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Having fun around Yuza-machi

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As well as doing some serious sashiko studying, we had time for some fun days out while we were staying with Reiko-sensei in Yuza-machi, including a trip to a kaiten sushi restaurant in Tsuruoka.


It was a modern building of course but still had lovely traditional details, like this path under the porch.


The other reason we went was so Glyn could get some traditional carpenter's trousers.  He'll wear them to our next show...


This is some of the Yuza Sashiko I've been studying, and now the challenge is for me to replicate the sampler made for their new sashiko book, which is coming out in March.  I can only show you a detail now, but this incredible sampler is going to be on the front cover.


The weather in Shonai at this time of year isn't really good enough for strolling around shops on the street, so malls like Aeon are great.


If you're expecting lots of traditional Japanese fabric, the craft department isn't really the best place to look though - it is mostly fabric for kids.


 

A kimono shop at the mall had some sophisticated modern designs.




 It was senin no hi on Monday (coming of age day) so there were lots of photos displayed of this year's kimono ensembles.


The next big cultural event is Girl's Day aka hina matsuri (doll festival) on March 3rd.  There were lots of new sets on sale.



A bit more work accessories shopping for Glyn at Don Quixote, a huge chain store.


Maybe Japanese shops are different from what you imagine?




We did resist these safety boots, although we know someone who would LOVE them...



We went to Yuza Kasuriya, a more traditional small shop, where we were lucky enough to get some of the last Yuza Shima striped fabric ever produced.  They stopped making it in 1960.



I also called into Obiya, where I learned to sew kimono in 1992.


After busy days, we relaxed at Reiko-sensei's house.



We had a day out in Sakata, including a nice curry lunch in a wonderfully decorated restaurant.


There were lots of lovely miniatures, all about 1:12 scale.





We were introduced to the delights of Off House, a second hand chain store.  


Even shopping for veggies is a bit different!




Delicious fresh home cooked food has been one of the really enjoyable things about staying with our friends.




It feels like it was time to leave far too soon...




The gift and produce shop at Yuza Station.







Waiting for the train!



Chikuchiku sashiko in Niigata

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After leaving Yuza-machi in the snow, we went to Niigata on the Inaho Express with our friend Keiko.  There was snow everywhere.



It was very windy and the Sea of Japan looked wild.




We visited Akiko Ike's shop in Niigata to learn how to do chikuchiku sashiko, a kind of modern boro with thick, colourful threads and no marking.


Akiko showed us her exhibition space above the shop and some of her amazing chikuchiku boro pieces.  I have seen photos of some of these in Quilt Mania magazine and photos from her exhibitions in Australia, but seeing them in real life was quite different.  The thread is really thick, almost the thickness of double knitting yarn and very soft, quite unlike the fine sashiko threads I'm used to. 



We met up with Alison and Shuji Yamazaki of Wabi Sabi Designs, Australia, and their daughter at the shop, quite by chance, as we had lost touch while we were in Yuza-machi and they had taken a short trip to Korea.







This chikuchiku boro bunting was made by people who stitched with Ike-san at shows.




These friendship boro were really impressive.  With pieces made by many people, all stitched together with big herringbone stitches, they have a great texture.






One of the secrets of stitching chikuchiku with such thick thread is using old, soft fabrics that are loosely woven, so the huge needle can go through.





Ike-san invited us to see her 'new' studio project, a barn that she is remodeling near Niigata.




Then she took us all for dinner at her 'boro house', an old farmhouse that was dismantled and rebuilt on a new site.  We made sukiyaki in front of the huge stove.




The house is full of her personality.


A jar full of strips for sakiori rag weaving, rolled into balls.  Ike-san told us she had got quite hooked on sakiori once she tried it.





On Thursday morning, we went back to the shop for a proper chikuchiku lesson.


