>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL.

SUPPORTING ARTS, ADVANCING CULTURE, AND CONNECTING THE COMMUNITY TO ARTISTS, EVENTS, AND CLASSES AT COLUMBUSARTS.COM.

♪♪ ♪♪ >> THIS TIME ON "BROAD & HIGH."

A CELEBRATED COSTUME DESIGNER SHARES TIPS FOR RESTORING VINTAGE GARMENTS.

>> I WILL HAVE TO TAKE THE WHOLE THING APART AND LINE THE ENTIRE THING TO GIVE IT STRENGTH.

>> AN INVENTIVE QUILTER CREATES COMPELLING DESIGNS, STICKING TOGETHER PHOTOGRAPHS RATHER THAN FABRIC.

AND, ANOTHER QUILTER USES A MORE TRADITIONAL APPROACH IN HER DAZZLING DESIGNS.

THIS AND MORE, RIGHT NOW ON "BROAD & HIGH."

♪♪ ♪♪ >> WELCOME TO "BROAD & HIGH."

I'M YOUR HOST, KATE QUICKEL.

BETSEY POTTER HAS BEEN WIDELY RECOGNIZED FOR HER WORK RESTORING HOLLYWOOD COSTUMES.

YOU MAY HAVE SEEN SOME OF THESE GOWNS AND DRESSES ON EXHIBIT AT THE DECORATIVE ARTS CENTER IN LANCASTER.

NOW'S OUR OPPORTUNITY TO LEARN ABOUT SOME OF THE RESTORATION TECHNIQUES THAT POTTER INCORPORATES INTO HER WORK.

♪♪ ♪♪ >> BETSEY, YOU'RE A RENOWNED COSTUME DESIGNER FOR BOTH STAGE AND SCREEN.

CAN YOU TALK A LITTLE BIT ABOUT THE CRAFT OF DESIGNING FOR THOSE TWO MEDIUMS?

>> THERE IS A DIFFERENCE JUST -- IF YOU THINK ABOUT IT, BETWEEN THE FACT THAT THEATRICAL COSTUMES HAVE TO GET A DISTANCE.

THEY HAVE TO GO OUT OVER THE SEATS, UP TO THE BALCONY.

SO, THE DESIGN OF THE CLOTHES IS BOLDER AND BROADER.

YOU CAN'T DO LITTLE, TEENY DETAILS.

THE MINUTE YOU MOVE INTO TELEVISION, OR FILM, WHERE IT GOES CLOSE IN -- TO THE FACE, TO THE NECKLINE, ALL THOSE THINGS.

THE DETAILS BECOME MUCH MORE IMPORTANT.

>> IS THERE A DIFFERENCE BETWEEN THE WAY THAT COSTUMES USED TO BE MADE AND HOW THEY'RE MADE TODAY?

>> NOT REALLY, ALTHOUGH THE STYLE OF HOW CLOTHES ARE MADE IS DIFFERENT.

AND, THE MATERIALS WE HAVE ARE DIFFERENT.

AND, ONE OF THE PROBLEMS I HAVE IN RESTORING OLDER COSTUMES IS THAT WE DON'T HAVE SOME OF THE SAME MATERIALS TO RESTORE THEM.

BUT THE QUALITY HAS MORE PROBABLY, TO DO WITH THE FUNCTION OF THE COSTUMES.

THIS IS THE TOP OF AN ORIGINAL DRESS THAT EVERYBODY LOVES.

THEY ALWAYS WANT TO RENT IT.

THEY DO RENT IT.

IT GOES OUT.

IT ENDED UP ON A MOVIE WHERE THEY WERE DANCING IN IT.

THEY DIDN'T TELL ME THAT GOING INTO THE MOVIE, BUT THEY'RE PART WAY THROUGH THE MOVIE, AND THIS BODICE STARTS TO DISINTEGRATE.

IT ACTUALLY, THE THREADS ARE FALLING OUT BECAUSE THEY'RE PUTTING MUCH MORE STRAIN ON IT.

SO, THEY HAVE TO FIGURE OUT HOW WE CAN GET THROUGH THE MOVIE WITH THIS?

SO, THEY BUILT AN UNDER BODICE TO IT AND SENT IT BACK TO ME.

BUT I WILL HAVE TO TAKE THE WHOLE THING APART, AND LINE THE ENTIRE THING TO GIVE IT STRENGTH.

AND, I WILL COPY IT AT THE SAME TIME AND MAKE A NEW ONE.

>> SO THEN, A BIG PART OF YOUR JOB IS TO RESTORE OLDER COSTUMES THAT HAVE BEEN USED IN MOVIES.

SO, CAN YOU TALK ABOUT JUST -- THIS PIECE RIGHT HERE?

>> OKAY.

THIS IS JANE RUSSELL'S ORIGINAL COSTUME FROM "SON OF PALEFACE."

