A slightly edited version of this article first appeared in the Spring 2004 issue of The Canadian Quilter

Where are the Traditional Quilts?

by Daintry Chitaroni

When my term of office as Treasurer of CQA/ACC expired, I approached the Board of Directors as a member, to request an evaluation of the content of the annual shows hosted by the Association.

I had been consistently disappointed by the small number of traditional quilts being entered in the National Juried Show. I don’t see many traditional quilts at major or local quilt shows any more; therefore the next generation is not being exposed to the cultural, historical and technical aspects of traditional quilt making in Canada. There appears to be a current focus on contemporary and innovative art quilts. I was approached to put my thoughts on paper as to what I considered a traditional quilt. Perhaps I could provide useful guidelines that would help the Board to re-shift the balance.

Is it the structure of the National Juried Show which discourages entry of traditional quilts? The Call for Entry indicates that design sources must be original, not a product of classes, patterns, books, kits. The Call for Entry has an equal number of categories for traditional and innovative. Although the traditional bed quilt and traditional wallquilt categories are listed equally with the innovative, entries to the former are few. Is this because the rule is ambiguous, or too limiting? Or is it because the quilters interested in entering the larger shows are not making traditional quilts, or because the traditional quiltmakers are not entering shows? Whatever the reason, I would like to see more balanced shows.

I have lost count of the number of viewers who have commented upon leaving the larger shows, especially the NJS, -where are the real quilts? These quilters, as do I, want to see wedding quilts, bed quilts, anniversary quilts and group quilts, made by their counterparts across the country, exhibited in the same numbers as the innovative quilts.

But how do you distinguish traditional and innovative in the context of a quilt exhibit? I thought back to the thousands of quilts, that I have seen over the years, which stood out as fine examples of traditional or innovative quilting. What made them so different, yet as a quilter I was drawn to each for a different reason? I knew that they were different, but also that neither was more important than the other. What made them so different? Having no special training in quilt history, documentation or appraisal I must rely on my instincts.

What is a traditional quilt? The lines will always blur somewhat. All innovative quilts have roots in traditional patterns, techniques or designs. Many quilts that we now deem traditional were once viewed as highly innovative. I set up columns to enter distinguishing characteristics of each, to no avail. For each entry there were exceptions to be found. Other than an instinctive look, I see the two as being hopelessly intertwined.

Are there absolute definitions for traditional and innovative that can be incorporated into a Call for Entry? Since I don’t have an immediate answer to that question, I have outlined what I, as a traditionalist, would specifically like to see exhibited at quilt shows and taught at conferences:

1. Hand-quilted quilts, with well-executed quilting stitches and intricate designs. This is an art form that is being lost in our hurry-up world. It should, instead, be nurtured. I want to see wholecloth quilts, trapunto, feathers and vines, stipples and tiny grids embellishing the quilts, hand done with a needle and thread.

2. Heirloom quilts, whose function is to be passed down to the next generation, including wedding quilts, anniversary quilts, memory quilts and album quilts made with love to be given away and to be cherished.

3. Ingenious quilts that were made specifically to reflect the size of our stash, such as scrap quilts, charm quilts and group quilts that inspire quilters to swap, share and work together to create masterpieces of color and value.

4. Heritage quilts that teach something of quilt history. Folk art and Naïve quilts, reproductions of antique quilts, Celtic and Jacobean, Amish and Mennonite quilts are all part of our quilting history and perhaps will inspire others to delve deeper into our roots.

5. Contemporary traditional quilts such as those made with modern fabrics, yet retaining the traditional look through construction and design adaptations of block sets, borders and appliqué shapes.

How do you incorporate traditional work into an innovative quilt world? The CQA/ACC has a goal of promoting quilting in Canada. I feel that both traditional and innovative quilts should hang together and be promoted equally to further this goal. Any definition that we assign to each of them should not form a hindrance to maintaining interest in either style of quilting. Traditional and innovative bed quilts and wallquilts can be partners in the Canadian quilting community—our conferences, workshops and newsletters. I would like to see this happen, particularly in our national shows. You may have ideas you would like to share on how to better accomplish this. Perhaps just discussing what is a traditional quilt will help to achieve this goal.