The fabric is folded rather like a hana fukin - a double layer is essential so the thread ends can be buried inside.  Because the thread is so thick, the stitches don't tend to unravel.  The way the corners are folded and tucked in is exactly the same as making a knife edge or butted finish on a traditional British quilt!



Any colour thread is OK. Just go with your intuition.


After doing a lot of very precise sashiko, it is quite hard to loosen up!






The diagonal piece is one Glyn made.  We left one piece each for Ike-san's latest group work.  She makes one every year.





Her shop in Niigata city is full of lovely things.


It turned out the next part of our trip was along the same route as the Yamazaki family.   Shuji advised us on the best bento boxes to get at Takasaki station.


The region is known for it's Daruma dolls, so we tried to do a line up with these at the gift shop!




Delicious!  I had Yokokawa Toge no Kamameshi.  Of course, we kept the containers.



We arrived in Hida Takayama in the evening.  Our sashiko adventures were continuing...


In search of Hida Sashiko

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We spent a lovely day yesterday in picturesque Hida Takayama, hunting out sashiko.  First stop was the post office, to send a few things home - books and shoes we don't need here.




It snowed lightly almost all day!




There are many interesting craft shops and sake breweries in Hida Takayama... but no time to sample these on this visit.






We just had to try this kisaten coffee shop - 'Bagpipe'!  They have a delicious cheese cake.



Odoriya was the first shop on our sashiko quest.  Chie Ikeda, my sashiko teacher, recommended them.


They have wonderful threads, which made the long trip to Hida Takayama worthwhile for me!















A typical little scene from Hida Takayama...


A fantastic antique shop!  Unfortunately most things were too big for us to bring home, but I found a lovely miniature set of the 7 gods of good luck for my dolls house.



This amazing little fabric shop, crammed to the ceiling with old kimono, was right beside the river.






Hida Sashiko...

















It was a bit frustrating that this splendid paper shop wasn't open!  One for next time.



They had the best chiyogami I've seen in many years.



Hida Takayama - we will come back on our next trip!!

Super stripes in Hamamatsu

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One of the great things about having the Japan Rail Pass this time has been the amount of traveling we have been able to do.  From Hida Takayama, we went to Hamamatsu, where my favourite striped traditional narrow width cotton fabrics are made.  It has taken quite a few years and a bit of detective work on my part to find the company that produces them is called Nukomori Koubou and is based in Hamamatsu.


We were going to buy as much fabric as we could carry!



We arrived in the evening, after changing trains in Nagoya and completing the last part of the journey by Shinkansen (bullet train).  In the morning, it looked fine and not too cold, but very quickly it started snowing in Hamamatsu and became even colder than Nagoya station, which was definitely the coldest place in Japan so far.


Yoko Fukawa, who works at Nukumori Koubou, and her boss Akira Otaka met us at our hotel near the station and took us out to the new suburb in the north of the city where they have their studio and showroom.





It is a stunning modern building piled high with my favourite striped fabrics.  I was in fabric heaven...!




They also make the coloured fabrics I use for my sashiko kits.  We bought lots of different blues, purple and green, and dozens of different three metre long pieces of striped cotton.  I had planned to buy whole tanmono bolts, but when we saw the choice of fabrics, I decided to get shorter cuts, so we could have more variety.





Yoko took us to meet weaver Tomoichi Ikenuma.  He has about 20 power looms at his mill.  The looms are around 50 years old and he weaves many of Nukumori Koubou's narrow width fabrics.  Here he is with a natural indigo.


This was a highlight of our trip.  This is the place where many of the fabrics I have used over the last 20 years have been 'born'.  Totally amazing to see the looms in action and meet the weaver who creates these wonderful fabrics.  The noise with all the looms running was deafening!  Adding different wefts threads to the same warps gives the fabrics even more variety.







Some of the stripes.





These fabrics were originally for kimono, but nowadays all kinds of things are made from them.  I love them for quilts and bags.