♪♪ AND THIS ONE -- THE ARCHIVIST RANDALL THROPE, CAME TO ME AND SAID, "CAN WE RESTORE THIS FOR DISPLAY?"

>> NOW, WHAT I DO IS RESTORE THEM FOR DISPLAY.

I AM NOT A CONSERVATIONIST.

I RESTORE.

AND SO, IT HAD BEEN ALTERED MANY TIMES.

AND THAT'S THE NATURE OF THE COSTUMES.

THAT THEIR PURPOSE IS TO BE REUSED.

AND THIS IS SILK.

IT'S BEAUTIFUL SILK.

AND, IF YOU SEE HERE, YOU CAN SEE THE WEAR.

WELL, UP HERE THERE ARE ACTUALLY WERE HOLES IN THE FABRIC.

SO, I HAD TO FIGURE OUT A WAY TO COVER THIS, 'CAUSE I DO NOT WANT TO CUT ANYTHING AWAY.

I WANT IT TO STAY ORIGINAL.

AND I GOT A RED, SILK CHARMEUSE, AS CLOSE IN FINISH TO THE ORIGINAL, AND THEN I DIPPED IT TO TRY TO MATCH IT.

BECAUSE, IF YOU PUT IN A PIECE OF FABRIC THAT DOESN'T MATCH WHAT SHOULD BE THERE IT WILL REFLECT THE LIGHT DIFFERENTLY AND IT WILL LOOK LIKE A PATCH.

SO, THAT'S A BIG FACTOR.

SO I ALWAYS USE 100% THE FIBER IF I CAN FIND IT, A NATURAL FIBER.

EVERYTHING IS REVERSIBLE TOO.

BECAUSE, YOU DON'T CHANGE, CUT -- MAKE IT SO THAT IT IS NO LONGER THE ORIGINAL OUTFIT.

THE WHOLE GOAL IS TO MAKE THE OUTFIT ON DISPLAY LOOK LIKE WHAT THAT COSTUME DESIGNER DESIGNED FOR THAT ACTRESS.

TO BRING IT BACK TO THE GLORY OF WHAT IT WAS.

>> SO, WE'RE HERE AR THE DECORATIVE ARTS CENTER OF OHIO AND THE PARAMOUNT COLLECTION.

AND, THERE ARE SOME PIECES YOU HELPED RESTORE HERE.

CAN YOU TALK A LITTLE BIT ABOUT THOSE?

>> YES, THERE ARE ABOUT FOUR PIECES OR MORE THAT I'VE RESTORED.

THERE WAS A DRESS FOR DOROTHY LAMOUR FOR A MOVIE CALLED, "MAN ABOUT TOWN."

♪♪ IT WAS BROUGHT TO ME, AND IT HAD BEEN PATCHED THREE TIMES ALREADY, SO I TOOK EVERYTHING OUT.

ALL OF THE LITTLE STITCHES.

ALL OF THE STUFF.

STEAMED IT OUT.

AND WHEN I GOT DONE, I HAD SOMETHING THAT HAD HOLES ALL THROUGH HERE, ALL THROUGH HERE, AND -- WHAT ARE YOU GONNA DO?

SO, I WENT INTO MY STASH OF FABRIC, OKAY?

AND I FOUND A FABRIC THAT WAS THE RIGHT FEEL, THE RIGHT MOVEMENT.

THE RIGHT WEAVE, AND THE RIGHT REFLECTION TO THE DRESS.

THEN, I HAD TO DYE IT THE RIGHT COLOR.

SO, I DYED IT THE RIGHT COLOR.

THIS IS ALL I HAVE LEFT OF IT BECAUSE I THOUGHT I DYED ENOUGH.

AND IT TURNED OUT THERE WAS SO MANY HOLES, THAT I ACTUALLY USED IT UP RIGHT DOWN TO THE SCRAPS.

SO, I PUT THESE BEHIND ALL OF THOSE HOLES.

STITCHED THEM IN -- CAREFULLY.

THEN, USING THIS FABRIC, WHICH I DYED ALSO TO MATCH -- I MADE AN UNDER BODICE THAT GOES FROM THE SHOULDER, DOWN THE FRONT, SHOULDER, DOWN THE BACK, ALONG THE ZIPPER.

THERE'S A ZIPPER HERE.

THERE'S A ZIPPER THERE.

AND CONNECTS ALL THE WAY DOWN TO THE SKIRT.

SO, THE SUPPORT OF THE SKIRT AND THE DRESS IS ON THAT 100% COTTON UNDER BODICE.

WE LIKE THIS DRESS BECAUSE IT HAS THESE FABULOUS BEADED WINGS ON THE FRONT OF IT.

AND, THEY ARE THREE-DIMENSIONAL BEADED WINGS THAT MOST OF US HAVE NEVER SEEN DONE ANYWHERE.

