Category: fashion journalism

It’s Not the Pattern Designer’s Fault, It’s Your Lack of Curiosity

I think that one of the best things to come out of the internet is thoughtful discussion, albeit few and far between, but those rogue moments of principle sure are great. I experienced this over the weekend, when in a bit of a mood, I decided to pick up a fiber art project and queue up a Mark Vogel video. I love his content, he is as wordy as my grandma, with the love of music to boot. He has this way of challenging without being confrontational, and inspiring me to want to keep improving on fiber arts and interpersonal communication, just like she did.

This video though, challenged me in a way I did not see coming, and helped me synthesize some petty feeling I was carrying, that were rather useless. A few years ago, when I began this blog, hot takes were still a bit of a novelty, but now it feels like hot takes are the way we communicate in 2026, with common sense and self-control the delicacy appreciated by a few. How did a few years take something we all grew up knowing how to do, having common sense and self-control, and turn the behavior on its head to be an acquired taste?

That is why, I don’t share all the opinions I have anymore, some of my takes are straight up dumb and I don’t want to make a fool of myself. I did this in the beginning of my blogging, and now I cringe to think of the catharsis out there on the internet, which is why some of my posts have been changed to private. Anyways, writing is a journey. But, one thing I have shared, at least I think I have, is my indifference to PetiteKnit patterns. Not that I have purchased one to know if they are good or not, just that the ubiquitous PetiteKnit patterns have cluttered my feed and have become odious to me by how many people are making them. Yes, that is a very petty opinion, and I say, yes I agree with you. I don’t think I am correct, but it’s how I feel.

When I first discovered knitting Youtube and knitting podcasts, I was inundated with PetiteKnit this and PetiteKnit that.

This was around the time of the Cumulus O-neck blouse, the Sophie scarf, the Frankie, the Olga, the Ivy, the Maggie Cardigan, etc. The Sophie scarf in all its iterations and the Frankie are the two trigger points for me where I began to have negative feels towards the name PetiteKnit, I could feel myself tuning out or rolling my eyes when I heard someone talk about the next cast on being Sophie or Frankie. But I never sat with myself to figure out why had this reaction.

I think deep down I was concerned it was jealousy from her success, and I mean envy for the incredible careers Mette Wendelbroe Okkels has had would be reasonable. A doctor and the biggest pattern designer of this decade? Yeah, that is intimidating!

I think there is a lot of confusion too about where then name comes from. You see this very thin, white woman, from Sweden in these picture perfect places and it feels like another rich influence flaunting their privilege and a possible fascist ideology in this post-2024 US election landscape. But that’s not where the name comes from, she began designing baby patterns. Petite referring to small humans. She is not a Taylor Swift, she is just really good at what she does and the 2020 lockdown boosted sales.

So if it’s not jealousy, than what is my gripe? Well, when Mark Vogel was musing on an odd comment he received about his stockinette project. Specifically, that if it’s “stockinette” no one needs an update, he shared some thoughts that convicted me and clarified for me where my PetiteKnit burnout was coming from.

(For context, a lot of PetiteKnit patterns have stockinette, it’s a timeless finish and something I like in my own projects. Especially since I am not yet versed in cabling. Stockinette is common, but not boring, as the commenter supposed. Most store bought “professional” knits utilize stockinette.)

There is a trend in particular with knitters who share their work on the internet to be focused on “store-bought” looking knits. Which is not why I knit, I knit to create things I can’t find at the store. But for a lot of 2026 knitters, they want it to look store bought, and they want to make things that are trendy. This has created a boom of projects from just a few pattern designers flooding my feed, and everyone’s knitting feed realistically, with a repetition of names:

  • The Lakes Pullover by Ozetta
  • My Favorite Things Knitwear
  • PetiteKnit Frankie or PetiteKnit Olga
  • Andrea Mowry
  • Ranunculus Sweater by Midori Hirose
  • Kutovakika by Veronika Lindberg
  • Sari Nordland
  • Caitlin Hunter

The popularity is not the fault of the designers, it is their success for their hard work, what is actually bugging me is the sheeple nature of humans. When I hear one of these designs being mentioned it is usually with the intention of making it exactly as the designer did for their sample, like down to the color, the yarn brand, an exact replica. Over and over, and over again, as the algorithm spreads these trends, and we see the same project replicated ad nauseum, until our minds snark at the mention of these designs and their creators.

I’m not the only one who feels this way, a lot of the snark you see online about these designs echoes this sentiment, particularly when it comes to Rhinebeck, a sea of the same sweater, but instead of approaching this feeling with thoughtful contemplation, the snark is turned into vicious critiques of the creatives who made the patterns. We as humans are so good at tearing each other down, and getting upset at the pattern designers instead of being frustrated at the knitting influencers and overly-online knitting culture that is algorithmically flattening the creativity of the craft, is misguided and wrong. Like most good things, internet trends and virality, followed with this longing to be apart of something is making us make the same things.

That’s what I have caught myself doing. I am so bored and resentful, I don’t want to see the same thing over and over again. I want to see some original thought! Try a new yarn, or color! Experiment instead of copy and pasting the crumbs of the sample until there is no flavor left to behold. Be creative! The pattern was supposed to be a tool for that, not an AI prompt for you to shut your brain off and steal someone else’s work.