We will have the new fabrics on sale at the Spring Quilt Festivals at Edinburgh and Harrogate, and I hope to add them to the website sometime soon as well, now I have a reliable source straight from the manufacturer.  Our bags were full of gorgeous fabrics as we made our way to Tokyo!  But we will be back for more on our next trip, and hopefully will have some sent to the UK between now and then.


It was a clear day, so we saw Mt Fuji from the shinkansen on our way to Tokyo.  The perfect end to a wonderful day.

Akie Ginza's sashiko centre

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On Sunday, we had another adventure, traveling by bus and train to Akie Ginza's sashiko centre at Hinohara village, west of Tokyo.   I think quite a few textile tours go there, but getting there without a tour bus is quite a trip.


From Tokyo, we took the train to Musashiitsukaichi where we changed to the bus for the last part of the journey.  The bus took almost an hour and is quite infrequent, so you need to plan this trip very well.  We went with Reiko Domon, Chie Ikeda and Akie Sakuraba from Yuza Sashiko, with Reiko's sister and her brother in law.


Here is the current bus timetable - the red times refer to Sundays.


Outside Musashiitsukaichi station, by the bus stop.



 We got off the bus at Nango and walked up to the house.


The bus stop.



After the bend, we turned right up a narrow country lane.




This is Akie Ginza's house.  The location is very rural and beautiful.


The house is a traditional Japanese farmhouse.  We entered through the genkan, where there was a booth like in a museum.


Two flights of stairs reached up to her main gallery.




The rooms are full of Akie Ginza's amazing sashiko works.  They are bold, strong designs, which reveal her origins as a fine artist.


Ginza-sensei uses sashiko threads in an interesting way, doubling threads or using different thicknesses to create special effects.  She also used a lot of colour in her work.









She has also designed many items of clothing, displayed in other galleries.





The whole house is full of her creations.




We watched an interesting video about her life and work.  Ginza-sensei started as a fine artist but later changed to being a textile artist.


She already had my book, which was a big honour for me!  I have one of her books at home, but there were some others available in her shop, so I had to get another one as a reminder of our trip.




You can also buy her exclusive sashiko materials in the shop.




We walked back to the village together.  It was so cold!





Setagaya Boroichi revisited

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We went to Setagaya Boroichi on the second day this year, with our friends from Yuza Sashiko and Reiko's sister and brother in law.


There are many different stalls at the boroichi, not only antiques and 'junk' stalls, but many stalls selling plants and food.



There were a lot of kokeshi dolls for sale this year.


We think there were about twenty five kimono stalls in total.  However, there wasn't much that really grabbed my attention in terms of fabrics this time.



There were some interesting 'kimono reform' stalls.



We liked this cross between tanuki and daruma below, but he was too big to bring home.


There were many stalls selling carpentry tools, whetstones and other equipment.


Beautiful bonsai.


More 'kimono reformu'.



We spotted only a few people wearing kimono among the shoppers.



It was fun, but the days of finding nice kimono for low prices probably went by ten or twenty years ago!

Meiji Jingu, Tokyo

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We left our Reiko's sister's house on Tuesday and made our way over to our final hotel in Nippori.  It made sense to do a bit more sightseeing on the way.


We saw Mt Fuji in the far distance from the train going back into Tokyo, but every time I tried to get a photo, another apartment block got in the way!  Shame, because it was a lovely clear sky and sunny weather, like almost all the time we have been in Toyko.  I've started calling it our 'Winter sun' holiday.


There are very few luggage lockers at Harajuku station, so we left our bags at Shinjuku instead.  My first time using the Suica card to use a locker.  As it is such a big station, we thought it was a good idea to take a photo of the lockers' location too.



I'm often asked whether people are seen wearing kimono in Japan very often nowadays.  Perhaps one reason why visitors don't spot people in kimono is that they are looking for something that is bolder and brighter than the more subdued kimono worn for events like tea ceremony or even just shopping.  I spotted the lady above at Shinjuku station and the two below on Omotesando-dori near Harajuku.  All were wearing michiyuki, douchugi or other coats over their kimono, which also makes it a bit less recognisable to most tourists.


