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Archive for the ‘Curiosity Cabinet of KnittingStitches’ Category

Having just returned from a three-week holiday, I had plenty of time to look back to 2013, and look forward to 2014. Last year has been amazing, and I’m sure this will continue in the new year!

Looking back

Darning

Darning at Wool House, Somerset House

I was invited to darn at Wool House, Somerset House, as part of the very successful Campaign for Wool event. I had a great time, and Wool House put my darning sessions in the “best bits” list! It was super-busy, and I think I have enthused quite a few people about darning, and also explain why I like using 100% wool products.

Hope and Elvis Darning Workshop

2013 also saw the first of my day-long darning workshops. I went to Hope & Elvis, lovely Louise’s great studio. It’s stuffed to the gills with vintage fabrics, blankets, threads, scraps, books and any tool you would possibly need, so it was a lot of fun to explore various darning techniques. You’ll be pleased to hear I’m returning there in April.

ShetlandWoolWeek Darning at Jamieson & Smith

Last but not least, my darning skills took me to Shetland! Here’s a picture of my darning class at Jamieson & Smith. I had a great time, I met so many amazing people, with amazing skills. I left a few loose ends on purpose, so I have a good reason to return.

Knitting

Curiosity Cabinet of Knitting Stitches Lace

Early last year I exhibited at Prick Your Finger. My Curiosity Cabinet of Knitting Stitches explored many different knitting stitches and techniques, some old and rare, others common and much-used. It was a good way to learn about different techniques, and investigate them in detail.

Altered Kasha Cardigan for Wedding Outift

Rosemary had seen my Curiosity Cabinet, and thought I’d be the ideal person to take on a commission for her wedding outfit. I gladly took this on, and I knitted a Kasha Cardigan for her, with some alterations: a different collar, and three-quarter length sleeves. It was a great project to work on, and Rosemary has been wearing her cardigan many times since.

Aleatoric Fair Isle Swatch

Last year I also explored stranded colourwork, and in particular the Fair Isle tradition. Together with my comrade in wool, Felicity Ford, we devised a method to learn more about Fair Isle patterns, which took away some of the hurdles we often face when trying to knit Fair Isle. Using rules we made up and some dice, we left pattern and colour selection to chance, based on John Cage’s compositional concepts. We called this Aleatoric Fair Isle.

Spinning

Diamond Fibre Mill spinning

Other highlights include my visit to Diamond Fibre Mill, where I met Roger, who runs this small independent mill, specialising in worsted spinning, and who owns his own flock of Romney sheep.

timbertops chair spinning wheel

I also became the proud owner of an original Timbertops spinning wheel. A chair wheel no less. I haven’t had a chance to write about this yet, so keep your eyes peeled for a blog post in the near future.

Special mention

And if all that wasn’t quite enough, Kate Davies, Felicity and myself curated Wovember 2013 to celebrate wool in all its myriad forms. We posted features about growing, harvesting, processing, working, and wearing wool. I did many more things last year, so these were just some of my highlights.

Looking forward

Plans for 2014 are forming in my head, and amongst others, I’m looking forward to releasing my first cardigan pattern, using Foula wool. A bit later than expected, but it’s important to me to get everything right. I will continue working on the Aleatoric Fair Isle swatches. I’ve also taken on a very special visible mending commission to repair an upcycling attempt gone wrong. As previously mentioned, not only will I return to Hope & Elvis for a darning workshop, I will also run a Darning Master Class at Unravel at Farnham Maltings. More classes and workshops are in the pipe-line, so keep an eye out for them.

Scotch darn on sock

2014 will also be the year of exploring. I did some free-style knitting before Christmas, and I found it very liberating. I found some good books on the subject, and I have also been inspired by Rachael Matthews’s approach to making, and in particular what became her Explosion Jumper.

On the spinning front I want explore more lace-weight spinning, using wool from both classic breeds (Shetland), and unexpected breeds (Rough Fell.)

Last but not least I would like to explore more mending techniques, and in particular learn more about darning and repairing woven textiles. And I still have one or two jumpers to complete…

darned jumper

 

I don’t know about you, but I think I have plenty of things lined up, and it will be my pleasure to share them with you and write about them here.

Happy New Year!

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Just before 2013 ends I want to share with you a special commission I took on earlier this year. It must’ve been early summer when Rosemary contacted me about knitting her a little lace jacket for her wedding outfit.

unwrapping of knitted Kasha jacket commission

Rosemary unwrapping her lace jacket on the big day

Rosemary had seen my work at Prick Your Finger, and she loved my attention to detail and technical approach to knitting. She had already chosen a beautiful dress for her wedding day, but a little lace jacket would complete the outfit. She had seen the Kasha cardigan I had knitted for Susan Crawford, and this was just what she wanted. Well, almost. Instead of the short sleeves, she wanted three-quarter length ones, and as her dress already had a lace collar, she didn’t want one on Kasha.