Quiet Luxury and store bought quality knit patterns, now merging with the need for basics in a recession is influencing the sad beige knitting trend we snark about, not PetiteKnit. I’m not afraid to say I had it all wrong. I’m glad there are positive and respectful creators out there like Mark, who encourage us to think deeper and respect one another. So let’s be kind knitters, and stop snarking on PetiteKnit from a reformed snarker, who has grown. Because you know what I learned while researching this post? PetiteKnit has a ton of interesting patterns that I’ve never heard of before! There is personality and variety, that social media drowned out and that’s a shame, so go forth curious my friend to make something new!

Etsy, I’ve Had It With You

This is not a shock, Etsy in 2026 sucks. It has been going downhill for a while, but the drop off in our current time is abysmal.

I used to find amazing things on the site. The best coat I’ve ever own from an indie designer from Shanghai. A cool elephant print messenger bag from Thailand. An intricate glass bead necklace from a glass artisan in Estonia. Vintage buttons from Ohio. Handmade wind chimes to honor the passing of my family dog from a shop in Maryland.

But there is no replacement for what was. 7 years ago I purchased a moonstone ring from an artist in India, but through my moves I have misplaced it. Frustrated with myself for not being more careful, I went on Etsy to see if I could find a similar piece and I thought I had. The seller said they were from my home state and prominently displayed certification on their listings, so I went ahead and purchased a new ring.

That’s when I realized I got got by the new Etsy. The ring did not ship for over a week, no message from the seller at all after purchase, and when it did ship the origin was not from Pennsylvania but from New York City, a port city, a drop shipper paradise. Then the ring arrived, looking nothing like the listing.

The stone was plastic, flat, lower than the metal setting, clear instead of the milky hue of moonstone, and loose in its setting. The ring came in a cheap plastic bag like you won it out of a gachapon machine. This was a trinket, not the certified small business jewelry I thought I ordered. This was a Alibaba or Temu special delivery from an Etsy seller cosplaying as a handmade artist who probably stole the product images on their site.

Why is this the way now? I just want to go back to the days of easily being connected with real artists and not people stealing and scamming to make a buck. I hope the person really needed that money.

I’m not bothering to contact Etsy, they will do nothing. They created this situation by rewarding AI and drop shippers, while silencing the makers who made their company a household name. Instead I have deleted my account and the start of a shop, I have had in limbo on the back end since 2020 because Etsy is not a place I want to be a part of anymore, as a seller or a customer. It is hollow.

Costuming an Enigma: River Tam

How does one tell the story of a one who is difficult to understand? An unknown, yet is a crucial piece of Firefly. That is River Tam. Alliance fugitive, genius, and younger sister of Simon Tam. Also, she is a young adult woman who is still finding her way. She is a talented dancer and that elegance and beauty brings tension to the reality that she is no longer just a girl, she can kill you with her brain and carries trauma, more vast than her years in the ‘verse.

Upon my first watches of the Firefly series, I thought River’s style was based on convenience, an amalgam of hand-me-downs from Kaylee, Inara, and Zoey. But with a more recent re-watch, I don’t think this is the case. River has clear vision for what she wants, and yes the first few days may have been hand-me-downs, but with a show tasked with telling so much is such a small window, everything is intentional. The costume designer, Trpcic, had a fantastic canvas to do what the story needed – tell us who River is without spoiling what she would become in her story arc. She is a girl who loves dresses, the freedom of comfort, flowy silhouette, and the protection of big combat boots.

Her clothes dance with her, gliding and twirling in those rare moments where River can soak in the simple pleasures of being free to exist as a human and not a weapon. You can see all that she craved from her time as an imprisoned experiment of the Alliance – color, nature, warmth, dreaming. Bohemian clothing is associated with a romanticism and idealism of the world free to exist in peace, love, and harmony. All things River has been deprived of by her captors. But when she is aboard the Serenity, she is given another chance at life. She is alive again. She is healing. Pink is an optimistic color, flowers a symbol of new hope. In the movie, when she can no longer ignore her trauma, and must confront it, River changes to darker colors. Her silhouettes stay romantic and delicate but in deeper colors. They communicate a maturity, she has passed from the arrested development state we find River in at the beginning of the story, to the woman who is accepting her new reality but choosing her path through it.

I’m not a huge fan of dresses, even though I have tried to like them in my twenties, they’re not for me. So if I consider incorporating her looks into my style, I have a bit of a road block when I see the over sized, pink dresses. What I do appreciate about River’s style is the Bohemian flair, knit and crochet details, and excellent taste in boots. I also like how she wears her hair. It’s how I’ve worn my hair for most of my life. I am inspired to knit pieces that she would wear and have incorporated sheer layering tops into my wardrobe this fall as well as a pair of Doc Marten look a-likes. I would like to dress like her, because I feel a kinship with River. Sometimes being neurodivergent, feels like you are stuck in your head, in a place no one can reach you. She is one of my favorite female characters for her realness. She is a strong female who is sometimes complete paralyzed by her struggles, she needs her community to bring her back from the brink, that’s real life. We are not lone wolves, lone wolves don’t survive. We need our pack.

