This is an interesting reflection for me, because granny squares, and crochet in general was my crafting white whale. Since their rise in popularity in the 2020s, the granny square technique, with its colorful bursts of color called to me.
They looked so different from the form and function of knitting. I found myself bamboozled by their craftsmanship, yet enamored by their novelty and variety. Which brings me to a shocking revelation – I don’t think I like them after all.
Yeah…I was not expecting this to be my reaction after crocheting four squares with a brand new colorburst square pattern for a halloween sweater I am working on.
The Importance of Design Point of View
So why, as soon as I made dedicated granny squares for a halloween project, did I not like them? I spent hours learning the colorburst granny square pattern. I struggled with the techniques of the cluster stitch, and the treble crochet corners, but didn’t give up. I expected to feel a sense of accomplishment and excitement, but instead I felt unsatisfied.
This surprised me. The squares and the design of the crochet cardigan with the squares added, didn’t feel like me. I didn’t like wearing them. It clashed with my own personal design point of view.
There was nothing wrong with the design, it just wasn’t me, and neither are the granny squares. And so, I think this is part of being an artist and the process. Learning the new skill is not a waste of time, even though it felt like I was wasting my week working on this design. If I want to be a designer and find my thing, I have to try things that won’t always feel like me, and adjust accordingly.
A very silly but confounding thing happened yesterday as I was in the homestretch of my current crochet project. It is something that has never happened to me before. I was stumped. What happened you ask?
Well, I’m crocheting my first cardigan and to do this I decided to use Caron Blossom Cakes, specifically three cakes in the colorway Blossom. It’s a lovely tonal yarn with hints of sakura, periwinkle, and hydrangea blooms.
This fiber is one of the first affordable yarns to bring me joy in this confusing time of losing Joann. (Thankfully, Big Twist has been saved!) The Caron Cakes were the the buzz of Michael’s, drawing me in for a hope that I’d find a new favorite, and truly I have. This yarn is stunning. Soft to the touch, a half and half blend of cotton and acrylic. It never splits due to its structure which has made my first big project with a crochet hook a delightful experience.
When I first bought the yarn I was being cautious, purchasing the yarn on a bogo sale. I bought 3 cakes containing 481 yards of worsted weight yarn – enough for a sweater. Honestly this was far too scant of a amount, as time will prove. My intial plan was to make a skirt, but as it usually goes will my projects, I call an audible and make something new.
This should have been enough yarn, but I made the decision to oversize this cardigan and pick up more yarn if neccessary – and it was! Yesterday, I finished the body of the cardigan and began my final steps – the sleeves. To my shock I realized, the body panels had consumed 1 2/3 of the cakes. Leaving 1 1/3 cakes left for the sleeves, and these sleeves were going to be long. Much longer than I planned!
I usually knit my sweaters with a drop shoulder to shorten the sleeve length I have to knit because sleeves are so boring to knit! And they eat up yarn beyond my expectation everytime. To my horror, the sleeves were inset, not off the shoulder!
Not only would I have to knit the whole length, oversized, but I would need to using my new crochet skills to employ shoulder shaping – something I still get stuck on knitting. I quickly pulled up the yarn on my phone and was hit with a one-two-three punch – Blossom was out of stock, it was a Michael’s exclusive, and it is discontinued!
I was stunned! Like how do all those things happen right as I ran put of yarn?! 😲
I’ve been knitting since 2013, consistently since 2020 and I have never had a yarn disappear like this. On top of losing Sully last week, I was spiraling. I always have a plan for my knits, a yarn back up plan to piece in yarn if needed, but this project I wanted to be special. All in one color, like a “real” fiber artist. I was putting far too much pressure on this garment.
I’ve seen so many small businesses and artists this week, speak out about how the tariffs are effecting their businesses. Some are seeing 50% of their income being held hostage as the new rules are unclear. It’s left this dark, frustrating haze in my mind, like we’re in the final act of a Totally Spies episode and the evil genius might win.
I went to my stash and found that it was not what I thought it was either. I had a stash of final Joann yarn that I bought almost a year ago, left in my closet after the news with colors I didn’t remember and with less skeins than I recalled. Yeah it was, another pothole in the road. But dang, what is the point of creativity if you give up?
Some of the most beautiful garments were made with limitations. Why can’t I am for such success? I create on a budget, and I enjoy being a scrappy fiber artist – why change my approach now just because August has been heavy? Never give up!
Do you ever get stuck in start mode when beginning a new thing?