Kasha Alteration three-quarter sleeves

A gorgeous wedding bouquet and three-quarter sleeves

I had to search around a bit for a suitable yarn, but after consulting with Susan, Rosemary and I settled on Alice sock-weight yarn from Juno Fibre Arts. This luxurious blend of alpaca, silk, and cashmere is very soft, has a nice drape and great stitch definition. The colourway is called Oyster, which is very appropriate considering I found some 1920s mother-of-pearl buttons for the jacket.

Kasha cardigan with mother of pearl buttons

1920s mother-of-pearl buttons for the perfect finish

In the above picture you can also see I used a tubular cast-on. I played around a little bit with the right needle-size for the cast-on, to make sure it wouldn’t flare or draw in too much, bearing in mind that the yarn was quite drapey, and therefore might not snap back into shape as easily as a 100% wool yarn would.

Kasha cardigan alternative collar

An alternative collar for Kasha in reverse stocking stitch

Leaving off the collar was easy, as in the original pattern the collar is knitted separately. I replaced it with a few rows of reverse stocking stitch, and left it to curl up naturally. The original pattern asks for large sleeve pads, which Rosemary felt were too big, so in the end I knitted small sausage shapes, and these can be put in with teeny-tiny snap buttons. The sleeve pads give a little bit more structure to the jacket for a more formal look, but can be taken out for less formal occasions.

shoulder pads with snap buttons

teeny-tiny snap buttons for the shoulder pads

Instead of knitting the front and back pieces separately, which would then need to be seamed together, I knitted them all in one piece. Although knitting seemed to progress slowly in the beginning, it saved me a lot of time at the end. Sometimes I think a sewn side seam can give more structure to a garment, but in this particular pattern the side seam would zig-zag anyway, so there was no structural advantage to keep them.

After teasing you with all these close-ups, I will now present to you Rosemary’s Kasha cardigan in its full glory:

Kasha Cardigan with modified sleeves and collar

 

Kasha just before wrapping up in tissue paper

Rosemary in her Kasha cardigan and her husband

Rosemary and her husband; what a handsome couple!

As an aside, Rosemary and her husband are great appreciators of art and crafts, and for their wedding day they also got a corn dolly made by Elaine Lindsay, which is absolutely stunning. A corn dolly was traditionally made for the spirit that lives in the wheat or corn fields, and which would be without a house after harvesting the last sheaf. The corn dolly would be taken home and in spring it would be plowed back into the land when the new wheat was sown. Corn dollies come in many different shapes and many villages and towns had their own design; Rosemary and Richard was based on the Mordiford heart.

Mordiford Corn Dolly

Rosemary and Richard’s Mordiford corn dolly with their initials worked in

More knitterly details on this commission can be found on my Ravelry project page.

Being a great believer in sustainable fashion and appreciating the clothes you have, I was so pleased to hear is that Rosemary has been wearing her cardigan many times since the wedding. What a great way to be reminded of a beautiful day.

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Dear readers, I can’t believe it’s already mid March! I have so much to share with you, that I’m not sure where to start. So, in no particular order I shall mention some of the highlights of the last few weeks and the coming few months.

First of all, a few announcements on upcoming classes and workshops:

Sock Knitting

Whenever I run a darning class I show my hand-knitted socks that I have darned. For all of you who have asked if I will teach sock knitting, I can now say: yes I do!

KnitSocks

My first sock knitting class is in April, run over three consecutive Sundays (14, 21, 28 April). I will expect participants to do some “homework,” but as this involves knitting, I think it could be worse. You can book here and find more details. This class is aimed at the confident beginner, who already knows how to cast on, cast off, increase and decrease. Learn to knit in the round, turn heels and graft toes.

Darning

Darning is really taking off, and I will be doing quite a few events in the next few months, spreading my love for darning and mending.

First of all, I will be at Wool House at Somerset House, London, for some drop-in darning this weekend (16, 17 March) and a darning class on Friday, 22 March. All for free! Wool House showcases some different uses for wool, and promises to be spectacular.  Check all Wool House events here, including my darning activities.

Secondly, I will be doing my regular Super+Super HQ darning class on Friday, 10 May.

TOM SAYS DARN IT

You can book for this event here. And for those of you who wonder: although these techniques are used for knitwear repair, no previous knitting experience is necessary.

Still there is more! Third and fourth mention go to two one-day darning workshops. These run from 10am-4pm and are a more informal affair. I will introduce the concept of Visible Mending, show examples of various techniques, and then we’ll discuss everybody’s repair needs. Then we will all just pick up needle and thread and start mending!

I will be at Hope & Elvis, in Worksop, Nottinghamshire on Saturday, 4 May. This event is now sold out.