People visiting Japan are probably expecting kimono to look more like this -

We went to Meiji Jingu shrine, right next to Harajuku station. Although it is one of the most famous shrines in Japan and is in the centre of Tokyo, I'd never been there before.  Stories of the huge crowds that visit at festival times probably put me off (friends mentioned that it was absolutely heaving with people on New Year's eve).  The shrine has some very impressive torii gates.



We were very impressed by the designs on the sake barrels that are stacked up at the entrance.





There's a similar repository of French wines on the opposite side of the entrance.  I wonder, given that they are stored outdoors in the Tokyo climate, just how much wine is still left in them and how much has evaporated over the years.




The garden was an unexpected treat.



The beautiful tea house was reconstructed in the 1950s.


Further into the garden is a jetty and a koi pond, where apparently the Meiji emperor and empress liked to fish.  The koi were so friendly, catching them would have been too easy.


The patterns of ice forming on the surface, despite the sunny day, made very interesting effects.




There were a lot of photographers in the park. We saw some men feeding the birds from their hands and they gave us some peanuts and showed us how.  The birds were so tame.



Kiyomasa's well was a curiosity, as the temperature stays at 15 degrees C all year.



Inside the shrine's main compound, there was an exhibition of calligraphy by school children, plus the usual omamori (lucky charms) and shrine shop.   I always bring back some charms and other items as souvenirs from shrines.



The approach to the shrine itself.  Photography inside is not allowed.  There were several large groups of very young children there, maybe kindergarten or first year of school age, all wearing matching hats for their group.



I bought a 'good luck in examinations' omamori - to help me with getting my Yuza Sashiko certificate!


We went to a Kyushu-style restaurant near to Harajuku station for lunch.



Glyn had really HOT noodles of course!  I had gyoza and rice.



In the afternoon, we strolled around Omotesando-dori and the surrounding streets.  The area is an interesting mixture of boutiquey shops, with the big designer stores out on Omotesando-dori itself, and a mixture of smaller shops, restaurants and houses in the nearby streets.  This plum was in full bloom. 


You don't see many old brick buildings in Japan, but Omotesando is quite hilly and maybe these predate the 1923 earthquake.


Takeshita-dori, where anyone over twenty five sticks out like a sore thumb! I went there with Emily in 2014.  It was a convenient short cut back to the station.


We had planned to go to SouSou Kyoto near Omotesando-dori but, although I had marked it in my Tokyo street guide, we couldn't find it - not helped by it being slightly off one of the larger scale pages. When I checked on the internet later, we had missed the street because it didn't look like there were shops down it.  So we went back on yesterday afternoon before leaving for the airport.



Glyn had seen some of their things online and wanted a top to go with his new carpenters' trousers.  I love the style of this shop.  They have lots of interesting fabric choices for the same design of top (including an amazing furry fleece top!) and eventually he went for this one, in black pinstripe with a dark blue deep V collar reminiscent of kimono collars.  We liked the chartreuse and blue version too, which looks bit more green in real life, but they only had it in XL.  Unusually, the men's clothes sizes seemed to be the same as UK ones, whereas more typically we have to buy one side larger in Japan for clothes sizes.



We finished off the afternoon with matcha in the little tea shop at the front of the main store.  Delicious!







Hiking in Kamakura

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We decided to use the last day of our JR rail pass to visit Kamakura (please click the links throughout this blog post to read more about the city).  One of the difficulties with visiting Kamakura for just one day is deciding what to see.  Of course, we wanted to see the Great Buddha, but I had read online that you can pick up an English language free map at Kamakura station that has details of a hiking route that visits several temples, so we decided to do that. 


