True Confessions: First Quilt
Dr. Carolyn Mazloomi
Those of us lucky enough to grow up in quilting families or in a community of quilters had the benefit of someone showing us the ropes, so to speak, of making a quilt.
We watched and learned (often indirectly) as mothers, grandmothers, aunts, sisters, neighbors, church ladies, and/or other friends and relatives skilled in the art selected and drafted patterns, cut fabrics, stitched tops, added backing and batting, and quilted the whole.
They taught us all sorts of “insider” knowledge, such as pattern names, quilting terminology, what sort of thread and needles to use, how to tie off a stitch, and the like. Oh sure, we might mess up, and our first efforts might not have been much to brag about, but we nevertheless had someone to guide us and help us avoid outright disaster.
Noted quilt artist, historian, curator, author, and founder of the Women of Color Quilter’s Network, Dr. Carolyn Mazloomi, had no such guidance. Although there was an artistic vein running through her family, no one quilted.
When she was growing up, Dr. Mazloomi’s interests centered around airplanes, which eventually led her to earn a Ph.D in aerospace engineering (the first African American woman to do so). It was not until while at a work conference in Dallas, Texas that—on a whim—she decided to attend a quilt show. It was a revelation to her and it was there that her creative urges and engineering training were piqued and fused to turn her in a new direction. Put another way, she got bit hard by the quilting bug.
Dr. Mazloomi was living in California at the time and she went home determined to make a quilt of her own. She knew that she wanted her quilt to have a cotton batt, but all the batts she found were polyester. She decided to make her own batt using the only source of flat cotton she was aware of: wound dressing.
Since she was making a full-sized quilt, a package of wound dressing didn’t go far, and she made so many trips to her local pharmacy to buy more cotton that finally the pharmacist came out to see who was buying up the store’s inventory. No doubt harboring images of severe blood loss, he walked out from behind the counter and very seriously urged Dr. Mazloomi to take the injured person she was caring for to the hospital.
With the batt finally in place and the quilting finished, Dr. Mazloomi decided that she needed to launder her quilt. No one had told her that she needed to wash her fabrics before cutting them to make her quilt blocks, however. She threw the quilt in the washing machine and then popped it into the dryer (no one had told her how to wash a quilt, either).
When she took the quilt out of the dryer, some of the fabrics had shrunk and the middle portion of quilt “stood up about a foot higher than the rest of it,” Dr. Mazloomi laughingly recalled. “It was the ugliest thing I’d ever seen!”
Carolyn Mazloomi did not, of course, let that disastrous first effort deter her. According to her biography, her quilts have been included in five exhibitions at the Smithsonian's Renwick Gallery. Her artwork can be found in numerous important museums and corporate collections, such as the Wadsworth Museum, the Smithsonian American Art Museum, the American Museum of Design, Bell Telephone, the Cleveland Clinic, and Exxon.
She has appeared on television on “The CBS Morning Show,” “Reading Rainbow,” “The Today Show,” CNN, and has been the subject of several film documentaries. Dr. Mazloomi is one of six artist commissioned to create artwork for the National Underground Railroad Freedom Center Museum.
She has authored many books on quilting and curated numerous quilt exhibitions all over the world. In 2003, she was awarded the first Ohio Heritage Fellowship Award not only for her artistic achievements, but also for her community service related to the arts.
Her organization, Women of Color Quilter’s Network—which has almost 1000 members—has been recognized by the International Labor Department in Geneva and the United Nations for its developmental programs to help advance women. She serves on the board of directors of The Alliance for American Quilts.
