A Capsule Wardrobe: Pattern Review 2024 Mini Wardrobe Contest

Two posts in the same week after a three year hiatus. I must be procrastinating, or maybe I feel the need to record my capsule wardrobe ideas to share with my friend Stephanie. As usual in life it is a combination of the two. October has also been a month for catching up and sorting out.

I have been away from my sewing machine for five months doing family things in the UK and despite a great deal of enthusiasm it's proving hard to press the sewing start button. The enthusiasm was ignited by the Sewing Workshop's Sew Confident project for October which is a colour blocked Hong Kong vest. It spawned a whole outfit concept. I needed four colours of wool viscose and I was lucky enough to find the colours I wanted fuchsia, orange, teal/petrol and chartreuse. The chartreuse was easy as I had scraps left over from a previous project. The other three colours I found at New Zealand shops. The only problem is that the teal colour bled and I had put it in a wool wash with the orange and fuchsia fabrics. The fuchsia survived but the orange was damaged irreparably. This accident wasn't a disaster as the orange was a much lighter fabric than the others so now the hunt is on for a similar weight orange fabric which fingers crossed I have found. Just waiting for it to arrive in the post. I've also washed the teal fabric a few more times and even soaked it in a white vinegar and salt solution to try and set the dye. I will wash it once more to double check there is minimal colour bleeding before I use it in the vest.

I am blaming the colour run hiccup on why I haven't started sewing but maybe it was serendipity because I discovered Pattern Review are doing a mini wardrobe contest starting 1 November. I may just be ready on time, although a month later than my planned start for the capsule wardrobe.

The ideas

My sewing friend Stephanie suggested the idea of a capsule wardrobe sewalong and of course anything that gets me down that rabbit hole of planning outfits is a fabulous idea. The plan was to start in October when my sewing machine and I were reunited. I put together a collage of the nine fabrics for my capsule wardrobe in August. At that stage I hadn't decided on which patterns to use but the middle fabric was going to be trousers and set the tone for the capsule.

From top to bottom left to right are a blouse, t-shirt, blouse, Sewing Workshop Eureka top (made), trousers, quilted jacket, blouse, trousers and Sewing Workshop Hong Kong vest.

During my sojourn in the UK I missed the creativity of sewing and bought the Pride and Bloom Liberty organic tana lawn on a visit to Guthrie and Ghani with the intention of hand sewing a Sewing Workshop Eureka top. I did hand sew the bust darts and one shoulder seam then spent a weekend with my friend Cath who also sews and magically the top was sewn on her machine with just the hems to hand sew. One garment down only eight left to sew.

Then I saw a picture of a pair of trousers with different coloured fabric used for each leg, which I thought was a fabulous idea. As I already had doubts about the silk matka fabric being suitable for the focus trousers even though I really want that fabric as trousers my thoughts swiveled in a completely different direction. This alternate direction was cemented by my idea for the colour blocked Hong Kong vest.

The capsule will be based on the four colours in my Hong Kong vest with the emphasis on pink and orange.

The rules

The Pattern Review mini wardrobe contest rules are pretty simple and more importantly I can bend my ideas to fit the rules. The first rule is for all work on the garments to be done between 1 November to 5  December 2024, ie five weeks. Secondly five garments need to be sewn, which have to make at least six distinct outfits with no additional garments added. The wardrobe can be for anybody and any combination of patterns can be used.

I believe I can make at least seven outfits from my five garments maybe even nine but we'll see.

The five garments

1.  Sewing Workshop Hong Kong vest in four wool viscose fabrics

2.  Sewing Workshop Picasso pants in two linen fabrics.

3.  Sewing Workshop Getaway jeans in four cotton drill fabrics

I couldn't find the inspiration picture for the two coloured trousers and ended up doing an internet search which led me to an amazing pair of colour blocked jeans by Loewe from 2022.

These could be tricky because I couldn't find chartreuse cotton drill so I have bought some yellow with the intention of dyeing it using a Dylon Dye pod in olive but maybe forest green. I am hoping the yellow base fabric and a green dye give me a chartreuse colour - good in theory but we'll see how it turns out. I also have to do the pattern work to make the Getaway a wider leg jean and then create the smaller inset leg pieces.

4. Sewing Workshop eTee adapted to a tiered midi dress in a stretch mesh 

I have made a dress like this before but using a non-stretch fabric and the Sewing Workshop Maison top as my starting point with four tiers, each 1½ times wider than the one before and eight inches finished length. The stretch mesh is allegedly a Diane Von Furstenberg fabric.

5. Sewing Workshop Origami blouse in a merino poly blend knit

As you can see the five ideas for my PR mini wardrobe bear no resemblance to my original nine piece capsule wardrobe so let's see if I can complete these five without changing my mind again.

After the five...

Once I have made the five garments for the contest I have many more ideas to add to my capsule wardrobe! I don't feel any pressure to have these made by early December it will be an ongoing project over the next few months (or maybe they will be my second capsule of five!!!).

