It does sort of have that suggestion with the tails of the cats, doesn't it. I'm intrigued by the ways that Asian designers use colors in novelty designs too. The thing with most novelty fabrics, even the ones with designs enclosed in panels or panes, is that a little usually goes a long way. They can be expensive, so one likes to wait for a sale... but the vendors are aware of that and often stipulate the sale price requires purchase of a whole yard of the stuff! Surely that became the genesis of the "take me home" pile at quilt guilds where members trade fabrics they've too much of ever to use.
Novelty designs presented inside little panes --on some sort of background print to allow for a seam allowance when cutting-- turn out to be pretty useful, or rather they make the fabrics seem more easily useful. Otherwise one can spend half an hour with an acrylic square moving it over the surface at different angles to "corral" just the right view of objects in the print before cutting a piece for some project, and when that view isn't aligned with the grain of the fabric, it can present challenges related to the stretchiness of on-the-bias cuts later on when sewing the piece.
I remember how - as a teenager, on my first visit to France - I was brought to see The Lion and the Unicorn series of tapestries - in a museum I had never heard of (they are in the Musée de Cluny in the centre of Paris) and how I was absolutely awestruck, bowled over by their beauty.
Every single time since, whenever I have had occasion to visit Paris, I have returned to the Lion and the Unicorn tapestries, and would simply sit there, for an hour or so, struck silent by wonder and awed delight.
However, I suspect that it may yet be another year or so before conditions allow for another return visit. Something to look forward to.
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