leaving snowy New England for warm (if not always sunny) California
Each Wednesday, I take stock of the projects I’m working on.
I did manage to finish latch hooking the rug I was working on – but didn’t manage the binding, or to get photos before I left for my flight at ass o’clock in the morning.
It’s been sunny & rainy, and warm & chilly, all in equal measures – and even after days of them, I’m still fascinated by palm trees, and delighting over lemon trees.
I have more photos than I know what to do with – and not much desire to sit in front of a computer or phone editing them. Photos of architecture, sculptures, fountains, plants, birds, lakes, lights, and about a hundred from the Lacis Textile Museum, which I’ll sort through and edit at some point or other.
And at some point soon, I’ll pick up some yarn & needles and start a new knitting project, maybe a lightweight sweater project – something small and lightweight, but with a substantial amount of knitting.
weaving, and more thoughts on process and product
Each Wednesday, I take stock of the projects I’m working on, and where my brain is at.
More weaving this week. And it’s gotten me thinking even more about the connection between process and project (product).
Are you in it for the process?
Or for the product (project)?
These weaving projects,
the one up above,
and the multi color length of fabric from last week,
started because I had the yarn,
and wanted the fabric.
(Project) Product.
I want the fabric.
I want these yarns to combine and interact,
to play and dance off of one another.
There are plenty of ways to create fabric.
And tons of things that can be done,
once the fabric is finished.
I don’t know what I’ll do with this fabric once it’s done.
But I want the fabric.
And I chose to create a woven fabric,
because weaving is faster than knitting.
Process.
Because weaving is faster than knitting.
Back when I originally got this pile of yarn,
it was the middle of winter,
in the middle of my self-made wardrobe project.
It was damn cold.
And I had originally thought about making,
a slip stitch knitted sweater with this lovely pile of autumnal yarn.
A slip stitch,
to blend the colors –
like in my crazy colorful sweater (that still needs sleeves).
And because,
a simple slip stitch (knit 1, slip 1, knit 1, slip 1, etc.),
is wicked warm.
(It’s the stitch I used to knit my winter coat.)
But that never ended up happening.
And so the yarn sat.
And sat, and sat, and sat.
And then I borrowed a loom.
Originally I borrowed the loom for a totally different project.
But I wanted to get some practice first.
I’ve woven before, but not on a rigid heddle loom.
So I finished what was already warped,
and then warped one of the skeins from my pile of yarn,
And started blending colors,
two colors at a time, five colors in total, plus the color of the warp.
Last week, I started and finished, and was entranced by the process.
Entirely entranced.
Entirely entranced by the process.
It turns out,
that I have no internal rules about weaving + color.
I have many internal rules about knitting + color.
Well…
I have a part of me speaking up and saying,
“what the hell are you talking about?
“you have NO RULES about knitting + color,
“you’ve knit this, and this, and this,
“and you’ve worn them all.”
To which, I have to laugh and say,
“yes, that’s very true.
“But the process felt different.”
The process felt different.
The process feels different.
With my knitting, I plan the whole project from the beginning.
Sometimes it changes.
Oftentimes it changes.
But from the beginning,
I can visualize the finished piece.
The beginning, the middle, and the end.
They are planned.
It is planned.
With my weaving, I don’t.
I don’t care.
I don’t care that, the end and the beginning are entirely different.
I don’t care that, the middle stops and starts.
I don’t care that, the transitions between colors aren’t smooth.
I don’t care that the piece of fabric doesn’t look visually complete.
I want the fabric.
And I want the fabric for it’s malleable fabric essence.
I want to create the fabric because this fabric isn’t in existence anywhere else.
I want the fabric to be fabric, I’m just going to cut it up anyway.
The project isn’t done yet.
The final project isn’t even started yet.
Once the weaving is done,
the weaving is done.
The fabric is complete.
The project,
whatever the project ends up being,
isn’t done.
The process feels different.
Because the product is different.
gentle absurdity & jelly doughnut sweaters – An interview with Teresa Gregorio about Twin Peaks inspired knitwear
Gentle absurdity, a tv show with a cult following, and sweaters inspired by jelly doughnuts & log ladies? Count me in!
Great Northern, a Twin Peaks inspired knitwear collection has all of that. The brainchild of Leah Coccari-Swift (aka Ruby Submarine) & Teresa Gregorio (aka Canary Knits), this collection includes 10 sweater patterns + bundles of accessories that translate the absurdity of Twin Peaks into knitable, wearable, vintage inspired knitwear.
I love reading interviews with designers, and authors, and artists, so when Teresa asked me if I’d be interested in interviewing her for the Great Northern Kickstarter Supporting Blog Tour – I was all “yes please!”
So here’s my interview with Teresa, she’s a designer, lover of neon colors, and generally a fabulous person, it was an absolute pleasure reading through her answers.
HC: For those of us who haven’t watched Twin Peaks before, can you talk a little bit about the show, and why you & Leah were inspired to create a whole collection around it?
TG: Twin Peaks was a ground breaking show that aired for only two seasons in the early 90s. We’re quite used to the conventions it began in our tv shows today, but it was the first to have multi-episode plot lines and bring a cinematic sensibility to the small screen.