My original Hong Kong vest outfit concept included this Gardenia blouse in a check cotton shirting which I am thinking of cutting on the bias if there is enough fabric.

Whilst searching through fabric options I found this Kaffe Fassett quilting cotton called Koi Polloi which now wants to become a Sewing Workshop Origami skirt and I think will be great with the Gardenia blouse.

Then as you always need more tops than bottoms there is the eTee in an orange viscose rib knit and the Vogue 2814 Issey Miyake blouse in a cotton knit.

And did I mention that I want to make a Sewing Workshop Tosca dress in a Liberty tana lawn print called Ziggy because I have quite a few RTW mesh blouses that I could wear underneath.

Plus for when the weather gets colder I am knitting a variation on the Martin Storey Reed cardigan from Rowan magazine issue 74. I started, three times before I was happy, knitting whilst in the UK and I am not that far from the finish line.

Vogue 1729 Rachel Comey Starstruck Trousers

Three years between blog posts was not my intention however the desire to sew was stronger than the desire to write about it, resulting in my blog taking a very long nap. On the plus side if the blogging desire returns properly there are lots of projects to catch up on. Will need to pencil in some time with the photographer first though. Remembering the ins and outs of the pattern alterations and sewing may also be a challenge!

There is much discussion about are blogs dead as the time between posts lengthen and other forms of social media rise (I'm hopeless with Instagram too). I don't believe they are dead as a means of sharing our sewing adventures with whoever comes across them. This blog was my personal sewing journal, helping me remember what I did, the patterns I've sewn, what changes I made, etc. and maybe it can be again. Blogs as a source of fame and fortune seem less likely now. Posts are fewer and comments less plentiful even on those blogs with a large following. In some ways this appears to mean blogging whilst not quite dead is very somnolent.

The finished garment

I am not returning to blogging in chronological order sharing instead a pair of trousers sewn for the Pattern Review 2022-23 pants contest. With all the valid reasons for people not reaching the finish line I felt pretty feeble as my trousers were finished a couple of days before the 7 January 2023 deadline but I lacked any motivation to take pictures. Once finished I was just happy to have joined in the conversation and made some trousers and didn't feel the need to actually enter the competition. I even started a review (along with this blog post) before the competition close but got distracted before finishing it.

A flat shot of this outfit is all I have even though I enjoy wearing these trousers with the Trelise Cooper Double Scoop Top from Spring 2022 and JW Anderson Lid Mini Pocket Bag.

I find it a challenge to style these trousers and even though I like them on their own they are not worn very often. Now they are just too big so it may be time to have another go at making this pattern.

The fabric

A stretch cotton sateen from The Fabric Store which was only available online. Always a challenge as I end up buying more fabric than I need to get free shipping - such a false economy. Checking back on that November 2022 order I have used only two of the seven fabrics I bought. No need to wonder why my fabric stash is so enormous. The other fabric used was a blue and white striped cotton shirting with cut out and embroidered stars which became a Sewing Workshop Venice shirt to wear with these trousers. Unfortunately they don't look good together as the shirt is too long.

It was a good fabric choice for these trousers as it held the structure but was light enough that the side pleats weren't too bulky.

The pattern

Fitted cropped pants with side front pockets, side pleat hemline detail, invisible side seam zipper. Suggested fabrics: linen blends, crepe, sateen.

The pattern alterations

As with many of us the COVID years and a lack of exercise were less than helpful in containing middle aged spread and I graded out to a size 24 at the outseam but retained the size 16 inseam and crotch curve. With the fitting adjustments I made the final size is somewhere between a 16 and 24!

The interesting thing about these trousers was I tried the Ruth Collins Top Down Centre Out fitting method. I appreciated her thought process and enjoyed listening to the Threads podcast and watching The Crooked Hem series on YouTube. It was a new slant on things. Something to think about and try as we search for that elusive perfectly fitted trouser. 

Having tried TDCO my preference is the pants fitting method taught by Peggy Sagers - her LCD (Length Circumference Depth) methodology makes sense and gives me good results. Maybe TDCO would have worked better for me if I had started with a curved waistband which is what suits my body but not what came with the pattern. Whatever the reason I like having both legs for my toile even though I only make changes to one of them. 

The crotch curve fitted after using TDCO but I did check it against a TNT pattern to make sure. One thing I haven't noticed others mention is to remove the seam allowance in the curved part of the crotch of the toile otherwise you can't see how it will fit. 

For the circumference I had to make changes in the finished trousers at the waist (removed ⅜" from each side seam and centre back a total of 2¼") making sure hip to waist still followed the shape of the french curve. I found it difficult fitting on my own to really assess circumference with only one leg. So as with most things in life there are different paths to success and we need to use what works for us.

I was attracted to this pattern because of the above ankle length and interesting side pleat detail. I think it is worth making again but the fit needs perfecting. Given the circumference alterations made it would probably help it I started with a different size - ignoring the pattern sizing and using the finished garment measurements to guide my choice. A lesson I really should have learned by now especially with the ease allowance used in Vogue Patterns.