We set out thinking that we would visit the Great Buddha first but the map showed an interesting Inari Jinja nearby, so we headed towards that.  The route took us through a suburb with some rather nice houses, all individual builds (as is quite usual in Japan).




Sasuke Inari Jinja features many fox statues, as the fox is the messenger of the Inari kami (Shinto spirit), the god of rice, agriculture, industry and many other things.
 


Inari jinja are characterised by the avenues of torii gates leading up to the shrine.



Some of the torii were quite old.



There were many stone foxes alongside the steps leading to the shrine.












Above the shrine, there was a rather precarious scramble up to the hiking route.






I'm glad we were only going up and not down!




The route was quite uneven, with lots of tree roots to navigate and we needed to take care with every step.



There were several signposts along the route.


Fatsia Japonica growing wild in the forest.







We were rewarded with some stunning views across Kamakura towards the sea.



We spotted a sign for a tea room just off the route.



Right in the middle of the forest, there were terraces where we sat out and had cheesecake and apple pie, plus a beer to keep us going.  The weather was like Spring.

 



We reached the Kotoku-in temple by mid afternoon, where the Great Buddha is located.



You can go inside the statue, where the construction method is even more impressive.




On our way back to the station, we spotted a close relative of our Micra Mystique, although the paint was a little different.



Kamakura has some really attractive buildings.



There are also some interesting shops, although many were closed - we were visiting midweek, out of season and late in the afternoon by now.  I'd love to come back for a proper stay.



We were reminded many times of the low level in the city and the threat of tsunami.


It was my first visit to Kamakura, having missed out on the Yuza Board of Education's office trip in 1991, so I want to go again and see much more of it.

Tokyo Great International Quilt Festival - getting there

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On Thursday, we were staying in Nippori, so our route to the Tokyo Dome was a bit easier than the previous year, when we stayed in Asakusa - a few stops on the Yamanote line, followed by the Chuo-Sobu line.  Suidobashi station is close to the Dome and was full of quilters.



 No need for directions - just look out for the quilted bags and follow them!





On the first day, the show opens at 11 a.m. rather than 9.30, and there are security bag checks, so it took half an hour to get to the front of the queue.



 We already had our tickets.



Once inside, we dodged the crowds by going around the outside of the exhibition area, towards the traders, and went round the quilts later on. This was different from our 2015 exhibition strategy and worked out better - and within minutes we had bumped into friends, Jane MacDonald of BeBeBold, Brisbane, and Lisa Walton.  Like all shows, people make a beeline for the quilts and the exhibition winners. 


Quilt photos soon!

Tokyo Great International Quilt Festival - part 1

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We bumped into a lot of people we knew, and a lot of people I'd only met online before, while walking around the show.  Next time I'll have to make a name badge, so people know me (something Patricia Belyea did).  From left, Lynette Anderson, Jane MacDonald, Reiko Arita, me and Glyn.  We also bumped into Shiro from Euro Japan Links just a few minutes after arriving and met up with a Czech group who were visiting the show.  It feels like a small world!

 

We retreated to the stands to eat lunch.  Even quite early in the day, the bento lunchbox sellers around the top of the stands had sold out, so we were glad we had brought snacks.



The show is probably as busy as Festival of Quilts, but the aisles are wider around the traders, and the overall feeling is more spacious.  Because we are on top of the circular baseball pitch, it is difficult to get lost.



There are lots of stalls selling vintage Japanese fabrics.




Boro and kimono reform are a big thing at the show.



Naturally dyed sashiko threads.


We spotted this nice example of an old Yuza sashiko sorihikihappi and it went home with Jane the next day.









Tokyo International Great Quilt Festival 2017 - part 2

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The first category we looked at was the 'Wa" category, which is for quilts on a Japanese theme, 'Wa' being the ancient name for Japan.  In this category, the quilters' names are only presented in kanji, so I have added a close up of the information card for each quilt, but haven't had time to pick through all the names and figure them out.  If any of my Japanese friends want to help me, please do!