The Style of Kaylee Frye

There are many fashion icons from the Y2K era, many that have mentioned on the blog like Lizzie McGuire, Lorelai Gilmore, Phoebe Buffay, Zenon Girl of the 21st Century, etc. They are known for their wacky combos and closet staples that continue to appear in fashion trend look books. One character though, that typifies the 2000’s style for me in both past nostalgia ephemera and present sewing plans, is Kaywinnet Lee Frye of 2002’s Firefly.

Now, if you think this is crazy, I think you are overlooking the details of this style that mixes utilitarian work wear with pattern, floral embroidery, all while layering pieces in a fashion that keeps this style futurist and retro at the same time. Costume Designer, Shawna Trpcic, had a lovely eye for detail when crafting the style of Kaylee. She is an accomplished ship-mechanic, but she is also young, from a rural planet, and has a love of nature even though she spends most days in space travelling the ‘verse.

For most characters who would be styled this way from the 2000s, they would be the typical “not-like-other-girls” archetype, but Kaylee is not. She is a girls girl. She wishes to be as lavishly adorned as Inara, and as wonderfully adored by a partner as Zoey is by Wash. She is strong and delicate, gentle and brave. She is ying and yang, a great nod to the the mix of east and west in the show, as well as space and western. There is a pleasant tension that weaves this story together. She is nurturing to River, spunky to Jayne, unwavering in her standards when Mal or Simon talk out of turn, and respectful of Book.

By making Kaylee a multi-dimensional character, Trpcic had a lot of ground to cover, to explore these sides of Kaylee in 14 episodes and a movie. How did she make such a dent? I believe it is in the details. Kaylee wears a version of coveralls throughout the story. Sometimes these are long sleeved, or more of a vest style. These earthtone greens and browns, have a warmth to them, like Kaylee. In the show, Kaylee is always wearing a warm color palette. Pinks, creams, aqua, etc. It is later on in Serenity, where she wears cooler tone pinks, dark gray-green, and cool tone brown. In the show, Kaylee wears earth-toned accessories, delicate necklace, funky print tops, brown belts, coral flip flops, sheer pink gloves. There is lightness in what she wears, even if it is a twill coverall or an exaggerated poofy dress. Even her floral dress with embroidery from the flashback, has lightness, with the voluminous sleeves. You can see a common thread throughout every look.

Her style grounds the show in reality, there is a world beyond the ship, among all these planets. It is bohemian, and she is a free spirit. If the show had focused too much on the space-futurism, Kaylee would not belong in this world. Her love of strawberries would be untethered from reality. Her hammock in the engine room, brings that carefree spirit of a ship on the water, or a beach somewhere out there in the ‘verse, away from the alliance. Her parasol carries history, of a time before planet hopping and Alliance subjugation, before Reavers. She embodies that peace we feel surrounded by nature, even though most of the nature she sees, is floating by the windows of Serenity. The darkness of space never changes her, like Sandy Cheeks from Spongebob, she is thriving in an abnormal environment.

What I love the most is how femme the style is, even though her job is supposed to be masculine, the gender is removed and the person shines. I like that she is herself with grease on her face or a frilly cupcake dress at the Shindig. I wish we had more time with her to learn more about her background, and see her shine in her effortless looks. Fourteen episodes was not enough! I hope the animated reboot will carry the same spirit forward for Kaylee, with even more looks I want to recreate.

My favorite look is the green coverall, with the aqua silk coat, brightly patterned top, parasol, and flip flops. This combo has staying power. It feels like a combo you could buy today from the bohemian, Free People, and was something that fit in the 1990’s/2000’s. Work wear is timeless, which is why I have been slowly adding overalls to my wardrobe, store bought for now as I figure out what style is best for my body type, but I have plans to clone my favorite additions, and hopefully sew my dream garment – these sleeveless green coverall with the teddy bear patch. I have the fabric, now I need the motivation to cut the pattern out.

Now what about shoes? As I mentioned there are flip flops, but other than that, she mostly wears boots. Which grounds the look even more into reality. She is climbing stairs to get from the bridge, to the hold, to the engine room, kitchen or her bunk. They walk when they are docked on planets. She also plays basketball with the others when traveling from port to port, on board the ship. The boots, although a bit heavy for that, remain a wise choice for this woman on the go. In some ways, her wardrobe is not as much mechanic as nomad. She is ready for the next place, a uniform for whatever crazy adventure Mal signs them up for next. She collects souvenirs along the way, like the patches, the jacket, parasol, and embroidered tops. An actual curated bohemian gal, that slowly created this style over time. It is why she feels so authentic.

Time to Switch My Clothes Around

Every Spring and every Autumn, I would hear this phrase, from my mom, and my grandparents. It would follow with a flurry of activity. Sweaters unpacked from the “chifferobe” and piled onto the bed. Shorts and short sleeve shirts, carried from the drawers, to their cold weather slumber. Uno reverse, and the opposite dance began when the breezy warmth breathed life back through the open windows. As a kid, I enjoyed seeing all the clothes out of their drawers where I could look with curiosity at their clothes so different from my own. I didn’t understand the practicality, honesty, until this year, many, many years later.