The sewing

These trousers were a bit of a battle to sew, nothing technically challenging just a bit of inattention and stupid mistakes resulting in quality time spent with the seam ripper. A bit of an acutal blood sweat and tears project. On one of the reverse sewing occasions I pricked my finger not realising it had drawn blood so I got little blood spots on my trousers easy to fix with stain remover but duh... Sweat because we have been enjoying some true summer days and tears well more of a mini tantrum when I got fed up with myself and the stupidity which were turning these trousers into a major sewing project.

I am becoming more critical of the Vogue pattern sewing instructions. The glossary explains terms but not in enough detail for a beginner to understand what to do. Likewise they don't give pressing instructions. This pattern has a beginning statement to encase all raw edges with double fold bias tape after the seam is sewn with limited detail. For example can you encase the seams together or bind each separately and of course no mention of the possibility of a serger which is a perfectly adequate solution to neatly finish the edges of a cotton sateen. If you were a beginner sewer a good sewing book would definitely be needed to help you along the way. As I follow my own path generally this level of instruction is fine although this designer pattern won't be helping me improve my sewing. The addition of the fly front zipper necessitated a different sewing order anyway plus I added back patch pockets to break up the large expanse of fabric over my bottom.

For a fly front zipper I use the instructions from The Sewing Workshop Getaway Jeans which are clear and simple. Normally they are clear and simple with these trousers I stuffed up on the first step by sewing the right hand zipper tape rather than the left, then spent ages wondering why I couldn't make the next step work. No matter how good instructions are they can't compensate for an idiot operator.

To enable the trousers to easily be taken in at each side seam and centre back I divide the curved waistband (and facing) into four to have a separate piece attached to each leg piece. I add the waistband before sewing the centre back and side seams.

Outfit of the day

The outfit of the day pictures were taken at the Shipwreck Memorial on Gibsons Quay, Hokitika on a sunny Thursday in early January 2022. The memorial commemorates the 42 ships wrecked crossing the Hokitika river bar between 1865 and 1982. It is a concrete replica of the schooner Tambo (and its actual anchor) which grounded in a storm in 1866.

Rachel Comey Starstruck trousers are worn with the Sewing Workshop Venice Deux Spotted Gingham Top and Keds Triple-Up Rainbow People (designed by Elizabeth Olwen) sneakers. Plus it being Summer in New Zealand there is the ubiquitous straw hat for added UV protection.

At Sunset Point looking across the Hokitika River back to town

Dotty Stripe Flint Trousers Venture Out - Christchurch Quilters' Exhibition Vivid

The Christchurch Quilters' exhibition Vivid was practically over before I knew it existed. Fortunately I read an email in the morning and was able to detour for a swift viewing before our Sunday afternoon stroll along Sumner beach. My beloved sitting in the car did detract from any shopping experience and I left the merchants mall empty handed despite a strong pull towards some hand dyed fabrics from Mallee Textiles.

The trousers

I had an epiphany with the pleats in the Megan Nielsen Flint trousers, which I shall explain in another post, and I now love this pattern more than ever. I play around with having a front fly zipper or side seam invisible zipper but this version has the original buttoned left pocket opening, creating yet another winning pair of Megan Nielsen Flint trousers.

Sandcastles in the sun (and wind) at Sumner beach
Outfit: Dotty Stripe Flint trousers, Sewing Workshop Maison Dijon Giant Seersucker top; Untouched World Poncho Serene / Slate; and P448 Skate Pailettes Stroil Sneakers

As an aside the (Sumner) Scarborough clock tower in the first photograph is looking splendid. This 1934 clock tower was badly damaged in the 2011 earthquake but now newly restored and strengthened it is extremely photogenic!

Excuse the creases - they had been worn all day by the time these photographs were taken. The fit of these is nearly perfect and I am very tempted to take them in about an inch at the waist - to reach perfection.

Megan Nielsen Dotty Stripe Flint Trousers - patchwork version 2!

Every now and then I become fixated on a fabric being made into a particular garment and this was the case with a Japanese linen cotton which was about half the amount I needed to make trousers. Simple - I had seen a number of fashion designers using a mix of fabrics, including my favourite Dolce & Gabbana, so I would use a different fabric for each leg. I bought another piece of cotton linen with grey/natural stripes from eQuilter. Disappointment loomed as when the fabric arrived from America it was not a match made in heaven. Now I have two pieces of fabric too small for trousers. First I found the perfect match for my original fabric at Nancy's Stitch Studio in Wellington, which is sadly no more. The resulting Flint trousers I just love love love, and will reveal in my Megan Nielsen Flint trousers take two post coming soon (or in two months which seems to be my current blogging schedule). A few months later I found the almost perfect match for the grey/natural stripe from Stitchbird Fabrics in Wellington. Convinced I could make them a perfect match I bought the mustard stripe fabric, partly because I am still pursuing the Sunset Swap inspiration.