Like you’re wandering through a maze of ideas. Maybe it’s the planning stage, too many ideas, not enough organization? It’s weird. I feel such a rush when I have multiple WIPs on my needles. The satisfaction of binding off stitches and slipping that garment onto my body makes every week of work worth it!
The void though, between new idea and casting on a new project, is a shape shifting process. The indecision sets in.
What yarn should I use?
Do I have a color palette
Stockinette or a new stitch?
Texture?
Colorwork?
Do I have an inspriation garment in mind?
Have I thought about how I want to garment to fit?
How much positive or negative ease should I plan for?
The next phase is choosing needles, selecting the amount of yardage, and gauge swatching the stitches to inches ratio to calculate the size of the garment.
It feels as important to start with the correct amount of stitches as it does to pour a concrete foundation evenly. I think this is why I get stuck in neutral instead of shifting into gear – when you get a creative idea sometimes the final design outcome is a little fuzzy.
So how do I get out of it and move forward with my design? I sketch, even simply shading the colors together in simple patterns helps me see if the image in my head will fit the realized garment. I also start working with the room to frog the yarn and begin again.
That is my favorite thing about fiber art, you can tear out and begin again without ruining your materials. Even though the first stitches feel like concrete the process is flexible.
Do you get stuck in planning? How do you move your mind forward? Thanks for spending time with me today. You are amazing and I hope you know that you are loved. Until next time. ❤
A perk of being on this small holiday of sorts from my life, and staying at my mom’s house means endless inspiration from her garden. Around Mother’s Day we went to a local greenhouse and found this hanging strawberry plant which beautifully displays its growing phases in lovely hanging tendrils.
I’ve been fascinated by the way strawberries grow, from blossom to fuzz ball, to fruit. I chose this little vignette as my first sketch because I liked how it displayed the life phases from new bud, to blossom, to fruiting, to baby berry, to unripe strawberry.
Two summers ago, in 2022, I tried my hand at making dresses and separates with some mixed results. Some pieces I loved but had fit issues, some were poorly constructed and just fell apart, and some were made with the wrong materials for the project and were doomed to fail from the start. But as a new sewist who is self-taught, it was the only way I was going to learn, by experimenting and making and then doing it all over again.
In 2024, I’ve seen a huge jump in my skill level. I’m beginning to feel comfortable with the craft and I’m wiser about my fabric choices, which makes me think about these former projects. Could I make a better version of them? Have I leveled up my skills enough to do these projects justice and have them in my closet for years to come?
The Blanket Dress
Original Materials: Cotton Flannel, Satin Blanket Edging
Issues: Sleeves fall down and fabric stretches with wear. Not enough structure and bad pattern matching.
2024 Plan: Choose a cotton shirting with more body and keep the plaid pattern or if I stuck with the light cotton flannel, I would add a lining to give structure. Pattern match when cutting out pieces because I can tell I didn’t try at all! Add tie to the back shoulders to keep the sleeves on my shoulders. Add a button placket or zipper to fit the dress to my body better. I would make the bodice even, because I can see how each side of it is a different length.
Will I make this again? Most likely! It is one of my favorite pieces from my early designs.
Amalfi Coast Girl Slip Dress
Original Materials: A very lightweight polyester silk that I found on clearance at Joann Fabrics.
Issues: Very thin, made me paranoid. Being a slip dress I felt uncomfortable, like I forgot to get dressed.
2024 Plan: Lining! I would line this 100% now because that was just silly. I would pick a better fabric though, this one was hot and difficult to sew. I would also fix the bunching in the skirt and fit the bodice better because it looks messy.
Would I make this again? Yes! Potentially this summer if I find the right fabric.
“Linen” Two Piece Set
Original Materials: Vintage Quilting Cotton from my Gram’s stash. Snaps and buttons (because button holes scared me).
Issues: Not real buttons, this was a hassle. The shirt was a bit short and too boxy. The shorts were an absolute mess because I didn’t have a french curve or a proper pattern to make shorts from. The seat was too narrow and the the rise too short, the waist band I didn’t fold over so it provided no structure. A side zip and snaps were an okay closure but they never felt truly secure.
2024: I would buy the cotton gauze fabric or buy linen for the look I wanted. The quilting cotton made this feel like pajamas and it made a little unsure about wearing it out. I would make a proper fitting pair of shorts this time and a real button holes. Other than that, I’m quite pleased with my original idea.
Would I make this again? Yes, it was chic and comfy, if only it had been constructed better I may still have it.
Cropped Cardigan and Ruffle Skirt
Original Materials: Two upcycled pillow cases and a hand-me-down dress I cropped into a cardigan.