Since we moved to Georgia almost a decade ago, we have been without proper dressers which sounds insane, I know. We’ve lived in some places with nice closets, that made storage simple. But we have lived in others where the closets were downright unusable. We’ve used moving totes, fabric dressers from Amazon, cube storage, and zipper totes for comforters. It’s an imperfect system, requiring a lot of digging through bins to find what you are looking for.

I think I have been so pre-occupied with simply organizing these bins, I didn’t think about moving my clothes around seasonally. That was until we bought our house and faced another closet that was challenging. I had hoped our house would have good storage, but that is something, I am learning, that you have to customize to your taste. This place has okay storage in the bedroom, but the problem remains that we need needed more storage like those proper dressers. Of course those are expensive and time consuming to make, the closet being bigger would have let us kick the can farther down the road, instead, God provided a really neat solution.

Our neighbors offered us a chest, a large cabinet really that can either be upright or laid down longways like a trunk. It’s an older piece, that with the dark stain patina, I think looks like a vampire coffin. This chest fits six of these large quilt storage totes! Which means I finally have my “chifferobe” storage piece. The chifferobe name makes me smile because this was not a wardrobe, this was a long trunk that sat at the foot of my grandparents bed, now it lives in my old bedroom at the foot of the bed I sleep in. My mom and grandparents also used trunks to do this. Steamer trunks to be specific, that my great, great grandparents used to immigrate from Ireland to America. Restored to the former glory and it such a convenient way to store clothing for the season.

On the left and in the featured image are the steamer trunks, and to the right, blocked by a suitcase is the cedar chest at the foot of the bed, that Kyle is using as a desk.

Maybe you don’t need to declutter so often, as often as influencers do. Perhaps, you just need a organizing system that makes your closet smaller and manageable for the season you are in, either in a four season climate, or in a state of mind. Putting things into a longer term storage, sort of like moving items out of your backpack in Stardew Valley, into a chest, takes those items out of your daily mental load, without getting rid of them. It’s very clever. Do you store things seasonally? Would you give this a try?

Lessons from Tailoring: The Shoulder

Over the summer, I went through my cool weather clothes and pulled pieces that I didn’t like to alter into garments I would wear more often. Two of these garments I chose to upcycle were a pair of men’s henley raglan long sleeve shirts from Bass Pro Shops. These were from a Black Friday sale last fall, to bring more henley style shirts and raglan baseball tees into my closet. They are great shirts. Soft and sturdy fabric, comfortable, but not the right fit for my body or style. Since this shirt was designed for masculine style, it was not as cute on as I hoped. The button placket is set higher on the chest, near the collar bone, instead of lower near the chest in feminine styles. The second issue was the shoulder, it had room for even broader shoulders than I have, accentuating my shoulders in all the wrong ways. Now, I could have re-homed these pieces but I’d like to keep the baseball tee shirts and enjoy wearing them. I bought them with the intention of keeping the a long time.

The neckline had to be fixed. That high collar was the biggest obstacle to styling the shirt for me, but how does one change a neckline from a from a crew neck button placket to a v-neck or scoop? I first removed the ribbed collar, and focused my efforts on the shape my open neckline would create. From previous alterations and pattern cutting, I knew that v-neck and scoop necklines can get you quick. The open shape can quickly shift from good to gaping, to sliding constantly off the shoulders. Once it is cut, you can’t go back – so you better have a plan.

I did have a plan this time. I would continue my cut in a key shape. I followed the line of the button placket, in a narrow scoop down until the end of the buttons. With those pieces removed it was time to taper and shape the final cuts. I matched each side for a tapered scoop, paying attention to the depth and at the bottom of the curve. Too low, and this shirt would be too revealing for casual wear. Too wide as we work our way up to the shoulder, and would slip off. I kept my line narrow, remembering to account for the rolled hem, that would eat up some width. I tried this on and was pleased with the scoop so I moved this project forward to hemming.

This is where my upcycling hit a snag. I still have a lot to learn when it comes to fitting garments, and my green tailoring skills showed when it came to finish the neckline. The neckline had excess at the bottom of the scoop, more gaping than I wanted, which left me with a fork in the road. Do I gather it? Do I add darts? Do I cut more? I decided to gather it at the bottom and live with it for a bit. I put it back in my closet and let it be until the cool weather returned.

Fast forward to this past weekend, and the first cool days of September. I wore the golden tan version with the gathered scoop, and it was not it. The shirt was close but no cigar, and I found myself tugging and adjusting this odd neckline. What I noticed as the day went on, is that the shoulder was fitting strange too. There was a bunching of fabric at the top of the neckline and back, not what I was looking for. Finally, last night I stood before my mirror and started adjusting. I tried the shirt on backwards, normal and off the shoulder. I folded the bottom hem to see if I needed to crop it. I thought about changing the neckline. Would a binding the neck opening in a collar solve the bunching? I took out the gathers and tried it on again, how do I make this sit flat?

The shoulders. I needed to take in the shoulders. I tried raising the neckline in the mirror by gathering some excess in the scoop, but then I pinched some fabric with my fingers at the shoulder and huzzah! We found our solution. (I also removed the cuffs to shorten the sleeve for a better fit for my arm length.)