Clockwise from left: the back leg pieces; Kokka linen cotton canvas Line in Mustard designed by Etsuko Furuya; the painting supplies; and Sevenberry grey natural stripe cotton flax canvas

I knew I would use the Line in Mustard border down the side of one leg front and around the bottom of the other leg. Each leg would be made from one of the fabrics, with the pockets using the other leg fabric. For this patchwork version that didn't seem enough to tie the two legs together so the fabrics sat for a while. As often happens inspiration struck just as I was nodding off to sleep one night - stencil polka dots in gold reversing the stripe and polka dot colours of the Line in Mustard fabric. When I dragged out my box of fabric paints serendipitously there was the foam dabber. No need for a stencil I could just use the dabber to make my dots. The paints were so old I had to thin them down with the textile medium, which seems to have worked well. The Lumiere acrylic paint True Gold colour was a bit too brown so I mixed it with some yellow on a palette until I thought it was just right. The dots are in a similar pattern to the Line in Mustard silver metallic dots but not quite as I got carried away dabbing. After all of my creative endeavours I am in love love love with this version too.

It seemed appropriate to take my patchwork trousers to Vivid the 2021 Christchurch Quilter's exhibition.

A wonderful opportunity to see some quilts especially as we aren't able to leave New Zealand so there is no Houston Quilt Festival for me this year. Its not quite true we can leave its the getting back into the country that is tricky. Obtaining a spot in managed isolation for the mandatory two weeks is a bit of a lottery, so we stay home and enjoy the talents of the local quilt artists.

If you are all about the garment sewing no need to venture further. The quilt pictures are many and the post is long because I included the artists' statements and other details about the quilts. This not only made for a very lengthy post it took me ages to compose even with the help of Google Lens copying the text from the image (not always possible due to blurry photography). I do think the time spent was worthwhile as it helps the enjoyment and understanding of the quilts. Especially important are the sizes of the quilts because I made the photographs as big as possible which obscures the real size of the quilt.

The Vivid challenge

This selection of quilts from the Vivid challenge really lived up to the name.

Clockwise from top left: Little Boxes by Veronica Spittal; Vivid Triangles by Daena Schofield; Testing the Pen by Jennifer Middendorf; Aniwaniwa Piwakawaka by Denise Smith; Brightness Overload by Kaye Amos; and Vulpes Fulvus by Andrea McClare

Veronica's artist statement: The design idea come from the word 'Vivid' which reminded me of a child's crayon drawing. The theme was inspired by the 1960's hit song by Malvina Reynolds "Little Boxes" protesting against the rise of suburbia. My protest is about the ugly brick farm workers houses springing up over the countryside. Design: Own design using amended free vector images for houses and letterboxes. Woven quilting inspired by 'Simply Stunning Woven Quilts' book by Anna Faustino. Techniques: Applique, woven fabric, painted fabric, machine and hand embroidery. Materials: Fabric, embroidery thread, Applifix, Inktense pencils. Size: 46 x 41 cm. Award: Best - VIVID

Daena's artist statement: An attempt to experiment with triangles and bright colours. Design: Own design. Techniques: Machine piecing, machine quilting, 60 degree ruler. Materials: Cotton, bamboo batting, Egyptian thread. Size: 44 x 34 cm. $150

Jennifer's artist statement: The word "Vivid" made me think of the scribble everyone does when they find a Vivid pen in the bottom of a drawer, to test if it still has ink in it. That gave me the big central scribble, and then I continued the theme with the free-motion quilting, filling my 'page' with doodles. Design: Own design inspired by free motion quilting doodles by Angela Walters. Techniques: Piecing, raw-edge applique, free motion quilting Materials: Cotton, batting. Size: 43 x 47 cm

Denise's artist statement: Amongst the Tane of the forest, Aniwaniwa Piwakawaka flits from branch to branch, landing for a few moments to show his beautiful feathers. Design: Own design inspired by Helen Godden. Techniques: Hand dyed background with a resist, stencilling, free motion quilting. Materials: Calico, cotton fabrics. Size: 37 x 41 cm. $330

Kaye's artist statement: This was the best fun, choosing fabrics that were so bright they hurt my eyes. Design: I used a combination of designs from Kirsten Duncan's class. Techniques: Applique, couching trim, free motion quilting. Materials: Cotton fabric, batting, thread. Size: 45 x 40 cm

Andrea's artist statement: The prompt Vivid asked for Kaffe Fassett fabrics. I have used my favourite technique to create animals. Fabric collage applique which is then thread painted to add texture and fine details. Design: Own design using pictures of foxes sourced from library books and online. Techniques: Neocolour II wax crayon painted background, fabric, thread painting. Materials: Cotton fabrics. Neocolour II wax crayons, Aurifil thread. Size: 50 x 50 cm. Award: Best - Vivid

The Andrea McClare quilts

Here are three more quilts from my friend Andrea, all utilising her signature thread painted applique collage technique.  Interesting how when you know someone you find all of their pieces in the exhibition - the eye is trained to spot the familiar! Andreas's two other pieces in the exhibition are Vulpes Fulvus above which won the Best - Vivid award and Virescent in the Aotearoa Quilters Colour Challenge - Lime below. My favourite is Beatrix - love the original stories and the little Bilby who would have fitted right in amongst Ms Potter's other creatures.