Issues: The pillowcase was stained and see through. The cardigan was made from a fast fashion piece that was terrible quality that made it feel weird on the skin. I like the appearance of this look more than I did wearing it.
2024 Plan: Opaque quilting cotton or shirting to feel comfortable. Knit the cardigan in a cotton yarn or a linen yarn to make it versatile for Spring, Summer, and Fall.
Would I make this again? Yes, it’s already on my to do list. I would wear this for so many things.
Silk-ish Halter and Wrap Skirt
Original Materials: A satin polyester from Joann Fabrics. Snaps and a tie made from the fabric.
Issues: My halter top gaped, it was poorly draped and did not feel secure at the back snaps or neck snaps. The skirt did not have enough volume. I didn’t feel like myself in it.
2024 Plan: I would properly drape the bodice and add bust cups potentially to the top. I would also not make it a two piece look because I wouldn’t wear the pieces separately. The fabric was nice and I would use something like it again, although I would love for it to not be polyester.
Would I make it again? No, it doesn’t fit into my wardrobe. I would use a similar fabric again for a dress, but not a halter dress.
An item that I added to my sewing tools in 2024 is brown craft paper and it has been a game changer! It’s not only transformed my creative process but has helped me create new garments that fit me better with less fabric waste. How cool is that?
Learning is Hardwork
As with every new skill, the first phase of creating is messy and full of flaws, this was my creative process. You have to start and in starting you are an imperfect sewist, fitting and pattern cutting are tricky and this really bothered me to accept. I like getting things right the first time. Learning to accept that this was going to be a journey, was frustrating at first. I have a vision in my head but I can’t always execute the vision at this stage. These things are part of the learning process, like using existing patterns to learn the techniques and accepting that things are going to fit poorly until I can learn to tailor them. Which is happening! With each garment I make, I can see a progression toward the goal, slow and steady but still moving forward.
But there has been a process I did not expect and that is making pieces with my silhouette and my body type in mind, not just my measurements. Things I want to make may not look fantastic on my proportions. That was a time of trial and error in my creative process that I wasn’t expecting because when you go to a store and try on clothing, the design decisions are already made and you only have to decide on which silhouette you would like to choose. But with fashion design, self-drafting patterns in particular, I realized what was going to make me happy was experimentation. Trying a little bit of everything and playing around with different styles to see what I liked and what looked good on my body.
Sometimes just an inch here, a lowered line there, a rise adjustment, or nipping in a shoulder can transform a project from a flop to a success. It’s subtle yet effective and a skill I see you are only capable of learning from experience, either from your own by the process of being self-taught or from the instruction of more skilled designers. It is sculptural, artistic, and honestly sometimes like architecture or construction. It may be fabric and tread but the same principles apply. The foundation is crucial, and the foundation of any garment is the fabric and how you cut it.
Enter the Craft Paper
How do you replicate a project that works? You need a template, a jig, or a blueprint. A pattern. I thought that understanding the dimensions alone would suffice when I am cutting, but there is nothing like having the template to keep my cutlines accurate for curves and hem allowance. It takes the guesswork out of this process which if you are cutting blind is like a chess match with the fabric and your memory of what you have made before. It’s too difficult so I needed to work smarter and make my own pattern pieces out of paper. There were two tops that I had designed that fit me quite well out of a stretch knit and before they were properly sewn together, I took the pins out and traced them onto my craft paper.
Two bodice types – one scoop neck, one v-neck, and one sleeve template. From this inexpensive paper I have found a cipher to make things with more finesse. A tried and true bodice and sleeve that can be used for tops or dresses. A foundation to build upon that has streamlined my making process. You don’t have to be an expert at your craft to make a template, I thought I had to reach mastery before I was worthy to do this, it is simply part of the making process to make things with excellence in mind.
Fix On
I’ve watched a few creators for too long without questioning why “good enough” was their motto. I in turn also fell back on this type of approach to my designs as I learned because learning is hard work. Striving to be better is not fun, it’s maintaining a critical eye and raising your standards for yourself. In this sewing journey of learning and making, instant gratification and impatience are my Achilles heel. I want to do things quickly because everything is done quickly now. I get stuck in that loop of making more, making faster, chasing after goals, and feeling left behind because I am still not selling my patterns or garments, still.
But “good enough” is fine for Youtubers who have an established brand and following, but that’s not going to get me anywhere near my goals of design. I have to continually “fix on” as Mingi says, to the goal ahead and stop paying attention to what others have done to achieve their success. They are already in that space and that is the path their life has taken, I have to find my own thing and continue to work hard.
