around the world.
This type of item is usually made of three layers. The first one is the patchwork followed by a layer of insulation batting and one of backing types of material. Stitching these three important materials is an essential step in the creation of a perfect quilt. According to preferences, artists who create such items choose to outline patchwork motifs or a completely independent design which immediately attracts attention through special design lines.
If you are more into modern manifestations of art, you can also discover non-traditional methods of quilting. These use small colorful blocks that give these items an overall watercolor painting look. They can become the new great art item for yourself or a loved one. Escorts live well because they know how to surround themselves of magic through art and culture. We can all do the same if we want to bring back the magic into our life.
The annual Joint Guilds Textile Exhibition is held during the summer in the Ulster Folk and Transport Museum, Cultra. This shows work from the Northern Ireland Patchwork Guild, the Northern Ireland Embroidery Guild, the Lace Guild, the Spinners, Weavers and Dyers Guild and the Machine Knitting Guild.
As a Guild we had talked about making this quilt since the summer of 1982. I was Chairman during this time and after much persuasion at almost evry Guild Meeting we obtained the required number of squares in varying shades of brown – each square was entirely different, some made by machine and some hand stitched. After some slight adjustments to various squares it was possible to join them with strips of plain brown fabric. We set aside the week of 12-19 November to complete the quilt top. After putting it onto a large frame several patient members set out to quilt it as in the olden days. We had to use stab stitches as this was the only method possible. The members who made this quilt have good reason to be proud of their efforts. The Guild has a set of slides on the making of this quilt. In June 2003 this quilt was handed over to the Quilt Collection of the Ulster Folk and Transport Museum.
This is a group quilt, made by members of the Northern Ireland Patchwork Guild for themselves. It was designed by Jane Lloyd, with the Guild logo in the middle. The logo was also designed by Jane as part of a competition to choose a design for a badge. A group of friends cut up all the material and divided it up. The basket block and border pieces were drawn on graph paper – this was cut up and used as the paper templates. The fabric and graph paper were put into bags, some contained baskets, others contained borders. People could choose what they wanted to sew. It was hand pieced from red and white polycottons. Another group put the pieced top, wadding and backing together and it was then hand quilted. This quilt is featured on the cover of 10 Years On (see Guild History) a 36 page colour booklet published to celebrate the Guild’s 10th birthday.
This quilt was made, as many signed and embroidered articles were in the past, to raise money. It should really be called the Library Quilt, as the funds made went to the N.I. Patchwork Guild Library to buy more books.
Made in traditional red and white, the pattern is a variation of Irish Chain – the design of the quilt depended on the number of red squares returned! These red squares were sold to members for £1 and they then took them home to embroider their names on them. This meant that the quilt was very much a group effort.
Valerie Stevenson cut all the pieces, I joined the embroidered patches together into the finished top. Molly Taylor, Barbara Bates and I tacked the three layers together one afternoon, on Molly’s dining room table! It had been decided early on to include this quilt in the book,* which meant that the quilting had to be finished in time to take it with all the others to the photographers! Nothing works better than a deadline, however, to speed things up, and the quilting -some straight lines and some Celtic patterns -was duly completed.
Although, for various reasons, this quilt was slow in the making, it was useful, in that we made quite a lot of money out of it. As I quilted it, I enjoyed matching faces to names and was intrigued not only by the variety of the signatures themselves, but also by the incredible stitching on many of them, tiny chain stitches, satin stitches, and one name completely stitched in French knots. I wonder what the handwriting experts would say about it all!
In October 2003 two Fante Flagmakers from Ghana, Akwesi Asemstim and Baba Issaka, who spoke no English, visited Northern Ireland to work with seventeen different groups across the social and political divide, from homeless teenagers and people with learning difficulties to senior citizens. They taught the traditional techniques of making Fante flags to embody the spirit of the groups they worked with. The Northern Ireland Patchwork Guild ran a flagmaking workshop and members made 3 flags. These were shown in and around Belfast city centre and the University during the Belfast Festival at Queens.