It’s also a very weird show. Its weirdness manifests in quirky characters, supernatural phenomena, and sometimes unbelievable actions and consequences. It’s this weirdness, singularity, and (of course) fashion that really drew me (and Leah!) to the show.
Twin Peaks has quite a cult following, and Leah was surprised and excited to see that no one had created an entire Twin Peaks-inspired collection before. So when I approached her in January to collaborate on something, she immediately suggested this project.
HC: Can you talk a little bit about how you translated the gentle absurdity of Twin Peaks into wearable, knitable, knitwear? You’ve said that you’re not trying to recreate the costumes themselves, but rather incorporate elements of the characters and show into your designs – so what sort of elements were you looking for?
TG: Gentle absurdity, I like that!
We want to create something that even non-Twin Peaks fans will be in to; we think our weirdo, bold aesthetic harmonizes both with each other and with the spirit of the show. Our overall look for the collection is one of vintage vibes and modern wearability.
So, my own process of developing designs for the book involved binge watching episodes and noticing what I noticed; seeking out the symbols and archetypes used on the show, and asking myself how those harmonized with what knitters today like to knit and wear.
For example, my Lynch Pin design was inspired by a purple, buttoned, shoulder-pad-enhanced Henley pullover that Norma wears in one scene. I decided to nix the shoulder pads, buttons, and purple, and instead to focus on who Norma is as a character (strong and classy) and update the look for a strong, classy 2015 knitter. So, Lynch Pin is a gentle grey pullover without the fussiness of buttons, which has a neat, tailored look, and artfully-placed increases and decreases for a classic looking sweater.
HC: The previews & sneak peaks you’ve posted all look amazing! I’m obsessed with the red & black color combination of the sexy raglan from Leah, and think I’ll probably need a Jelly Donut cardigan in my wardrobe as soon as possible. What are your favorite pieces in the collection – either favorite to design or to wear?
TG: Thank you! We blush!
I think my favourite to knit will be Lonely Souls – that’s a 3/4-sleeved pullover that’s quite staid and simple but for the striking contrast of the white horse silhouette that will cut across the yoke. That’ll be a fun bit of colourwork to complete, and it’d be fun to see the sweater just POP after you finish that first white-to-black row.
My favourite design to wear will likely be My Log Does Not Judge, Leah’s Log Lady-inspired sweater. Her sketches look so cozy and flattering, with colourwork and cables and long, warm sleeves!
HC: I always love a good behind the scenes peak, and I’m sure I’m not alone. Can you talk a little bit about how the book came together? How the idea was spawned? How you and Leah split up the design, writing, and all the other elements that go into creating a book? Deciding to use kickstarter & the process of kickstarting a book? That sort of thing?
TG: I mentioned earlier how Great Northern came initially from an idea Leah had brewing – I just had impeccable timing! One of my 2015 business goals was to work more with designers I admire and share an aesthetic with, so I sent Leah an email in January proposing that we collaborate on something.
From there, we each spent a couple weeks thinking and sketching, coming back together to compare notes and see how our ideas worked as a whole. For the most part they did work! I had to nix one sweater, but it was nearly magic the way she and I picked a similar number of sweaters in complementary types, styles, and inspirations.
When we realized we had 10 sweater designs that were all so strong, it seemed that to do the work justice we should get it done in print. We’re both great lovers of printed books (especially knitting ones!) so we wanted to participate in that tradition and do what we can to keep it alive. Working with an independent printer is a big part of what we want to do: we’re working with a host of other independent creative people to produce the printed version of Great Northern.
The lion’s share of the Kickstarter funding is to enable us to print the book, but of course we also have to compensate the tech editor, graphic designer, photographer, and other creative professionals. Putting the Kickstarter together is a lot of work; you have to have a solid budget and knowledge of what you want. But it’s worth it! We’re both very excited about and dedicated to Great Northern.
HC: And finally, what’s the number one thing you want people to know about this book before they decide to support the kickstarter?
TG: Leah and I are both passionate about bringing the knitting community a thoughtful, strong, beautiful collection of knitwear that will give knitters an exciting project and wearable FO, whether you’re a Twin Peaks fan or not!
Thank you so much to Teresa! I can’t wait to see this book complete. All the lovely photos in this post sketches and ideas of sweaters from Great Northern, and are used with permission. You can see the rest of the designs, and learn more about the project, at GreatNorthernKnits.com.
Great Northern is a Twin Peaks inspired knitwear collection, designed by Leah Coccari-Swift (aka Ruby Submarine) & Teresa Gregorio (aka Canary Knits), it promises cult tv show love, gentle absurdity, and jelly doughnut inspired sweaters.
If you’re a Twin Peaks fan, or just someone who likes brilliant knitwear, be sure to check out and support the Great Northern Kickstarter Campaign.
With just 9 days to go, there are still some amazing backer rewards left, and you could help bring to life a collection that promises cozy sweaters, fascinating characters, and a pinch of that wonderful gentle absurdity.