AND SO, WE FELT IT WAS WELL-WORTH THE WORK TO BRING IT BACK TO LIFE.

♪♪ ANOTHER DRESS THAT WAS BROUGHT TO ME FROM THE ARCHIVE.

IT LOOKS LIKE A DRESS, BUT IT'S A SUIT.

AND, SOMEONE HAD PUT THE BOW ON THE BACK OF THE DRESS.

THEY HAD MOVED IT AROUND.

WE HAD THE PICTURES FROM THE DRESS.

WE HAVE THE MOVIE.

I COULD LOOK AT THE DRESS, AND FINALLY FIGURED OUT WHERE THE BOW WENT, AND PUT IT IN PLACE.

GET THAT DONE, AND I LOOK AT THE TOP OF THE DRESS -- AND I CALL HIM UP AND I SAY, "YOU DO NOTICE THAT THE NECKLINE IS ENTIRELY DIFFERENT."

AND THEY HADN'T REALLY NOTICED BECAUSE THEY WERE SO FOCUSED ON THE BOW.

SO, I TURN THE JACKET INSIDE OUT, PUT IT BACK ON THE DRESS FOR 'EM, AND WE WERE REALLY LUCKY.

BECAUSE, SOMEBODY HAD HAD RESPECT FOR THIS GARMENT.

THEY HAD NOT CUT THE FABRIC 'CAUSE MOST OF THE TIME -- WHEN YOU RENT CLOTHES IT VERY SPECIFICALLY SAYS, "YOU MAY ALTER, BUT YOU MAY NOT CUT."

BUT NOT EVERYBODY PAYS ATTENTION TO THAT, RIGHT?

SO, EVERYTHING HAD BEEN FOLDED INTO THE SIDES OF THIS COSTUME.

THERE WAS ENOUGH EXTRA FABRIC INSIDE THE BACK SEAM TO CUT A LITTLE BIT OUT, AND COVER THE THREE MISSING BUTTONS THAT I FOUND, THE RIGHT SIZE, AND PUT THOSE IN.

AND RESTORE THE DRESS, LENGTHEN THE SKIRT, AND GIVE IT EXACTLY WHAT LOOKED SO FEMME FATALE ON HER.

IT WAS GREAT.

♪♪ AND THEN, THERE'S ANOTHER OUTFIT.

IT LOOKED PRETTY GOOD WHEN I GOT IT -- ON THE OUTSIDE.

BUT, THE INSIDE OF IT WAS SHREDDING.

IT WAS LINED WITH SILK TAFFETA.

AND IT WAS JUST SHREDDING ALL DOWN THE SKIRT.

IT'S A FULL LENGTH BUSTLE DRESS WITH A BODICE, WITH BEADS THAT GO DOWN THE FRONT, AND IT'S LOVELY, EXCEPT EVERY TIME YOU PUT IT ON THE DRESS FORM, YOU GOT ANOTHER PILE OF SHREDS COMING OUT OF IT.

I HAD TO HUNT DOWN ENOUGH YARDAGE TO DO IT BECAUSE IT WAS THE PETTICOAT, AND THE COMPLETE LINING OF THE SKIRT AND THE BODICE HAD TO BE REDONE, AND THE SLEEVES.

I MEAN, EVERYTHING.

AND, THE BEADS ARE TEARDROP SHAPED AND THEY'RE DIFFERENT SIZES AND EVERYTHING HAD TO BE REPLACED AND SEWN BACK ON.

IT'S FUN TO BRING THEM BACK TO LIFE, BUT THERE'S A POINT IN THE MIDDLE -- NOTHING IS THAT MUCH FUN.

[CHUCKLES] WHEN YOU'RE REALLY ON A TIME SCHEDULE, AND IT'S LIKE -- SOMEONE SAYING, "ARE YOU DONE YET?"

>> SO WE'VE BEEN TALKING A LOT ABOUT THE COSTUMES YOU'VE HELPED RESTORE.

BUT, THERE'S A COUPLE COSTUMES, AND I'M REALLY INTERESTED TO LEARN MORE ABOUT -- FROM ONE OF MY FAVORITE MOVIES, "WHITE CHRISTMAS."

CAN YOU TALK ABOUT THOSE?

>> I'D BE GLAD TO TALK ABOUT THIS.

IT'S A NUMBER CALLED "SISTERS" FROM "WHITE CHRISTMAS."

♪♪ AND ITS ROSEMARY CLOONEY AND VERA-ELLEN.

AND WE HAVE -- WHAT THIS LOOKED LIKE.

WE ALL KNOW THIS.

BUT, WHAT I GOT SENT TO ME TO THE STORE DIDN'T LOOK LIKE THAT ANYMORE.

NOW, THIS LOOKS PRETTY GOOD.

BUT, THIS HAD HOLES IN THE LACE, AND THE SKIRT HAD BEEN CUT OFF THREE INCHES.