Recycled Japanese fabrics are overwhelmingly the materials of choice in this section.






This year, there seemed to be more abstract and fewer pictorial quilts than two years ago.  Also, the display boards were a much darker shade of green, which made the whole display seem a bit dark.











I love the simplicity of the block design in this quilt.  Title is '? kanaro miyama'.




The fabrics used for this piece were stunning, and had an effect like watercolour.






A great collection of vintage kasuri ikat and other indigo fabrics.





I love the katazome fabrics used in this quilt, but I find it so hard to cut up these lovely old fabrics into such small pieces in my own quilts.










Tokyo International Great Quilt Festival - Part 3

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'Flowers of the Four Seasons' -'Japan’s top quilt artists express their sentiment for flowers in their new pieces.'

This was an invited exhibit and not part of the competition.  As in 2015, some of my favourite quilts in the whole show were in this section. 
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I love the way Yoko Sekita has used vintage kimono fabrics, mainly chirimen, to make an array of applique blocks featuring asagao or morning glories in every imaginable colour combination.  This was the quilt I would most like to have taken home.



'Bloom over Time' by Kyoko Yoshida used old fabrics in tiny pieces to creat the illusion of curves.






Emiko Toda Loeb's two sided quilt was Glyn's favourite.  





The fabrics used for this are so subtle.





More exquisite vintage fabric, this time including a lot of shibori, giving a dappled effect to the surface.







I love modern fabrics with words used by a lot of Japanese quilters.




More vintage chirimen (crepe) silk.







From traditionally interpreted wisteria to modern abstract flowers...




Tokyo International Great Quilt Festival - Part 4

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'Framed Quilt' is a category we no longer have at any of the UK shows, although there used to be a framed category at the Great Northern Quilt Show.  It would be a good category to reintroduce, as there are often quilts entered into the 'Miniatures' category at UK shows which are just small quilts and really not miniatures at all.  'Framed' could be a more appropriate category.  I'll start with the winners, in order of which I liked most first.











There is a mixture of abstract and more representational works in this category.  I like both.


This picture of bamboo shoots reminds me a little of the appliques of Edrica Huws, although the technique is completely different (Edrica's work used raw edges).







I liked the minimalist feeling of the picture below - 




There are many different styles of framing as well.



Spring Quilt Festivals - Edinburgh and Harrogate

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I am going to be at the Spring Quilt Festivals at Edinburgh next weekend and Harrogate the following weekend.

At Edinburgh, I've got a trading stand rather than a demo stand, as I can't be there all day on Saturday and Sunday, as it clashes with my City & Guilds course.  At Harrogate, I have a demo stand and a small sales stand linked together.   I have a lot of lovely new sashiko fabrics, stripes and sashiko threads I brought back from Japan.  There are some gorgeous silk haori kimono jackets for sale that I managed to hunt down on my trip (they were much harder to find this time) and a great selection of other Japanese fabrics.

I am teaching the same workshop at both shows - Marking and Stitching Rice Stitch Sashiko - for one hour at 1.00p.m. at Edinburgh and 2.00p.m. at Harrogate, £4 per person.  You can learn how to mark and stitch the hitomezashi (one stitch sashiko) pattern known as komesashi (rice stitch) with ideas for many variations. Workshop kits include fabric, thread, needle and worksheet, with extra thread and fabric so you can try out one of the variations at home.  On Saturday and Sunday at Edinburgh, my friend and top sashiko student Fiona Fitheridge will take the class for me, as I can't be in two places at once!

A selection of my students' samplers from the Scottish sashiko courses is touring to all the Spring Quilt Festivals this year and I will be taking bookings for the next course at Edinburgh and the new course at Stockton-on-Tees, which both start in the autumn.  My next course starting in Scotland will be at the Peacock and the Tortoise in Perth - please contact them direct if you would like to book for that course.


