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A 2013 photo feature offers a snapshot of quilt designer and collector Kaye England’s home, collection and work space outside Indianapolis. It shows historic quilts alongside works in progress, and describes how she displayed, used and stored the pieces she collected. These details reflect the time of publication, not necessarily England’s circumstances today.
A farm home filled with quilts
In its June 14, 2013 profile, AllPeopleQuilt’s “Behind The Scenes with Kaye England” described England’s home on an eight-acre farm outside Indianapolis. It also reported that she grew up in a Kentucky farm family and kept llamas, goats and chickens. The feature said the animals were companions and that she used llama wool for needle-punch.
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Quilts appeared throughout the home, including in a breezeway between the house and office. One worn quilt had been bought at auction after another bidder said they intended to use it as a dog-bed liner. The feature also showed a Double Wedding Ring quilt made by England’s grandmother and an unfinished quilt top.
Historic quilts and small-scale work
The profile reported that England’s collection included more than 100 quilts from the 19th century. One example was a Tumbler quilt she dated to the 1860s: its small pieces were mostly dark prints, punctuated by occasional bright patches. The collection also included newer work and unfinished projects.
At a much smaller scale, a miniature Flying Geese quilt measured just 4 by 7 inches and was displayed inside a vintage suitcase. The feature’s examples show the range of pieces in England’s home, from family quilts and antique finds to miniatures and works still taking shape.
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Combining antique blocks with new design
England also brought historic materials into newer compositions. The feature showed antique blocks arranged with new setting squares and a border described as a reproduction print in home-decorating weight. Baskets of antique blocks served mainly as inspiration, though England sometimes used them in new quilts.
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She typically did not quilt antique quilt tops, the article reported, because they were too fragile. That is a description of her practice in the 2013 profile, not a general conservation rule.
A workspace shaped by objects and ideas
In her sewing space, a design wall helped England audition a setting for antique Log Cabin blocks. Artifacts displayed in her office and sewing room also connected to her design work: England said they inspired her Voices of the Past pattern series. The feature mentions a pattern named for Amelia Earhart, but does not establish whether that pattern or the series is currently available.
The article captures England’s approach to living with collected objects in a line accompanying a photograph of a 1930s Grandmother’s Flower Garden quilt outdoors: “I just don’t want to own anything that I can’t enjoy.”
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How the profile described quilt storage
The 2013 feature reported several habits England used for storing her older quilts. These are her reported practices, not independently verified preservation guidance:
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- She placed her oldest quilts high to reduce their exposure to light.
- She moved and refolded quilts regularly.
- She used laminate on shelving rather than storing quilts directly on wood.
- She ran a dehumidifier continuously in the basement. Explaining the concern, she said, “You can mildew the bottom of stacked quilts real fast.”
The feature provides a glimpse of how one collector managed her own collection; it does not compare storage methods or establish technical standards for preserving quilts.
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