EVERY LAYER, AND THERE'S SEVEN LAYERS TO THIS SKIRT.

VERA-ELLEN'S DRESS HAD ALSO HAD A LITTLE BIT OF ALTERATION ON IF YOU LOOK AT IT, THE ENTIRE SLEEVE AND BODICE IS GONE.

AND MY PROBLEM WAS, "HOW DO I MAKE SOMETHING OUT OF NOTHING?"

>> HMMM.

>> AND SO, YOU THINK ABOUT WHERE YOU'RE HEADED AND WHAT YOU'RE DOING BEFORE YOU START, AND I CALL NEW YORK.

CALLED FRANCE, LONDON, CHINA.

TRIED TO CONTACT EVERYBODY, AND BASICALLY -- IT CAME DOWN TO BOTH TIME, MONEY, AND THE AMOUNT OF FABRIC WE NEEDED.

WHICH I ONLY NEEDED LIKE, A YARD AND A HALF.

SO -- I CAME UP WITH THE VERY UNIQUE SOLUTION WHICH IS WHY I LOVE CHALLENGES, AND EVERYTHING WAS BACK ON TOOL AND I HAPPENED TO HAVE TOOL THAT WAS EXACTLY THE RIGHT COLOR.

I TOOK LACE FROM THE PERIOD, I CUT IT.

REORGANIZED IT INTO THE PATTERN OF THIS LACE.

THE RHYTHM OF THE LACE IS WHAT I THINK OF IT AS.

THE CURVES AND SHAPES -- STITCHED IT TO THE TOOL.

THEN, I CREATED BY HAND, ALL OF THE WEB THAT GOES BETWEEN THOSE PIECES.

IT REALLY WAS A CHALLENGE, IT WORKED.

AND THAT'S THE ULTIMATE THING, IS THAT IT WORKED.

>> WHY IS IT SO IMPORTANT FOR YOU TO RESTORE VINTAGE AND TO USE VINTAGE?

>> I WAS A HISTORY MAJOR.

AND WHEN I READ HISTORY AND WHAT'S GOING ON, I WAS FASCINATED BY THE CLOTHES, AND I LOVED THE IDEA OF BEING ABLE TO GIVE THEM ANOTHER, AT LEAST 20 YEARS OF LIFE SO THAT THEY CAN BE USED, AND WE CAN LEARN FROM THEM.

INTERESTINGLY ENOUGH, I WAS TALKING TO A TEACHER FROM THE OHIO AREA -- WHO WANTED TO KNOW, YOU KNOW -- WITH ALL THESE STUDENTS COMING OUT WHO ALL WANT TO BE DESIGNERS, THE FIRST THING I WOULD SAY IS WE AREN'T ALL GOING TO BE EDITH HEAD, OR BOB MACKIE.

WE NEED DESPERATELY TO HAVE PEOPLE WHO KNOW HOW TO DO BEADING, WHO KNOW HOW TO DO CROCHETING, KNITTING, FOR PERIOD CLOTHES.

YOU COULD HAVE A CAREER FOR THE REST OF YOUR LIFE IF YOU DID A SPECIALTY WITHIN THESE CRAFTS.

AND I ENCOURAGE PEOPLE TO EXPAND THEIR KNOWLEDGE OF WHAT THEY COULD DO WITHIN THE ART OF COSTUME DESIGN.

>> THIS IS SO FASCINATING.

I JUST GREW UP WITH OLD MOVIES AND THIS HAS JUST BEEN AN AMAZING KIND OF WALK THROUGH HISTORY AND HOW COSTUMES WERE MADE.

AND IT REALLY, TRULY IS AN ART FORM.

SO, THANK YOU SO MUCH FOR SHARING SOME OF YOUR TIPS WITH US.

>> MY PLEASURE.

♪♪ ♪♪ ♪♪ ♪♪ ♪♪ >> VISIT THE DECORATIVE ARTS CENTER'S WEBPAGE TO LEARN MORE ABOUT "DISTINCTLY PARAMOUNT" AND "A VICTORIAN CHRISTMAS" -- TWO EXHIBITS THAT FEATURE POTTER'S WORK.

♪♪ ♪♪ ♪♪ >> PICTURE THIS, A QUILTER WHO STITCHES IN AN UNUSUAL MEDIUM.

CHRIS MERCERHILL OF COLUMBUS -- SEWS TOGETHER PHOTOGRAPHS.

ONES THAT OFTEN FEATURE ICONIC COLUMBUS LANDMARKS.

HIS GEOMETRIC TECHNIQUE AND USE OF THE OHIO STAR QUILTING PATTERN RESULT IN A KALEIDOSCOPIC PIECE OF ART THAT COMPELS THE VIEWER TO STEP A LITTLE CLOSER TO IDENTIFY THE PATTERN.