Top to bottom: Vintage Camera; Miss Cassie at Twilight; and Beatrix the Bilby by Andrea McClare

Vintage Camera artist statement: This quilt was created from a photograph. In the original photo the camera was sitting on a blue cloth, I chose to give it a more aged look with a brownish yellow background. Design: Sue de Vanny online Facebook class. Techniques: Fabric collage, thread painting, blended background. Materials: Cotton fabrics, Aurifil threads, cut away stabiliser. Size: 40 x 55 cm

Miss Cassie at Twilight artist statement: The background is painted in delicate twilight shades to contrast with the wild almost prehistoric looking Cassowary. Design: Sophie Standing online Facebook class. Techniques: Painted background, fabric applique, thread painting. Materials: Neocolour II wax crayons, cotton fabrics, Aurifil thread. Size: 75 x 50 cm

Beatrix the Bilby artist statement: She reminds me so much of the characters from Beatrix Potter tales that I named her accordingly. Design: Sophie Standing Facebook class with own design used for background and free motion quilting. Techniques: Neocolour II wax crayon painted background, fabric, thread painting. Materials: Neocolour II wax crayons, cotton fabric, Aurifil thread. Size: 45 x 60 cm

Sophie Standing has quite a following here in New Zealand after her visits in 2019 and 2020, with one more quilt in this exhibition from her Facebook class, and it won the award for Best Kit / Class Work.

Nuala the Koala by Karyn Elder

Karyn's artist Statement: This was an online class by Sophie Standing which started just after lock down last year. Nuala came to life as more fabrics, colours and threads were added. Design: Sophie Standing kit with own design of background trees. Techniques: Fabric painting, drawing outline, textile collage. Materials: Canvas, fabric, thread. Size: 67 x 57 cm.

The Catherine MacDonald quilts

Catherine is a favourite quilt artist who is well known in New Zealand. I love her dyed fabrics (Mallee Textiles) and the complex messages she entwines in seemingly simple quilts. Catherine has another quilt, Flanders Fields, in the Aotearoa Quilters Members Challenge - Reflections below. All of Catherine's quilts are her own design using her photographs.

Clockwise from top left: A Point in Time; Then Till Now; Ailsa Craig; Alone in the City; The Power of Weapons; and Working Together

A Point in Time artist statement: This reflects my 2019 visit to see the completed 9-11 memorial in NYC which is breathtaking in its stillness and reverence of visitors. I took a lot of pictures inside the tributes and parts of the original towers. I was taken by the strength of the concrete pillars and how they were broken, how strong they looked yet we know they crumbled. Techniques: Machine piecing, hand stitching and quilting. Materials: Rusted as well as flour paste printed fabrics. Size: 102 x 40 cm. $950. Awards: Best - Art / Contemporary; Merit - Judge's Choice Sophie Wood.

Then Till Now artist statement: I was comparing the media required when my parents flew back in 1968 to myself in 2010. No longer do you need printed tickets and travellers cheques, everything is electronic these days and available at the touch of a button. Materials: Hand dyed and treated fabrics, photo transfer. Size: 102 x 69 cm. $750

Ailsa Craig artist statement: Neighbourhood means many things to me but none more so that a small country town that espouses the values of working together for the good of their town. In my piece I have tried to show the open countryside all around the town as well as those working to make the NZ exhibition such a success. Techniques: Machine piecing, applique and quilting. Materials: Hand dyed and treated fabrics, photo transfer. Size: 102 x 72 cm. $750

Alone in the City artist statement: When you walk through a city or town and look at the lights on in the buildings you can often feel alone as you don't know anyone. However, how many people in their buildings are feeling on their own or in need? Do they feel trapped? Techniques: Machine piecing, applique and quilting. Materials: Hand dyed and treated fabrics, indigo fabrics. Size: 102 x 102 cm. $750

The Power of Weapons artist statement: Inspired by a visit to Peter Jackson's WW1 exhibtion about the war to end all wars. Now these weapons are used by all including single gunmen in mass shootings. How easily people seem to have forgotten the WW1 sacrifice...Lest we forget... Techniques: Machine pieced and appliqued, hand stitching. Materials: Discharge dyed fabric, hand dyed fabric, Wonderfil thread. Size: 100 x 60 cm. $950

Working Together artist statement: Inspired by a 10 acre sculpture park with over 170 sculptures. I based this work on 3 to 4 of my favourites, taking bits from each. Techniques: Machine piecing, applique and quilting, Materials: Hand dyed and treated fabrics, thermofax printing. Size: 102 x 48 cm. $750

The Kaye Amos quilts

Kaye also had a quilt in the Vivid challenge above.

Top to bottom: Aqua Delight; and Pods in a Vine

Aqua Delight artist statement: I was inspired by the pattern and fabric that was part of Allison Cocks collection. Design: Pattern for traditional Hawaiian needle turn design. Techniques: Invisible applique, trapunto and free motion quilting. Size: 112 x 112 cm.