Spring Quilt Festival, Harrogate

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I will be at the Spring Quilt Festival at Harrogate every day from Friday to Sunday, and the Sashiko from Scotland samplers will be on display once again.  This time, I'm hoping to get a chance to see the rest of the quilt exhibition, as there were some stunning quilts on show last weekend.  The Spring Quilt Festivals have the same selection of guest quilts, so you will have more chances to see these further south in the UK before the quilts return to their makers.  Maureen's quilt (bottom left in photo above) joined the others on Saturday, now home from a trip to Japan, where it was shown at Yuza Sashiko's exhibition in September.


Fiona is working on her 'official' class sampler now, but if you like the green fabric from Nukomori Koubou, I've managed to get it in stock again.


Also coming in time for the show are Tulip sashiko needles.  I tried these excellent needles at the quilt show in Tokyo last month, and have decided to stock them, as well as the Clover needles.  They are great value with six needles in the pack, and the packaging is just gorgeous, with a little corked 'glass' (actually plastic) tube inside the cardboard box, so you can store your sashiko needles safely.  If you open the box from the bottom, you don't need to break the pretty Tulip seal on the red cord either. They will be £7 per pack.

I will be getting Clover needles back in stock soon, but I have had to find a new stockist for them, as EQS have stopped stocking all Clover products!  So we will be using Tulip needles in the one hour sashiko class this time.

Sashiko from Scotland - tour continues

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We had an excellent weekend at Harrogate and now the sashiko samplers are hanging at the next Spring Quilt Festival at Duxford this weekend.  I won't be there, as I'm going to the SECC on Sunday to help my City & Guilds tutor Gillian Cooper on her stand/gallery space - say hello if you're there!  I keep saying I'll take a stand at SECC myself, but something seems to get in the way every year.  Maybe next year?


Glyn got to wear his infamous Japanese carpenter's trousers again at Harrogate... with his patchwork boots!

Here are some detail photos from the samplers.  I will post photos of the whole exhibition when it comes back.





My new stock of the amazing Tulip sashiko needles arrived with Glyn on Friday night, so we had them onsale on Saturday and Sunday.  On Friday, we used Olympus needles in the workshop, because I'd run out of Clover, and the difference between the Olympus and Tulip needles was incredible.  Stitching sashiko with Tulip's needles is like a knife going through butter.  I must get some of their other needles as well on my next order, as the combination of Tulip needles and a wool wadding for traditional British quilts is going to be amazing.

My Clover stock got mysteriously held up in the post, so much so I actually thought my order e mail had got lost in the ether!  But now I have the Clover sashiko needles, white marking pens and Chaco paper back in stock.  The order was sent out on February 21st and was only delivered today.  Very strange.


There was a lot of interest in my 'Sashiko in Stockton' course at the Harrogate show, and places are filling up fast.  I've got a few more e mails I need to reply to, which I'll try to get done asap.  We have postponed the course in Perth as we haven't had many bookings, so it looks like it will run later in the year instead.  I'm working on some projects for a couple of books Thames & Hudson are publishing for the V&A, so that is keeping me busy right now, but they have to stay under wraps at the moment...

Cinnabar and Nutmeg

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Sue Webb posted these photos of her version of Cinnabar and Nutmeg on the UKQU Facebook page today and said it was OK for me to copy them here. She wrote -

Finished piecing my largest ever quilt last night. It is the Susan Briscoe pattern from the supplement in Today's Quilter some time ago. It's not perfect but I am pleased as it's certainly the best I have done. Now to see about having it long arm quilted.

It looks pretty much perfect to me.  It will really suit longarm quilting.  The V&A quilt that inspired it doesn't have very fancy quilting, just a pattern of circles, which the online catalogue describes as 'wineglass' i.e. interlocked circles, but looks more like circles that just touch.  Unfortunately the one time I saw the V&A quilt was at the quilt exhibition there in 2010 and there was total visual overload with so many quilts, so remembering the exact details of the quilting pattern is really difficult.