LET'S SEE IF YOU CAN RECOGNIZE THE IMAGES.

♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ [SEWING MACHINE] >> HI, I'M ORIGINALLY FROM TORONTO, CANADA.

I CAME TO THE UNITED STATES TO GO TO GRADUATE SCHOOL, MET MY WIFE THERE IN SOUTH CAROLINA.

WE MOVED TO ILLINOIS.

AND THEN, BACK TO OHIO 'CAUSE IT'S CLOSER TO HOME, SO KIND OF A CLASSIC STORY, REALLY.

♪♪ ♪♪ I'VE ALWAYS BEEN INTERESTED IN PATTERNS, YOU KNOW.

SHAPES, SQUARES, TRIANGLES.

♪♪ SO, WHEN I SET OUT TO MAKE A PHOTO QUILT -- A QUILT MADE OF PHOTOS SEWN TOGETHER -- I START WITH AN IMAGE.

SO, THIS, THIS IS AN IMAGE OF -- UMM THE NORTH MARKET.

SO, I'M GONNA USE THIS PHOTO, AND I'M GONNA MAKE ITS MIRROR IMAGE.

FOR THE BOTTOM HALF OF THE QUILT, I'LL CUT THESE TWO INCHES OFF.

AND THEN, THE NEXT LAYER, I'LL CUT ONE AND THREE QUARTERS, AND A LITTLE BIT OFF OF HERE.

AND THEN, I MARKED IT DOWN LIKE THIS, SO BY THE END, BY THE TOP ROW -- I'M USING THESE.

THIS IS MY FOUR-INCH SQUARE.

SO, THE EFFECT THIS CREATES IS FROM THE TOP, TO THE BOTTOM, THE SOURCE IMAGE SHIFTS SLIGHTLY AND CHANGES.

AND THESE LINES, WHICH ARE AT YOU KNOW, ODD ANGLES REALLY LEND THIS DIAMONDISM.

THEY INTERSECT IN REALLY INTERESTING WAYS THAT CREATE DIAMOND SHAPES AND POINTS AND SPIKES.

♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ >> TRADITIONAL QUILTS ARE MADE WITH FABRIC, AND SO OFTEN, YOU KNOW -- THE STORY IS THIS IS MY GRANDMA'S APRON.

AND THIS IS MY AUNT MYRTLE'S DRESS THAT SHE WORE TO SUNDAY SCHOOL.

AND FOR ME, I CAN CAPTURE MEMORIES THROUGH PHOTOGRAPHS.

I CAN IDENTIFY PATTERNS OR PLACES OR THINGS, AND THEN USE THEM IN MUCH OF THE SAME WAY, MAKE A QUILT OUT OF THOSE, INSTEAD OF OUT OF FABRIC.

♪♪ AND SO, IT'S ALL ABOUT, YOU KNOW -- EXPLORING THE CITY, FINDING INTERESTING VIEWPOINTS, FINDING THINGS THAT REACH OUT TO ME AS A REALLY DYNAMIC IMAGE, AND THEN I CUT 'EM UP AND SEW THEM TOGETHER AND SEE WHAT HAPPENS.

♪♪ ♪♪ WHEN I WAS IN ILLINOIS I STARTED WORKING ON A PATTERN CALLED, "LOG CABIN" WHICH IS SORT OF A SQUARE, WITH THESE STRIPS ALL THE WAY AROUND THAT JUST REPEAT AND REPEAT AND REPEAT, WHICH KIND OF GIVES YOU THE EFFECT OF THE LOG CABIN.

AND I WAS IN THE LAND OF LINCOLN.

WHEN I CAME TO OHIO, A LITTLE OVER TEN YEARS AGO, YOU KNOW, I WAS THINKING AND EXPLORING AND I FOUND THIS OHIO STAR PATTERN, AND SO, THE OHIO STAR PATTERN, IT'S CALLED A NINE PATCH QUILT.

IT IS A GROUP OF PATTERNS CALLED THAT BECAUSE THERE ARE THREE SQUARES BY THREE SQUARES.

AND SO, THIS ONE -- FOUR OF THE SQUARES HAVE TRIANGLES THAT SORT OF FORM AN X, AND SO, THE THING I LIKE ABOUT THESE IS, YOU GET WHERE THESE FOUR TRIANGLES COME TOGETHER, YOU GET THESE SORT OF KALEIDOSCOPIC-Y, DIAMOND-Y SPOTS.

AND THEN THERE'S THIS PATTERN THAT SORT OF REPEATS; SQUARE, TRIANGLE, SQUARE -- WHERE YOU PUT IT NEXT TO ANOTHER BLOCK, AND IT'S SQUARE, TRIANGLE, SQUARE.

SO, RIGHT WHEN YOU THINK YOU'VE DISCOVERED THE PATTERN; SQUARE, TRIANGLE, SQUARE, THAT'S NOT A TRIANGLE THAT IS ANOTHER SQUARE.