My purpose in buying these shirts, was to bring a style back into my wardrobe that I used to own in college. My Gas Monkey Garage spark plug baseball tee and a v-neck baseball tee from Victoria’s Secret. I wore those pieces to death in the early 2010’s. By pinching away the excess at the shoulder line, the scoop rested flat and there was no bunching at the arm’s eye. It continues to amaze me how the most random parts of a garment change the entire fit.

Who knew a loose shoulder can make the neckline wonky? This novice tailor sure didn’t. I hope this little story of tailoring can help you if your stuck fitting a shirt. Or maybe this will inspire to take the plunge on a alteration in your closet.

After Thought Heel Socks

A special thanks to the pattern writing of Weichien Chan from Saskie & Co and Jamie Lomax from Pacific Knit Co, for explaining this process with such clarity, that I leveled up from a sock knitting dreamer to a sock knitter. Check out their patterns! I’m glad I did. 😃

The Sock Saga

How? And, why? Those were the questions burning at the back of mind as the sock process eluded me, again and again. For years, I couldn’t wrap my mind around the heel of the sock patterns I acquired. I tried a toe up approach. I tried to mess around with short rows. I even bought a sock pattern book from a used book store, for a bit of sock heritage. Heel flap, confused me. The mechanics of double pointed needles, challenged my hand eye coordination. Magic Loop tested my patience and exposed my tight tension, from my cluttered mind. But the Addi Sockenwunder 9″ cable in 3.5mm became the key to unlock knitting mechanics I was lacking.

If you’re familiar with this blog, you know my frustrations with knitting in the round. This came to a head in February, during the Melt the ICE hat knit along. I seriously messed up my tension, and initial attempt by twisting my work. My joined stitches became a helix, coiling around the cable. I frogged my work, and started again, this time waiting a few rows before joining. (I found this wisdom thanks to the advice of Reddit, I think? To the past comment thread that helped me, know that I am eternally grateful.) This time around, I was determined to keep my hands loose and my mind relaxed, and it worked. I did not feel the hand fatigue, I normally experience when knitting in the round. The short cable length of the Sockenwunder needles was the key, the stitches slid easily around in the exact space of a sock circumference. This is why Magic Loop and I, did not form a lasting relationship, the shifting of stitches was a hurdle I disliked. Same with DPNs, I don’t want to keep track of stitches on needles, I want to be in a flow state of stitching. That is the best part of knitting in the round, in my opinion, you just go and knit. It is incredibly relaxing, like crocheting a simple stitch across a project, you and the stitching implement become one with the yarn, looping and creating a fabric with a relaxed mind.

For this reason, the Sockenwunder socks came together quickly, despite the new techniques I was employing in this project. My first sock, I began at the end of the day on a Thursday, knit the body of the sock on Friday, and finished the toe and heel on Saturday. My second sock was began on Sunday, knit Monday, and wrapped up on Tuesday. Quick and easy, compared to a sweater! It’s what I want out of this knitting practice, something quick and relaxing, that is a pleasure to replicate over and over again. In the short term for my own feet for this coming winter, and in the long term for loved ones and beyond, hopefully charity knitting socks and possibly selling them at a market or online marketplace.

Sock Pattern

My sock pattern was loosely based on the patterns featured in the Arctic Knits book, which I will not go into detail for copyright reasons, but one thing I will talk about is my sizing mistake. I cast on an extra ten stitches from the Saskie & Co pattern, because of my usual tight tension knitting in the round. They fit a bit loose, and that’s okay. These first socks are a toile, for future socks, as I develop my preferences for socks. They are still usable, with a relaxed cabin socks fit for lounging around the house. I may layer other cotton socks underneath on cold days to pad the fit.

Another deviation from the sock patterns in the Arctic Knits book, was my choice to knit stripes, with scrap yarn from my Saskie Cardigan (another Saskie & Co project I will share soon). I didn’t know if these socks would turn out or be another failed attempt, so I used up my extras, in random stripes. This freed up my mind to concentrate on the mechanics of knitting the sock, and not the knitting charts. In the future, I plan to make the socks as written by Weichien Chan, they are stunning color work socks.

I used a combination of Knit Picks Wool of the Andes, Knit Picks Stroll, and Kelbourne Woolens Germantown.

Now, what about that random raised row of brown yarn? That is the magic of the after thought sock! You make temporary arrangements for your heel and pick it up again after the sock body and toe are complete. This is where Pacific Knit Co’s tutorial had my back. Sometimes I need things rephrased, and many detailed pictures to make a new skill click. I’m a visual learner. Sometimes those patterns, although well written jumble in my mind. By using the combination of both pattern designers I successfully picked up the stitches above and below. I did this with a second set of circulars from Clover that were a bit longer, 16″ but the same gauge of 3.5 mm. The length difference was helpful during the knitting process, as the long needles hung down out of the way of my hands knitting on the Sockenwunder, and alleviated the stress of stitches falling off when unattended to.

