Removing the boutis from the linen and finding a more appropriate setting was one consideration.
And, because of the strong tradition of hand work associated with boutis, I considered hand quilting the linen/cotton surround. As much as I enjoy hand quilting, I know that the project would languish in a cupboard for many years until the hand quilting priority list could accommodate this table topper. Therefore, the only legitimate solution I could sensibly consider was to machine quilt.
|As I was working on the quilting design, it was important that the machine quilting should highlight the boutis with a complementary frame. I kept the design to rounded feathers and scroll shapes to imitate the rounded petals of the boutis flower.|
In France, just as in North America, the debate between traditional methods versus contemporary methods is quite lively. There are some boutis artisans that hold fast to the premise that any idea or technique that does not adhere to the strict rules of the tradition of the craft, is not authentic boutis. I certainly agree with that, and I have a great respect and admiration for the beautiful, intricate hand work created, for which time and patience are a prerequisite. In fact, I have become quite enamoured with the tradition of boutis and have a great respect for it. However, I believe every age creates it's own traditions when we adapt these inherited crafts to our present day circumstances by using the new information and technology that is available to us. I believe it keeps the craft relevant and alive.
When "white corded quilting" (later referred to as boutis), first made it's way into France in the early 17th C, the artisans and craftsmen of the ateliers in and around Marseilles, adopted the designs and ideas that they saw in the textiles imported from eastern countries like India, China, Persia, etc., and adapted them to their own circumstances. The designs created in these early boutis studios were inspired by ideas they had seen in imported textiles and then quite logically evolved them into symbols and motifs significant to their own world. The technique of corded whitework was first seen in these imported works, and then evolved into a technique very specific to the south of France. Although they held onto the basic concept of "white corded quilting", they adapted it to their present day circumstances to keep it relevant.
|Close-up of the machine stitching.|
|Fully quilted tabletopper, with a scalloped perimeter. (Remnants of crokinole board still visible, (sigh!) but somewhat softened.)|
|The backing fabric is a traditional blue toile de jouy cotton.|
Mme. Born's approach to boutis honours the tradition of boutis, both in technique and design, yet she allows for individual expression and this type of adaptation. I don't believe that she will be offended by my setting of her boutis design. (I will ask her opinion the next time I see her.)
All this having been said, I am not happy with the machine quilting on the linen. Although my floppy little crokinole board is somewhat camouflaged, linen is not user friendly to machine quilting. More on that next time.