AND IT'S -- TO MY EYES, COMPLICATED ENOUGH THAT YOU HAVE TO SORT OF, LOOK TWICE TO REALLY FIGURE IT OUT.

AND I DON'T ALWAYS FEEL LIKE, WHEN I'M LOOKING AT IT, THAT I'VE FIGURED IT OUT.

♪♪ ONE THING I REALLY TRY TO DO WITH MY WORK IS TO CREATE OBJECTS THAT YOU CAN APPRECIATE BOTH UP CLOSE AND FROM A DISTANCE.

SO, FROM A DISTANCE IT ALMOST LOOKS LIKE A CARPET, OR WALLPAPER, OR INTERESTING SHAPES.

AND THEN, YOU GET UP CLOSE AND YOU GO, "HEY, THERE IS A PERSON THERE."

"THEY'RE WALKING DOWN THE ISLE, IS THAT THE NORTH MARKET?"

AND YOU KIND OF LOOK AND GO, "THAT'S THE NORTH MARKET!"

♪♪ ♪♪ I LOVE FABRIC QUILTS.

I MAKE FABRIC QUILTS.

MY WIFE AND I MAKE FABRIC QUILTS TOGETHER, BUT FOR ME, THERE'S SOMETHING ABOUT PHOTOGRAPHS, AND SEWING THEM TOGETHER AND I GUESS -- MAYBE IT'S THE RESOLUTION, THE CLARITY OF THE GIVEN PHOTOGRAPH THAT REALLY SETS IT APART FROM FABRIC.

♪♪ I THINK MY WORK IS SORT OF, ABOUT NOTICING THE BEAUTY AROUND US, AND SORT OF STOPPING AND PAUSING AND APPRECIATING IT, IN A WAY MAYBE WE HADN'T BEFORE.

♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ >> FOR A MORE TRADITIONAL APPROACH TO QUILTING, LET'S TURN TO JUDY HOLLEY.

THIS LOUISIANA WOMAN HAS BEEN QUILTING SINCE SHE WAS A TEENAGER, AND SHE'S KNOWN FOR HER VIBRANT DESIGNS AND PATTERNS.

♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ >> IN 1998, I HAD A QUILT THAT WON FIRST PLACE AS IN EVERY SHOW IT WAS IN, INCLUDING THE ONE IN NEW ORLEANS.

AND THEN, THE MID-ATLANTIC QUILT FESTIVAL, AND THEN WILLIAMSBURG VIRIGINA, AND THEN, AT ALSO IN HOUSTON AT THE INTERNATIONAL QUILT FESTIVAL THERE TOO.

>> RASPBERRY PARFAIT IS A NEW YORK BEAUTY BLOCK.

AND, IT'S SOMETHING I ALWAYS WANTED TO TRY AND I WAS AT A FABRIC STORE, AND I SAW SOME '30s PRINTS ON SALE.

THAT'S ALWAYS A GOOD EXCUSE TO BUY SOMETHING.

BUT -- ONE OF THE PRINTS ON SALE LOOKED EXACTLY LIKE THE FABRIC THAT WAS IN MY MOTHER'S KITCHEN WHEN SHE BOUGHT THIS OLD '30s HOUSE IN CENTRAL MISSISSIPPI.

IT LOOKED LIKE THE CURTAINS WE TOOK DOWN.

AND SO, I BOUGHT THAT, AND I BOUGHT SOME FRIENDS THAT THEY WERE ON SALE.

AND FOR ABOUT A YEAR, I KINDA GATHERED UP ALL OF THIS FABRIC THAT WAS DEPRESSION ERA, '30s TYPE PRINTS.

AND SO, I MADE HER A NEW YORK BEAUTY QUILT OUT OF THOSE DEPRESSION ERA PRINTS FOR HER '30s HOUSE.

WHEN YOU LOOK AT THE NEW YORK BEAUTY BLOCKS, AND YOU SEE ALL OF THE POINTS, I ACTUALLY CUT STRIPS, AND PAY-PER-PIECE, SO I'M NOT CUTTING OUT LITTLE PIECES, I'M MAKING THEM FROM STRIPS.

AND, I JUST CUT AS I GO.

THAT IS WHAT'S CALLED AN "OFFSET LOG CABIN."

I'M ATTRACTED TO CURVE DESIGNS AND WHEN YOU DO AN "OFFSET LOG CABIN" YOU CAN ACTUALLY DO CIRCLES WITH IT IF YOU CHOOSE TO.

I CHOSE TO DO A CLAMSHELL PATTERN WITH IT, AND AT THE TIME -- MY SON WAS LIVING IN JAPAN, SO I WAS COLLECTING JAPANESE PRINTS.

IT WAS JUST A GOOD EXCUSE TO BUY FABRIC.