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Column 127: The Bowers Co-Op Quilts
Column 126: Fon Appliqué and Haitian Voodoo Flags
Column 125: The Quilt Garden at The North Carolina Arboretum
Column 124: Harriet Powers and Handful’s Mauma
Column 123: Quilters de Mexico
Column 122: An Appliquéd Surprise
Column 121: Matisse’s Fabric Stash
Column 120: Soogan—The Cowboy’s Quilt
Column 119: The Ron Swanson Quilt
Column 118: HClarkdale, Georgia—A Thread of History
Column 117: How WWI Changed the Color of Quilts in the United States
Column 116: Wagga—The Bushman’s Quilt
Column 115: All in the Family
Column 114: The Alabama State Quilt
Column 113: Balloon Quilts of Albuquerque
Column 112: The Family That Quilts Together, Stays Together
Column 111: Two Rivers, Three Sisters
Column 110: Quilters Helping Quilters
Column 109: Community Cookbooks and Fundraiser Quilts—Parallel Histories
Column 108: Quilting to Freedom
Column 107: National Quilting Day
Column 106: The Airing of the Quilts
Column 105: A Call for a National Juneteenth Commemorative Quilt
Column 104: Dominoes
Column 103: 1936 Texas Centennial Bluebonnet Quilt
Column 102: Helen Blackstone, A Texas Quilter
Column 101: Montana CattleWomen Anniversary Brand Quilt
Column 100: 100th Suzy's Fancy Column!
Column 99: Montana Stockgrowers Anniversary Brand Quilt
Column 98: The Tobacco Sack Connection
Column 97: Meet the Sisters Who Are State Fair Quilting Queens
Column 96: The connection between fairs and quilts.
Column 95: Her Mother Pieced Quilts
Column 94: Rebecca Barker’s Quiltscapes
Column 93: The Thread and Thimble Club Mystery
Column 92: The Ballerina Quilter
Column 91: Grandmother's Flower Garden Comes Alive at Texas Quilt Museum
Column 90: Leitmotif for a Lifelong Love Affair
Column 89: Quilting in The Bahamas
Column 88: Joan of Arc: A Quilter's Inspiration
Column 87: Home Demonstration Clubs and Quilting
Column 86: Linzi Upton and the Quilted Yurt
Column 85: A Bounty of Quilts
Column 84: Desert Trader
Column 83: Quilts and the Women’s Liberation Movement
Column 82: Replicating the Past: Reproduction Fabrics for Today’s Quilts
Column 81: Why So Many Quilt Shops in Bozeman, Montana?
Column 80: Southeastern Quilt and Textile Museum
Column 79: 54 Tons of Quilt
Column 78: Ollie Steele Burden’s Quilt Blocks
Column 77: Quilting with AMD
Column 76: Maverick Quilts and Cowgirls
Column 75: The Modern Quilt Guild—Cyberculture Quilting Ramps Up
Column 74: The Membership Quilt—Czech Quilting in Texas
Column 73: Maximum Security Quilts
Column 72: Author: Terri Thayer
Column 71: The Christmas Quilt
Column 70: New Mexico Centennial Quilt
Column 69: Scrub Quilts
Column 68: “Think Pink” Quilt Raises Funds for Rare Cancer Research
Column 67: Righting Old Wrongs.
Column 66: 100 Years, 100 Quilts - More on the Arizona Centennial.
Column 65: Arizona Centennial Quilt Project
Column 64: Capt. John Files Tom’s Family Tree
Column 63: The Fat Quarters
Column 62: Quilt Fiction Author: Clare O’Donohue
Column 61: Louisiana Bicentennial Quilt
Column 60: The Camo Quilt Project.
Column 59: Thread Wit
Column 58: Ralli Quilts
Column 57: Preschool Quilters
Column 56: The Story Quilt
Column 55: Red and Green Quilts
Column 54: On the Trail
Column 53: Quilt Trail Gathering
Column 52: True Confessions: First Quilt
Column 51: Quilted Pages
Column 50: Doll Quilts
Column 49: More Than a Quilt Shop
Column 48: Las Colchas of the Texas-Mexico Border
Column 47: Literary Gifts
Column 46: A Different Way of Seeing
Column 45: Sampling
Column 44: Hen and Chicks
Column 43: A Star Studied Event
Column 42: Shoo Fly Pattern
Column 41: Awareness Quilts
Column 40: Tivaevae
Column 39: UnOILed UnspOILed Coast Quilt Project
Column 38: Katrina Recovery Quilts
Column 37: Quilted Vermont
Column 36: The Labyrinth Quilt—A Meditative Endeavor
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