Pods in a Vine artist statement: This image has been on my mind for some time, it was great to experiment with the Inktense pencils. Design: Own design. Techniques: Applique, free motion stitching, colouring and painting. Materials: Quilting cottons, batting thread, Inktense pencils. Size: 103 x 40 cm. $150.

The Maria Rohs quilts

I oh so nearly purchased the Mike Goes Skiing quilt, it really conveyed the insignificance of man against the snow covered mountain, and the danger it holds. Maybe I was drawn to it because a friend broke two vertebrae in his neck skiing a couple of weekends ago. Not that I ski, standing up on terra firma is enough of a challenge for me.

Top to Bottom: Sisters; and Mike Goes Skiing

Sisters artist statement: My Austrian sister Heidi has walked a lot in the Vienna woods - her family say she knows every tree! Of course I have walked there with her whenever I have visited. Inspired by a photo I took and placed myself in it with her. Design: Own design. I began this quilt in a class with Gloria Loughman. Techniques: "Tiles" in the background and applique in the foreground. Materials: Cotton fabrics. Size: 59 x 44 cm

Mike Goes Skiing artist statement: Made for a hexagon challenge. If sold, the name can be changed to suit the buyer. Design: Own design. Techniques: Machine applique and quilting. Materials: Cotton fabric, metallic thread. Size: 35 x 41 cm. $95

These three eye catching quilts are from a class taught by Maria using Katherine Roumanoff techniques. I would be afraid to sit on the sofa with one of these cushions on it.

Top to bottom: Wildlife Beauty by Joy Brett; Flora by Kirsten Tritt; and Flora by Sue-Ellen Sandilands

Joy's artist statement: My wildlife daughter begged me to take this class since she couldn't! Not my usual style but I made the pillow for her. Techniques: Applique. Materials: Cotton, upholstery fabric. Size: 45 x 48 cm

Kirsten's artist statement: Flora was made as an example for Christchurch Quilters class on faces. Techniques: Raw edge applique, quilting. Materials: Cotton, polyester batting. Size: 51 x 38 cm

Sue-Ellen's artist statement: Freeing fun class offering opportunity to play. Techniques: Machine applique. Materials: Cotton fabrics, curtains. Size 61 x 62 cm

The Kathleen Burford quilts

Four stunning quilts as always from Kathleen, and such varied styles too, all based on her own design. Kathleen also had a quilt, Shimmering Water, in the Aotearoa Quilters Members Challenge - Reflections below.

Clockwise from left: Ghost Ships of the Orient; A Taste of Japan; The Long Journey 3; and Kimono Treasures

Ghost Ships of the Orient artist statement: This quilt was made in a class at Auckland Symposium 2019. Design: Inspired by Pat Archibald. Techniques: Machine pieced and quilted. Materials: Cottons, netting, embroidery thread. Size: 107 x 31 cm. $140

A Taste of Japan artist statement: I purchased some of these fabrics from Japan, others from my stash. I wanted to share the beauty and simplicity of Japanese design. Techniques: Machine pieced and hand quilting. Materials: Cotton fabrics, silks. Size: 91 x 32 cm. $350

The Long Journey 3 artist statement: These birds create a backdrop for the late evening colour contrasts, a view I often see from our home. Techniques: Machine pieced and quilted. Materials: Cotton fabrics. Size: 135 x 100 cm. $600

Kimono Treasures artist statement: I purchased several packets of kimono pieces while in Japan. These beautiful colours needed simplicity to enhance the colours. Technique: Machine pieced and quilted. Materials: Cotton fabric, silks. Size: 179 x 212 cm. $650. Award: Best - Modern.

The Ngaire Dawson quilts

The techniques used may be a little bit different but all are based on Ngaire's own design.

Top to bottom: My View; The Cliffs; and The Ashburton Bridge

My View artist statement: I am always captivated by the ever changing moods and light I experience looking at the sea and sky from my home. I have tried to capture a glimmer of this in my quilt. Techniques: Cyanotype printing, hand quilting, couching. Materials: Cotton fabric. Size: 35 x 35 cm

The Cliffs artist statement: What could be over the ridge? This thought is one of the joys of tramping. Techniques: Silk painting, hand and machine quilting, couching. Materials: Silk. Size: 32 x 31 cm

The Ashburton Bridge artist statement: We have been warned to expect increasing major flood events as part of global warming. We are being informed of that happening in many parts of the world, including New Zealand. Techniques: Shibori dyeing, piecing, hand and machine quilting. Materials: Cotton fabric, fibre reactive dyes. Size: 71 x 59 cm. Awards: Merit - Art / Contemporary; Merit - Judges Choice Linda Pringle.

The Rin Tipa quilts

Aside from the wonderful use of colour I found it interesting that these two quilts were made by the same person.