AND SINCE HE LIVED IN JAPAN I BOUGHT JAPANESE PRINTS AND MADE THAT QUILT.

THE "RAILROAD THROUGH THE ROCKIES" PATTERN IS ANOTHER WAY THAT I CAN USE A NEW YORK BEAUTY BLOCK.

AND IT WAS TRADITIONALLY, GAVE YOU A BROAD OPEN SPACE THAT REPRESENTED THE PLAINS AS THE RAILROAD WENT ACROSS THE COUNTRY.

NICE PLACE TO HAND QUILT, OR TO SHOWCASE YOUR QUILTING.

SO I DECIDED TO USE MY NEW YORK BEAUTY BLOCK IN THAT KIND OF SETTING AND I HAD BOUGHT AN AUSTRALIAN PRINT FOR THE BORDER.

I TAUGHT A LOT OF QUILT CLASSES FOR PROBABLY 25 YEARS.

THROUGHOUT THE GULF COAST AREA, MOSTLY.

I STARTED SEWING AT 16.

I WAS IN A GIRLS TRIO FOR SEVERAL YEARS AND WE HAD ALL OF OUR DRESSES ALIKE AND I LIKED MY TRIO CLOTHES.

I DIDN'T LIKE THE ONES THAT WERE STORE BOUGHT.

SO I LIKED GOING TO STORE AND PICKING THE PATTERN AND PICKING OUT THE FABRIC.

MY MOTHER MADE MY TRIO CLOTHES, BUT SHE DIDN'T LIKE IT.

MY GRANDMOTHER WAS A DEPRESSION ERA QUILTER, AND HER QUILTS WERE ALL OVER HER HOUSES.

BUT SHE WAS OLD, BY THE TIME I CAM ALONG AND I NEVER ACTUALLY SAW HER QUILTING.

SHE TALKED ABOUT IT, WE SLEPT UNDER THE QUILTS AND AT ONE POINT WHEN WE LIVED IN HER HOUSE, HER QUILTING FRAME HUNG OVER MY BED.

SUSPENDED FROM THE CEILING.

I NEVER A SAW A QUILT IN IT.

AND I NEVER SAW ANYBODY USING IT.

I KNEW WHAT IT WAS FOR AND I ALWAYS SAID ONE DAY I AM GOING TO MAKE A QUILT.

WHEN I WAS 16 I TOOK THE MONEY I GOT FROM MY BIRTHDAY AND I LIVED IN CONNECTICUT AT THE TIME.

RIGHT IN THE MIDDLE OF THE TEXTILE INDUSTRY.

I WENT TO ONE OF LOCAL MILLS, I BOUGHT FABRIC AND EVERYTHING I NEEDED AND SHUT MYSELF UP IN MY BEDROOM WITH A SEWING MACHINE.

AND WHEN I CAME OUT I HAD A DRESS.

I'VE BEEN SEWING EVER SINCE.

I MADE MY FIRST QUILT RIGHT AFTER MY SON WAS BORN.

THEN I JUST KIND OF PLAYED AROUND AT IT.

I DIDN'T ACTUALLY -- FOLLOW DIRECTIONS, I JUST DID MY OWN THING.

AND I DID THAT FOR ABOUT 15 YEARS AND FINALLY I DECIDED I WASN'T PROGRESSING.

I WAS GOING TO PICK A PATTERN, ACTUALLY READ THE DIRECTIONS AND START VERY TRADITIONALLY AND DO A TRADITIONAL BLOCK, AND SOMETHING LIKE.

THE FIRST BOOK I BOUGHT, I BOUGHT IN 1970.

IT WAS THE ONLY BOOK STILL IN PRINT ON QUILTING.

IT WAS PUBLISHED IN 1949, IT'S BY MARGUERITE ICKIS, IT'S OVER THERE ON THE SHELF.

I WORK WITH A LOT OF TRADITIONAL PATTERNS AND I HAVE A QUILT PROGRAM, THAT'S ELECTRIC QUILT.

A LOT OF TRADITIONAL PATTERNS IN THERE.

YOU CAN ALSO DRAFT YOUR OWN PATTERNS IN THERE.

AND THEN, YOU CAN PRINT OUT ANY BLOCK IN ANY SIZE THAT YOU NEED.

I WORK ON THE COMPUTER A LOT.

I DON'T REALLY DESIGN THAT MUCH ON THE COMPUTER.

I DO SOME, A LITTLE BIT.

BUT I LIKE DESIGNING AT THE DESIGN WALL.

I LIKE THE FABRIC TO TELL ME WHAT TO DO.

ORIGINALLY, I PIECED BY MACHINE AND I QUILTED BY HAND, AND I DID QUILT BY HAND FOR QUITE A FEW YEARS.

AND YOU FINALLY GET TO THE POINT YOU'RE NOT GOING TO BE ABLE TO FINISH ALL THESE QUILTS.