I’m sharing this to encourage you dear reader to not settle and to challenge yourself to be your own person. I believe that God gave you unique talents and has a plan tailor-made for your life so fight the hive mind of our current world and do the strange thing – work hard, strive for excellence, and be uniquely you! I hope that wherever you are today you remember that you are special, you are loved, and that you have potential for excellence. No matter what has happened in your life and how gray the skies are above you, there is still hope for a future.
To start the path of becoming a knitwear designer, I first had to quit knitting, totally walking away from it to understand that it was something I was passionate enough to keep growing, pursue, and be willing to fail at to create something beautiful. Sometimes personal growth requires surrendering your plan to find the plan you were called to follow.
These pieces were made two years apart and yet I think they fit seamlessly together even though they were not planned. None of my knitting pieces from 2023 onward were planned because I decided to quit knitting in 2021 and was feeling pretty lost and frustrated in 2022. Knitting became a place of competition with my mom, a comparison with more advanced knitters, and a direct competitor to my sewing process.
It took a while for me to see this skill as an art form instead of a distraction. An extension of fashion design, storytelling, and fiber art. These forms are symbiotic, yet the way I was approaching it created struggle in my mind and it wasn’t until I made peace with the process that I could see how this was a way to continue self-expression and design.
It took being willing to approach knitting the way I feel comfortable instead of the way others feel comfortable, like knitting on straight needles, and taking the scenic route in my knitting technique to learn and improve. I had to accept that my pieces were going to look different because my approach was different than how I was being taught. Because of my background in art and sewing, I think about garment creation as I would in sewing. Knitting is the opposite, instead of cutting shapes out of a whole, you are making the whole shape out of nothing, it’s a brain teaser. It was at least until I took time to think about it.
After I completed the scarf, I put my needles away, donated my excess yarn stash, and walked away. For a year, I didn’t want to knit. I wasn’t inspired, I wasn’t interested. But at that time, I was designing with fabric. I was tailoring and learning how to read patterns. That’s when it clicked. All of it clicked.
It wasn’t that I couldn’t figure out knitting, I needed a better approach! My brain needed time to process the knowledge that I was learning from sewing and knitting. My mind was figuring out what kind of story it wanted to tell. Making a collection in 2022 for my family and friends got the ball rolling in my mind. I realized it wouldn’t be that difficult to be a successful knitter, I just needed to be a knitwear designer and go that extra step to create my own pattern and my own plan. Knitting hadn’t clicked before because I was trying to be like other knitters, instead of experimenting and finding my own style.
Just like personal style, creative writing, and art, you have to find your thing! The process may not feel like progress and that is where falling in love with the process is such an important piece of the puzzle. I have a passion for designing clothing, I’ve had it my whole life, but I was divorcing clothing from knitwear because I was not pushing myself to make clothing. Once I got serious and dove into making an actual garment it transformed my perspective. They are the same just different approaches. One does not need to be a distraction from the other, they can work in sync. That’s when the light bulb went off in my mind – so can accessories. Layers are little things that make a piece pop. If I am going to go all in for design, then a symbiotic relationship between what I design with thread and what I design with yarn must play off of each other. This is how I realized being a knitwear designer was as much a part of me as being a fashion designer, a sewist, an artist, and a writer.
One afternoon day, I hit a wall and found a solution in my workout room. You see I’d been sewing in the living room, not because I wasn’t provided the opportunity to have a sewing room, I think I was just being stubborn. Throughout 2023 though, I began to outgrow the living room setup, galavanting from the coffee and dining room tables. My projects were scattered across the first floor of our home. It was chaos. Fabric scraps, yarn fluffs, knitting needles, pins, computer, charger, sewing machine, sewing pedal, notebooks, paintbrushes, etc.
I hit a wall when I felt frustrated for the 1000th time that my sewing machine was bouncing against the circular antique table instead of being balanced on a proper sewing table. I then switched to cutting out a pattern on the coffee table, littered with life and projects, in this ineffective space I cut the wrong piece. In frustration, I realized this was a product of my own decision-making. It was time to level up and clean the workout room for a proper studio.
I think I had been thinking about this longer than I realized, because, after Christmas, I hung up my new bunny calendar and K-pop posters in the workout room, like a future studio. Even though I wasn’t planning the conversion to a studio, it all worked out seamlessly. I moved some things around, decluttered others, and brought the white folding table up from the coat closet. I brought my machine and sewing notions up, including my sewing treasure chest Kyle made me last year. With art supplies, notebooks, and my computer in toe, there was a magic that happened. It was perfect!