Top to bottom: Bird on a Wire and Pampas Grasses

Bird on a Wire artist statement: This quilt is a combination of two different patterns. Loved the birds from a Wendy Williams pattern and the blocks from an Abbey Lane pattern. Design: Wendy Williams and Abbey Lane. Techniques: Machine pieced. Materials: Cotton fabrics. Size: 177 x 152 cm

Pampas Grasses artist statement: This was a club challenge for 2020 of "LINES". Design: Own design. Techniques: Machine pieced with fused grasses. Materials: Cotton fabrics. Size: 43 x 43 cm

The Lynda Thrower quilts

So here is the Best in Show and the Best Traditional quilt, with another more fun but still meticulously executed quilt from Lynda. My photos of these two really don't do them justice.

Top to bottom: Paisley and Tea Roses; and Oh Sew Pretty

Paisley and Tea Roses artist Statement: I have quilted on a domestic machine. Design: Based on a pattern by Denise Sheehan and inspired by Cindy Keitz Krug. Techniques: Hand applique. Materials: Cotton fabrics. Size: 200 x 225 cm. Awards: Best in Show; Best - Traditional.

Oh Sew Pretty artist statement: The pattern was designed for wool applique and was much larger. I downsized it and used cotton fabrics, free motion quilting on a domestic machine. Design: Pattern by Buttermilk Basin. Techniques: Hand applique. Materials: Cotton fabrics. Size: 107 x 83 cm

The Julia Li quilts

These three hand sewn beauties by Julia Li, where a study in precision.

Clockwise from left: Stars and Stripes, size 208 x 175 cm, $1,650; Daisy, size 124 x 102 cm, $880; and Perspective, size 53 x 53 cm, $440

The other quilts that caught my eye

I resisted taking photos of every quilt at the exhibition but there were a few more that appealed to me.

Reflections by Anne Howard
Artist statement: I liked the design and as I had never tried paper piecing was eager to give it a go. I can see myself using this technique again. Design: A block out of the Quilt - The Bachelor in the book Paper Pieced Modern by Amy Garro. Techniques: Paper piecing, straight line quilting. Materials: Cotton fabric, thread. Size: 57 x 56 cm

Shibori by Annette Blair

Artist statement: Samples from many different experiments over the years with Shibori. Finally pieced together. Design: Techniques from books on Shibori. Techniques: Shibori - stitching, clamping, folding and immersion. Materials: Cotton fabrics, Procion dyes. Size: 84 x 47 cm

Hex-Plosion by Barbara Davies
Artist statement: A quilt along based on Katja Marek's book The New Hexagon 52 Blocks to English Paper Piece. Design: Hex-plosion by Katja Marek. Technique: English paper piecing with stitch in the ditch quilting. Material: Cotton fabrics. Size: 120 x 120 cm. $550. Award: Merit - Best Use of Colour.

Flight of Fancy by Joanne Burton
Artist statement: First time exhibitor. Design: Pinterest pattern 'Flight of Fancy' by Lynne Tyler. Techniques: Machine pieced, hand quilted. Size: 115 x 160 cm

Weedy Sea Dragons by Joy Brett
Artist statement: Made for a new baby grandson whose mother drew and painted the design for me to work from. Design: Angela Brett. Techniques: Machine appliqued and quilted. Materials: Cotton fabrics. Size: 114 x 83 cm

Looking Through My Window by Kerian Gill
Artist statement: Building on ideas and playing with colour, design, shapes and forms to create a cohesive picture from a random, colour clashing of old and new fabrics. Design: Own design. A class by Kirsten Duncan who showed us how to put a bizarre group of fabrics together cohesively by simplifying block sizes, using traditional block patterns and modern applique ideas. Techniques: Patchwork and applique. Materials: Cotton fabrics. Size: 150 x 150 cm. Award: Best - First Time Exhibitor

Wanderers' Daughter by Lee Harper
Artist statement: Just love the colour and texture scrap quilts deliver. I completed a Jen Kingwell Wanderers' Wife quilt and there were many off-cuts and scraps. Rather than waste them they have been used to make this scrappy quilt. Started in 2018 and finished in 2021, quilts can take years to finish. Design: Own design. Techniques: Machine and hand stitched. Materials: Cotton, cotton batting, cotton pompoms, tassels. Size: 140 x 132 cm

Beautiful inside and out 1 by Lynne Doubleday

Artist statement: Celebrating friendship and beauty. This quilt was made using raw edged applique and free motion quilting techniques. Using my own photo I designed a pattern and translated it into different values to gain the life-like look.