HAND QUILTING TAKES A WHILE.

I'VE DECIDED TO LEARN TO QUILT ON A DOMESTIC MACHINE.

AND -- A LOT OF PEOPLE NOW USE A BIG LONG PROFESSIONAL LONG ARM.

I DIDN'T EVEN KNOW WHAT THAT WAS, WHEN I WAS LEARNING HOW TO QUILT.

SO, BY THE TIME I WAS AWARE OF WHAT LONG ARMS WERE AND WHAT THEY COULD DO, I HAD ALREADY MASTERED QUILTING ON A DOMESTIC MACHINE.

SO -- I HAVE NO DESIRE TO CHANGE.

THE JUKI ACTUALLY IS AN INDUSTRIAL STRENGTH MACHINE, BUT THE BATTING DOESN'T REALLY CAUSE MUCH OF AN ISSUE.

SOMETIMES, THERE'S A LOT OF BULK IN THE SEEM ALLOWANCES THAT YOU HAVE TO SEW OVER.

BUT IT'S NOT AN ISSUE WITH THE JUKI.

I HAD ONE MACHINE THAT IF YOU WEREN'T USING THE EXACT NEEDLE SPECIFIC FOR THAT TECHNIQUE OR THAT FABRIC, IT WOULDN'T SEW.

MOST MACHINES AREN'T THAT PERSNICKETY.

I DO USE PREDOMINANTLY COTTON.

MEN'S SHIRTS ARE GREAT.

I DO MAKE QUILTS FROM DEAD PEOPLE'S CLOTHES OFTEN.

USUALLY THAT'S FOR FAMILY MEMBERS.

WHEN I MADE A QUILT FOR THE FAMILY AND HE HAD BEAUTIFUL SHIRTS, 100% COTTON, HIGH QUALITY.

THEY WANTED THEIR QUILT, AND I GOT TO KEEP THE REST OF IT.

AND I LIKE USING WOVEN FABRIC.

I AM ADVENTUROUS.

I WILL STILL USE OTHER FABRICS.

I COLLECT TIES AND PEOPLE JUST GIVE THOSE TO ME.

THEIR PREDOMINANTLY SILK, BUT THEY CAN BE ACETATE, THEY CAN BE POLYESTER.

THEY CAN BE WOOLEN, SILK BLENDS.

THEY CAN BE COTTON.

SO YOU'RE PUTTING THEM ALL TOGETHER.

YOU HAVE TO WASH IT IN COLD WATER AND NOT PUT IT IN A DRYER.

I HAVE A QUILT IN THE FRONT MADE FROM JAPANESE BOUQUETS.

IF YOU'RE WORKING NONSTOP ON A PROJECT, I MADE A QUILT FOR MY BOSS IN ABOUT TWO WEEKS.

FOUR TO EIGHT HOURS A DAY.

THAT WAS MAYBE TWIN SIZE.

A LARGE LAP OR TWIN.

QUILTING IS COMPULSIVE AND ONCE YOU START IT'S SOMETHING LIKE YOU NEED TO DO OR YOU HAVE TO DO.

AND I PROBABLY SEW SOME EVERYDAY.

♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ >> THANK YOU FOR BEING WITH US FOR AN EXPLORATION OF CLOTHING AND QUILTS ON THIS EDITION OF "BROAD & HIGH."

YOU CAN FIND ALL OF OUR STORIES ONLINE AT WOSU.ORG.

AS WELL AS ON OUR FREE MOBILE APP.

FOR ALL OF US HERE AT WOSU, I AM ARE KATE QUICKEL.

THANKS FOR WATCHING.

♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ >> MAGGIE SMITH, POET.

I WRITE ABOUT MEMORY, MOTHERHOOD, MORTALITY, LOSS, AND MYTH.

MANY OF MY POEMS ARE GROUNDED IN OHIO AND IN THE LANDSCAPE OF THE MIDWEST.

LIKE A MAGPIE, A BIRD WHO COLLECTS ANY SMALL, GLITTERING BOBBLE THAT CATCHES ITS EYE.

I SEE, OR HEAR, OR READ THINGS THAT INTEREST ME ALL THE TIME.

♪♪ THE BALANCE OF MYSTERY AND CLARITY IN A POEM IS ALWAYS TRICKY.

IF I SCRUB ALL THE STRANGENESS AND WILDNESS, AND AMBIGUITY OUT OF IT, I CAN REVISE THE LIFE RIGHT OUT OF A POEM IF I AM NOT CAREFUL.

I AM MAGGIE SMITH.

POETRY IS MY ART AND THERE'S NO PLACE I'D RATHER MAKE IT.

♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ >> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL.

SUPPORTING ARTS, ADVANCING AND CONNECTING THE COMMUNITY TO CULTURAL EVENTS, ARTISTS, AND CLASSES AT COLUMBUSMAKESARTS.COM.

♪♪