The only money I spent on the conversion were new curtains to keep the space warmer, than the repurposed sheets I had sewn into curtains. It’s the breathing room I need to create and the space from this work I need. Knowing I can step away from a project for the night, without having to clean up the items for dinner, is life-changing. I’m sleeping better.
I think since getting married and working from home, I missed that private space, like having my own room again. I can shut the door and escape into my own little world. That was one of my favorite things about life as a single person. It’s good to keep those things, after life changes. I love my life, but I like who I am more with this studio. I am a lot more patient.
My favorite part of this workspace is the natural lighting. It’s so bright and airy, that it lifts my spirits every time I walk into the space.
People are ticked off regarding Selkie’s use of AI in their Valentine’s Day release, and I have to say, I can see their point! (Also, cupid, again? What is up with these dramatic “love-inspired” releases for 2024?)
Selkie made a creative, design choice. A big choice that may not have been the wisest decision for their brand reputation. As of three days after the announcement, the comment section is not pleased by the decision to use AI-developed patterns for their fabric instead of human artists to develop patterns for their newest crop of iconic dresses.
Now, right off the bat for me, I can see a contradiction in this decision just from an aesthetic standpoint. Selkie is a dress brand that took off in popularity in 2020, selling fantasy puff romantic dresses that evoke another time. They are fanciful, sometimes with corsetted bodices, other times they have high regency waistlines, but mostly they look like a dress to galavant around Versailles in with Marie Antoinette. They are not modern in the dream they sell, they have an intrinsic historical imagination.
They are princess dresses. Ladies of prestige in the modern time when none of them feel like princesses. Since the 1990s, we have seen a steep decline in formal fashion in our day-to-day life. Case in point, billionaire tech boys wear hoodies and t-shirts, not suits and hats like Carnegie and Vanderbilt. In 2020, this came to a head as remote work and social distancing created a new space of absolute nothingness when it came to fashion.
What was the point? You could wear pajamas and as long as you weren’t on a Zoom call, who would know? It was negligible. With face coverings, makeup became superfluous. Selkie, cottage-core, dark academia, etc. These movements in fashion revealed something deeper in our collective psyche. Although wearing pajamas and hanging out on our couches seemed like a dream, in reality, we were missing the fantasy of spectacle and splendor. Selkie is the typification of this.
AI pops the dream bubble. Suddenly the clouds of tulle and puff sleeves that carried us into a dream world of palaces, picnics, and girlhood, evaporate underneath us and the lifestyle falls back to reality. As much as AI sells a dream of fantasy, it is a tool of reality. The reality of cutting corners, fast fashion, and jobs being cut from creatives is to cut costs because AI is cheaper. But cheaper is not always cheerful. In the case of a lot of AI art and AI work, you are getting what you pay for. It’s not the real deal, something is just a bit off.
I’ve watched several videos in 2023 of creators I watch putting AI to the test, and in each case when it came to AI having to work in our space, in the humanities, it couldn’t hang. The results were surreal, not real. In these videos, AI was used to interpret history, recreate art in a historical style, create portraits in photography, show examples of historical dress, and give advice on how to give yourself a makeover. In each experiment, the AI was not able to replicate the human experience and seemed to get confused by things involving the story of humans.
With Selkie’s historical aesthetic being a key to its branding, it is not surprising to me that AI seems out of the aesthetic wheelhouse. This is an interesting reaction to me because it has appeared since the turn of the 20th century that we as humans have been lusting over technology as the ultimate fantasy until we have it and then the intoxication fades away like blood alcohol and late-night attraction.
It is an interesting time for fashion brands for sure because I think this may be the era that humanness and authenticity to the world the brand is selling may prove to be more valuable than gold. I appreciate the commitment to humanness and personal ethics that consumers are voicing. Especially when it comes to human artists. We can’t change the fact that AI is a thing and it is easy to replace humans with technology, all we can do is voice our opinion and make choices based on what we believe.
I’ve looked through the comments on Selkie’s newest release and there were echoes of disappointment and displeasure from consumers, a lot of them being artists themselves. There was a different tone in these comments than the commonplace cancel culture of our current age, there was genuine sadness. Like when a parent isn’t mad, just disappointed.
The criticism was delivered respectfully but firmly. This gave me hope that we can begin discussing things online with more frankness and kindness than in recent years. If you are a big proponent of AI, I ask dear reader that you don’t take my thoughts on the subject of AI personally. Maybe you can be the one to show us all what makes it great? 🙂
One Rabbit Riot 