Design: Own design inspired by a friend's photograph. Techniques: Raw edged applique and free motion quilting. Materials: Cotton fabric, thread, batting. Size: 60 x 62 cm. Award: Best Landscape/Pictorial

NZ Birds and Fauna by Mary Toner
Design: New Zealand flowers and birds. Techniques: Paper piecing. Materials: Cotton fabrics. Size: 46 x 46 cm

Maths Lesson by Sharron Philip
Artist statement: It was my first COVID quilt. I have kept the magazine with the pattern for over 10 years. So pleased I got around to doing it. Design: Lisa Walton, Australia. Materials: cotton fabrics. Size: 164 x 154 cm

Bunnies from a Griet Lombard class, top to bottom: Not for the Pot by Nicky Holland; and The Bunnies by Denise Smith

Nicky's artist statement: Rabbits are brown, generally, so a class to use up the disliked brown fabrics. The rabbits took on a life of their own, all quirky and rustic, with their own personality. I realised that brown works well with many other colours. Techniques: Pieced, applique, machine and hand quilted. Materials: Cotton, lace, velvet, mesh. Size: 115 x 111 cm

Denise's artist statement: Levi Strauss, Calvin Klein, Lee Wrangler. and Amco Peaches make up the Bunnies Gang. Techniques: Raw edge applique, free motion quilting. Materials: Old denim jeans, cotton fabrics, lace. Size: 58 x 43 cm. $550

And then a quilt inspired by the Griet Lombard bunnies technique

9 + 1 Lives by Dallas Hoskin

Artist statement: I enjoyed participating in Griet Lombard's bunnies class and decided to design one on cats. Animals with attitude always appeal to me and so these cats were designed with this in mind. Design: own design inspired by Griet Lombard and Helene Knoff's Garden Patch Cats. Adapted from free clip art. Materials: Scraps of left over quilting and sewing fabrics. Size: 113 x 102 cm

The guest exhibitors

The exhibition had two guest exhibitors the late Allison Cocks, who never felt her quilts were good enough for an exhibition kindly exhibited by her family. and Alice Jones.

Go Read Go by the late Allison Cocks

My Last Gift by the late Allison Cocks

Any Mother's Son by Alice Jones, 2021
Size: 109 x 301 cm

The Aotearoa Quilters' challenges

A few of my favourites from the two challenges on display. First is the Member Challenge - Reflections and then the Colour Challenge - Lime.  All of the quilts from these two challenges can be found on the Aotearoa Quilters' website.

Clockwise from top left: Flanders Fields by Catherine McDonald; Shimmering Water by Kathleen Burford, Christchurch; Little Treasures by Sonya Prchal, Whangarei; Reflecting in Mathematics for Transformation by Merrilyn George, Ohakune; and She is... by Fyvie Murray, Wellington

Catherine's artist statement: I think about the senseless loss of young life that comes from war. Why do those who send the young to fight think their lives are expendable. Why do we not learn from history and stop the carnage. $975.00

Kathleen's artist statement: I frequently walk along the banks of a a river near my house, the sun light that shines on the water changes daily. This is the 3rd quilt in a series I have made. $630

Sonya's artist statement: Long reflective walks during lockdown, had me reassessing priorities. Life is short. Enjoy every moment. Treasure your loved ones and embrace the freedoms we experience in our beautiful country. $630.00

Merrilyn's artist statement: Reflection of two kinds: on our stamp and relationship with the land, and a mathematical term. Visceral joy is in the maths I see in all natural and manmade pattern (including Maori design) about us. $975.00. Award: Merit.

Fyvie's artist statement: The Me Too slogan on this quilt caused me to reflect about the way society sees women and how women are taught to see themselves. Measuring women in terms of family relationships blurs their reality. $515.00. Award: First.

Clockwise from top left: Unleashed by Camilla Watson, Porirua, Award First; Virescent by Andrea McClare, Christchurch; Cosmic Jewels by Sandy Briggs, Whangamata; My Molly by Barbara McFarlane, Ashburton; and Harakeke by Melanie Martin, Tauranga

Outfit of the day

This version of the Megan Nielsen Flint trousers has become a firm favourite. They ventured out for lunch with my beloved to celebrate my second dose of the Pfizer COVID vaccine. Sorry I didn't make my facemask - I consider it but don't do it.

Megan Nielsen Dotty Stripe Flint trousers; Sewing Workshop Maison top; Style Arc Palermo jacket and United Nude Lucid Molten mid heel boot in colourway Iridescent

We enjoyed a delicious leisurely lunch at the Untouched World Kitchen. I love the Untouched World Kite and its symbolism even if my beloved thinks it looks like the Angel of the North by Antony Gormley which sits beside the A1 at Gateshead, Tyne and Wear.

The Maori Kite symbol embodies the Untouched World philosophy, "the emblem of an ideal relationship between people and nature. It is the outcome of an art involving natural materials and human skills; it links the earth to the sky, and symbolises a soaring freedom of the spirit."

I also wore these trousers to the hairdresser. An emergency appointment when I realised it had been three months since my last cut and if I didn't do it then it would be another month before it happened. These OOD pictures are pre-haircut and I am quite grateful that messy natural hair is the new trend. This is a trend I can achieve - long may it last. Actually I don't really believe it will catch on as most hairdressers are fixated on making your hair straight. Luckily Mike at Surreal Hair is a magician he understands curly hair, can cut it to maximise its curl and doesn't spend ages drying it straight. My beloved took a post haircut shot but I'm not entirely convinced you can see the difference (but I can feel it!)