Both Weichien and Jamie helped finally see the how and why of the heel shaping. With the heel flap techniques, I lost sight of the point. With the patterns that had me turn the heel while knitting the body, the complexity of this, overwhelmed me. But the after thought heel, eliminated both of these hiccups. I could see the sock body and the heel taking shape, it was intuitive. If you have experienced overwhelm by socks, I high recommend mixing up your tools and techniques. That is why we have so many to choose from, you must experiment to find the right fit like selecting a bowling ball.

Experimentation and repetition are my biggest takeaways from this multi-year sock saga. It’s not the finished project, as much as the process that defines the success. Knitting requires a patience and tenacity to frog and cast on again that has been hard for me, as a perfectionist with squirrel brain to stay the course with. Mistakes anger me. Frogging feels like a waste of time, but its not. Committing the skills to memory by practice is no different to volleyball practice drills or math homework. To be a skilled maker, you must put the time in, no short cuts. In this age of information and short cuts, it’s counter-cultural to slow down and fixate one skill until it is acquired, but it is the only way as humans we learn.

Tyra Banks, Gap Happy Stripe, and Project Runway 22

This post is a little bit of a mash up, I guess the connecting thread is Zac Posen, or maturity? I’m not sure. I’ve been mulling over two topics that have been in my head this week. The first is the premiere of Project Runway Season 22, the second, being a knitting “controversy” that I believe is not a controversy at all. So, maybe, the connection is drama fatigue?

The Television Evolution from the 1990’s to the 2020’s

Social media is bad for us, we can agree on that. It compresses nuance, and that is exactly what is happening here. But, in the case of television and the fashion industry, it seems to be brain chemistry altering, to borrow an internet term, and the effects are getting strange. This is far from a comprehensive history, just a quick snippet for context.

Television has gone through several iterations in my lifetime – from the rise of cable, to the golden age of reality TV in the 2000’s, to streaming. In 2005, YouTube transformed who could occupy our attention, shortly following in 2007, the Iphone brought a new screen to our lives. In 2020, Tik Tok became the supreme ruler of culture, with the short-form content revolution. Now, in 2026, streaming platforms of shows and film, are self aware that they are the second or third screen vying for our goldfish-like attention spans. This is bad for business. What are networks supposed to do? I’d say they are letting this short form content culture lead.

Enter Project Runway Season 21 and its new, Tik Tok and YouTube editing style with quick cuts and comedy edits, that are self-aware to a level, that was a bit jarring to me. It was like internet culture was uploaded to an established show of 21 years, in order to modernize it. It did just that, it laid its cards on the table of what producers think a successful television show must have in the mid-2020’s – drama and internet-personas instead of contestants, in my opinion. It’s only gotten worse with the announcement of Season 22.

Why is it so loud here?

It’s noisy. I feel like everything about the show is shouting at me. I tried watching the first episode, and quit after the intro. Instead of letting the viewer sit back and engage with the show, the show demands shock, shade, and a level of seriousness that is simply undermined by how the contestants, presenters, and judges act. They are caricatures of humans. Like Zoolander or The Devil Wears Prada, it’s not an accurate representation of human behavior. The drama has been dialed up to a point of puppetry and theater, which would be fun if it was for say, in the pursuit of comedy like RuPaul’s Drag Race, which I am a fan of. This version of Project Runway is not about the clothing or the craft of sewing. It is for the purpose of creating internet buzz and translating that into streaming numbers. It feels so trite to say that. Project Runway is a business, what I miss is the illusion of the storytelling.

Tim Gunn, Zac Posen, Michael Kors, and Nina Garcia brought an industry seriousness to the show that provided context. With the elimination of all but Nina Garcia, and the death knell of losing the spot to show at NYFW, the legitimacy of the show is in shredded. What is all for? Internet fame. Even the challenges were different last year, with sponsorship themes shoe horned into a semblance of “design criteria” and it felt off. For example, the PNC “brilliantly boring” challenge to use boring fabric. There was the Eczema awareness challenge, that should have gone deeper, but instead gave us a concept and then quickly shooed it off screen.

In contrast, I have gained greater appreciation for Drag Race and its the commitment to staying on topic.The causes presented on the show seem genuine and it is refreshing! Like it is all in alignment with worldview.

Lack of Integrity in the Fashion Industry

I think this is because to have a clear worldview in the fashion industry right now, it has to be political, and they don’t want to do that at Disney, and so the political stances are muddled for the sake of saying nothing. Which is a political stance, indifference is infuriating with the amount of clout the show claims to have. This show is fashion “influencing” but make it a reality show.

The worst part of this muddled stance is the inclusion of Tyra Banks. The Netflix documentary from this winter makes sense now, it was a PR project to rebuild Tyra’s image. I grew up with America’s Next Top Model, created by Tyra Banks. I watched ANTM long before Project Runway, and it was a sh*tshow.

She let the cameras roll in Season 2, when a dangerously inebriated contestant, Shandy, experienced SA, and then Tyra had the gall to keep her from the hospital and police, to keep filming. She framed Shandy as an example of cheating, and publicly shamed her for a decade. She pressured contestants, Joanie and Danielle to undergo dangerous dental procedures. Tyra created photoshoots promoting blackface.