I had to do a bit of a double take when I saw the photos!  Sue's quilt is above and mine is below. She has done an amazing job of tracking down similar fabrics.  Can't wait to see how she has it quilted.  it looks better on her bed than it would look on either of ours, as we don't have any beds without footboards.

 

Super Strips x 2

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Two very different versions of my Super Strips quilt appeared on my Facebook news feed earlier today, within a few minutes of each other.  Carol Fieldhouse started hers in one of my workshops a few years ago - I'll have to dig through my workshop photos and see if I can spot which one!  It shouldn't be too difficult (I hope) as Carol has done the centre of her quilt with narrower strips, and there haven't been as many of those as the 21/2in strip centre versions. The batik fabrics make it look like a watercolour. She writes -

Howzat! A Susan Briscoe workshop, **#!!! years ago, finally quilted and bound.... it's almost all batik strips and I'm keeping it!


Margaret Cull posted a photo of her Super Strips on the UK Quilters United Facebook page a few minutes before.  This one uses all the same strip width and I'm guessing it was made from my pattern which appeared in Today's Quilter last year.  There is a small but subtle difference between the pattern and the workshop version, because the pattern has an uneven number of strips in the initial piecing, which results in a tiny quarter square triangle effect in the middle, whereas the workshop version has an even number, so there's no mini QST in the centre.  Margaret says -

Took me almost a year to get round to quilting it but I am very pleased with it. Going to be a gift for a friend.


The rich gold and blue colourscheme and the scrolling quilting designs give Margaret's quilt a rather heraldic look.


Thanks very much for permission to show your work here.

Super Strips can be made in so many different fabrics and shading variations, which I think is the mark of a versatile quilt pattern.

A Japanese Quilt Blocks sampler

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Irene Shaw made a amazing sampler quilt from 'Japanese Quilt Blocks', posted these photos on Facebook yesterday, and said I could share them on my blog.  She wrote -

This quilt I made for my son as a wedding present using your Japanese Quilt Blocks book. They loved it!

The most difficult was choosing the blocks! I love that book.



This is the back. The Batik squares are the backs of the sashiko ones on the front. I did a simple quilt as you go.

I love the ways Irene has combined the blocks, including enlarging one of the kasuri blocks for the corners. Wow!

Exeter, Prague and other quilty things

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Coming up at the end of the month is your last chance to see the Sashiko from Scotland samplers together (at least this selection), as it will be the last of the Spring Quilt Festivals in Exeter.  Isabel Patterson's lovely sampler, including some of the kamon blocks from 'Japanese Quilt Blocks to Mix and Match' in applique is featured on the exhibition flyer! The colour coordination on Isabel's sampler is so subtle.


I won't be at Exeter this year (or the Quilters' Guild of the British Isles AGM at Torquay, which is the same weekend), because I'll be in Prague for the Prague Patchwork Meeting.  I taught there in 2010 and have been wanting to go back to visit ever since, but there's always been something else already booked in my diary for that weekend.  The city is so beautiful and inspiring.


My link to the Czech Republic came through some of my books being translated into Czech, and the exceptionally talented Jana Lálová who did the translation for the Czech edition of 'The Ultimate Sashiko Sourcebook'.  Jana is very involved with the Czech national quilt guild and, therefore, their annual quilt extravaganza.  One of her quilts, using the treasures blocks from 'Japanese Quilt Blocks to Mix and Match' is shown above.  I love the Czech edition of the sashiko book, which was completely redesigned from the English language edition and is a handily sized hardback (all the other translated editions have used the same page layouts as the English one).


I am going to be teaching a sashiko workshop at this year's show, doing the single version of the koi carp I used in this wall hanging.  I'm taking a selection of coloured threads for the students to use, as well are more traditional white and cream, so we may have some wonderfully bright orange, golden yellow and red koi! 


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