She fat shamed and encouraged ED on the show, ignoring the dangers of ED, all while shaming contestants who couldn’t “hide it” well enough. This is just a short list of the problematic behaviors on the ANTM show, a show that preyed on young women of color, and then made a mockery of them, reinforcing racism again and again for profit. I have no interest in watching a show that Tyra Banks is a part of, when she danced around an apologize in her documentary and, in my opinion, did not take any responsibility. Just have integrity, it’s all I ask for. Apologize. Truly make amends and rebuild your reputation through real change. This path is not fooling anyone.

Connecting the Two

Okay, so how are my two topics connected? Well first off, I wish they had brought a quality judge back like Zac Posen, but secondly, I think as much as people are not up in arms enough about Tyra coming back to television, I think the internet is always trying to drum up knitting controversies, that are not that serious.

I was definitely dragged into caring about The Game of Wool, by my corner of the internet, and proceeded to make a bingo card, as my farewell, once I realized I didn’t give a hoot even if this show was a let down. The most recent “controversy” I’ve seen is the Gap Happy Stripe collection for Summer 2026, promoted by the CCO, Zac Posen. The collection is not a knitwear focused throwback, instead it utilizes technology to make something “knitwear” centered. The image of the original knit has been printed on a mesh collection, that I believe has a decently high polyester content, because mesh.

As a fiber artist, if I want a happy stripe inspired piece, I’m just going to recreate it. Done. I don’t need to feel slighted by Gap, or be frustrated that they are not centering knitters with “fake knitwear” as I have seen touted on the internet. Gap is a fast fashion company, the knitwear would be machine knit, and the workers are not being compensated fairly. It’s the fashion industry, its problematic. They make poor choices and they create a ton of pollution. They also favor tech “innovations” so this is not radical, it seems inline with Project Runway to be honest.

I don’t think Zac Posen should “canceled” for this or for us to spam Gap, with anger that knitters have been slighted again. I don’t buy store bought knit anymore. I certainly don’t buy store bought crochet, because its either fake or created with slave labor. I try to buy thoughtfully, make what I can, mend, up cycle, and treat clothing as a permanent object. I think that is the best we can do right now. The problems with the fashion industry are not contained to Gap. It’s world wide. I have no reason to buy a mesh printed garment, so its a moot point for me. Protect your peace, the world is incredibly messy right now, this is a drop in the bucket.

Do you remember the Gap Happy Stripe collection? I don’t. I remember colorful knitwear from the early 2000’s and wearing one from Old Navy or Aeropostale. I’m getting tired of the internet shouting. I’m getting tired of endless knitting drama. I’m quite tired of dumb reboots of shows I liked. Whew, I think it I did it! Thank you, reader, hanging in with me on this random post. I hope you have a wonderful weekend. ❤

Night Sky Sweater

I’ve mentioned this before, but as a maker, I revisit a single project many times before it is done. Sometimes I will live with a finished object for a month, a few months, or even a year, and suddenly pick it back up again to adjust something that feels off. Honestly, taking a season or two away from that garment – such as, putting away a dress for the winter, or a sweater while you sweat it out for the summer, can give your mind the space to forget and re-acquaint yourself to the garment like you picked it up from the store. It is a whole new piece again, which can lead to me be less than thrilled with past me and her design choices.

Take this vest for example, I began this project in December 2024, wrapping it in February 2025. I wore it a few times, as it stands as a vest that winter and spring, then it was put away for the warm weather. When cool air returned in the fall, I pulled it out of its drawer and set it on my dress form. This vest did not feel complete, it had more to say, even though my hands were weary back in the winter, so I stopped and called this piece done. But its not done, it would be a gorgeous colorful sweater, and it was time to go back to this garment to make it whole.

Now, this was a self drafted piece. A complicated self drafted piece that helped me cut my color work chops in a garment. This was the first sweater I made with such a large color palette and the first time I decided to make a knitted piece with the motivation of telling a story. I wanted to evoke a winter sky, with a moon that was visible on the front and back. A moon with stars, and clouds, floating above a forest. This sweater would not only feature colorful forms across the fabric, it would have texture. I chose to use the ‘seersucker stitch’ as it was labeled from a Pinterest chart, to weave a diamond texture into the fabric for a 3-D plush effect. I chose large and miniature color work sections to create ebb and flow in the color story.

For the bind off, I had grown tired of the classic 1×1 rib, so I tried something a little different! I chose to create tight stripes, knit stitched together. Instead of stockinette which used knit (right side) and purl (wrong side) for it’s classic construction, I decided knit stitch, knitting the right side and wrong side, would stabilize the stitches for a lack of curling in the finished fabric. And it worked! The technique and color changes ground the color palette for a cohesive garment.

Keeping these previous choices in mind, when it came time to add sleeves and a new collar, I chose to employee a new to me technique, crochet. I wanted the sleeves to be made in the round, and be completed quickly so I could wear this piece for most of the winter. Crochet is much easier to do in the round, and to make progress quickly. The crochet stitches allowed me to work in new directions too, so the sweater had vertical texture to contrast with the horizontal lines of the original vest. With sleeves complete, this is one of my favorite pieces to date. It tells a story. The color palette reminds me of Stardew Valley. The cloud on the back reminds me of an episode of Avatar: The Last Airbender when Appa is missing, and Aang thinks a cloud flying above is Appa floating above. I love the variety of colors – gold, navy, magenta, violet, and cream.

This was a labor of love, but I would highly recommend trying a complex project such as this if you are interested in making your own garments. Not only does this piece express my identity, it taught me how to be a better fiber artist. I feel proud each time I wear it. Get inspired and start stitching something from your own imagination!

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If I Love Fashion History, Do I Have to Like the Met Gala?

The more popular and well-covered the Met Gala is online, the more controversial it becomes. This once New York Society event has transformed into an international spectacle that feels more like the Oscars or the Olympics than a fundraiser for a museum’s costume archive. That is the origin of the Met Gala, a dinner to raise money for the Costume Institute, to pay for the day-to-day operations and expansion of the collection displayed at the Metropolitan Museum of Art in New York City. The spectacle and theme, red carpet coverage, constant intertwining with rich, questionable people, and the baked-in elitism of making Anna Wintour’s guest list have become the bigger story of this so-called “fundraiser.”

Now, I am being a bit dramatic in questioning its fundraising; it is successful at its core function. For a deeper dive, I suggest checking out Abby Cox’s video about the history of the Met Gala. I believe they have raised enough to create an entire wing for the museum. The hefty price tag per plate or per table is usually not the attendees’ responsibility to cover, as the attendees are usually there to represent a brand or company. What I have seen as the biggest defense for the Met Gala is this system of big brands, donating money to the arts, that they would otherwise pocket or invest in questionable things, such as political donations to Trump or AI technology. But is that enough to make this event palatable? The Met Gala was sponsored by Lauren and Jeff Bezos, which alone made this year’s gala controversial. The justification once again is that his money is better spent on the arts than on something else, like another Melania movie. Such as comparing this sponsorship to the investments by Carnegie, Frick, and Morgan in the arts during the Gilded Age to improve their public opinion.

I have mixed thoughts on this, as a believer in the preservation of the arts, but also a kid who grew up in the Pittsburgh area and was surrounded by Carnegie libraries, museums, etc. Are these nice to have? Yes. Does it make up for the pollution, labor practices, and wealth hoarding by these industrialists that were so greedy they did not care if they were evil, but instead chose to buy their way into good public standing? No. My Grandma died of COPD, from the level of pollution she was exposed to as a kid in the 1940s. The Atlantic Monthly, in 1868, called the city of Pittsburgh, “hell with the lid taken off.” Soot from the Steel factories coated everything. The number of heart conditions in my family, and later autoimmune conditions, has been shocking, until you consider the effect of pollution. Similarly, the number of people from my home region with Cancer has been downright terrifying. You still can’t eat the fish from the rivers or ponds.

But forget that, right? Let’s have a ball, and display our wealth to all the people around the world who will never experience this kind of luxury. We have to preserve the arts and fashion history! Yeah…honestly, when you consider how much human suffering is essential to this kind of wealth, that these systems depend on most people going without human rights and dignity so that they can wear their custom haute couture to donate millions to a single museum, it’s disgusting to me. And I love fashion.

History is great, sometimes, but more often than not, it is a tragic collection of stories of inequality, suffering, war, destruction, and a few that benefit greatly from the oppression of others. You don’t have to dig far into the history of my country to see how true this is. I mean, each day this Iran War drags on, add another footnote to the list of wrongs. I would rather preserve cultures than general historical collections that focus on white, Eurocentric clothing on white Eurocentric mannequins. The bulk of the vast Costume Institute’s collection, the biggest in the world, is mostly Western clothing with a few token exceptions, displayed on mostly small, white mannequins. The Met has enough resources and clout to do better. The fashion industry is not interested in doing better, though. They are one of the biggest polluting industries in the world, and have knit together their brand empires with sweatshops in the global south. I guess my point is, I think we all know enough about Western fashion and luxury fashion. More than I think we need to know. Who is preserving the fashion history of the places and people who make the clothes, and whose lives are being wasted away sewing day in and day out to feed their family a meager portion, while these brands spend hundreds of thousands of dollars at the Met Gala? If they have enough to blow money on this event, it is despicable that they choose to not pay their workers properly, and give them vacation time, health care, maternity/paternity leave, etc.

The most difficult part of this conversation, for most of us, is the Amazon of it all. I shop on Amazon, most of us do. Sometimes it literally is the only option, and I know it is not a good company, and I am not proud of supporting it. It makes me feel like a big hypocrite. Because with Amazon, you don’t have to leave the US to see how bad they treat their employees. It’s out in the open, and hyper-consumerism and lack of other options make the bad behavior of Amazon seem beyond reproach due to how entrenched the company is in our world. I do think the Met Gala is an offensive flaunting of wealth that we, normal people, should stop worshipping because it’s pretty and is “art.” I do think the “Eat the Rich” protests are valid, and I think a lot of us feel stuck because we feel like hypocrites. After all, the system seems rigged right now for billionaire domination, and sometimes the only or cheaper option is supporting these businesses, like Amazon.

I like fashion history, but I don’t like the Met Gala. I don’t like Bezos or how he does business, and I do have an Amazon package arriving today. Just as much of life is complex, this subject is so layered, and I hope I made sense in this post.

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