I will be at The Stitchery Studio, Glasgow on Saturday, 18 May. Find details here to sign up.

And more…

Yes, there is still more to share! I will just give you some glimpses of what has kept me so busy in the last four weeks or so. I will expand on all of this in my next few blog posts:

The Curiosity Cabinet of Knitting Stitches was exhibited at Prick Your Finger, London:

cabinet

Crafty Magazine interviewed me about The Curiosity Cabinet of Knitting Stitches. It’s a new magazine and it will also feature male crafters, because we do exist!

I have been bitten by the spinning bug. I went to the spinners meet-up at The Green Centre last Friday, where Sue Craig is leading the Knitting The Map project. The aim is to prepare, spin, dye and knit a 1792 map of Brighton; known as Brighthelmstone at the time. I spun up some Lincoln longwool, which I combed myself:

LashedOn

When I went to Prick Your Finger last weekend to collect my Curiosity Cabinet, we had a right spin-off, as Cecilia Hewett was visiting, and so was Felicity Ford. You may have read her three-part spinning story over on the Wovember blog. She gave me some invaluable advice on how to spin Wensleydale wool into a lace weight yarn:

spinning

I have also been knitting a jumper, mixing some amazing deepest, darkest Romney from Prick Your Finger with some of my first handspun:

photo

And I haven’t even started taking pictures of my machine knitted swatches. My friend Amy Twigger Holroyd, who runs the fashion label Keep & Share, and who is working on amazing PhD research, invited me round to her studio for an introduction to machine knitting. Despite my initial prejudices, I really enjoyed it! I hope to do more in the near future.

And more darning. Yes indeed! If all this wasn’t enough, I went to the first Brighton Repair Café a few weeks ago. The Repair Café Foundation was originally founded in Amsterdam, The Netherlands, but has gained huge momentum and has gone global now. I first heard about it at the MendRS Symposium and I was so glad to see that we now have one in Brighton, too.

I think I’m done sharing for now. I hope to see you at one of my sock knitting or darning classes or at Wool House. I hope you have all been creatively occupied, too, with exciting new projects!

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Have you ever wondered about cast-offs that matches your cast-on? Well, my Curiosity Cabinet of Knitting Stitches contains not one, not two, but three such matches. The Curiosity Cabinet opens to the public on 15 February at Prick Your Finger, so come along for a wee drink from 6 to 9pm.

FYSDoubleMoss

long-tail cast-on matched with Elizabeth Zimmermann’s “casting on casting off”

Matching your cast-off technique to look like your cast-on won’t take you any extra effort, yet it is one of those details that really gives a finishing touch to your knitted item. One of my favourites in these matching looks is the tubular cast-on and tubular cast-off for 1X1 ribbing:

FYSRib

tubular cast-on paired with tubular cast-off

I just love how the stitches just roll over the edge to the other side, and as this cast-on is tubular, you have also knitted a neat little channel in which to hide your yarn tails. A winner all round. Indeed, these are the techniques I used for Susan Crawford’s Kasha cardigan, to match the ribbed edges throughout the garment.

Kasha

Kasha cardigan, with matching ribbed edges

As you probably know, the most common used cast-off is the chain cast-off: knit 1, [knit 1, pass second stitch on right needle over the first stitch and off the needle], repeat to end. This is a nice, firm cast-off that gets used very often, and wouldn’t it be great if you could have a matching cast-on? Well, you can. May I present to you the crochet cast-on!

FYSMossEdge

crochet cast-on complements the chain cast-off

This would be a good match for a scarf, for instance, as they give a firm edge and thus prevent the ends flaring out. If you would like to see these curious stitches in person, then come along on 15 February to the private view at Prick Your Finger, or pop in over the following few weeks.

Or, if you want to add these little gems to your knitting repertoire, then you can join my Curious Stitches workshop on 16 February 1-3pm; sign up here! I will teach you all six techniques shown in the green swatches above. This class is aimed at intermediate knitters.

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It has been long in the making, but I’m pleased to let you know that The Curiosity Cabinet of Knitting Stitches will be shown at Prick Your Finger in Bethnal Green, London. The private view is on Friday, 15 February. Come join me and marvel at the curious and the recherché!

bias_closeup

Swatch 15 – Bias effects from spacing eyelets and balancing decreases

Anybody who has visited me will know that I have quite a collection of knitting books, and it will come as no surprise that I have read all of them at least once.

reference_books

A selection from my library

There is only so much reading about knitting one can do. However well explained, if one is curious, then nothing quite beats picking up sticks and string and try things out. I ended up with a box full of swatches, and a head swimming with techniques, and it felt like such a waste to keep things to myself. Seeing some swatches pinned out on my blocking board reminded me of the Curiosity Cabinets of yore, with rows upon rows of insects:

CuriosityCabinet1

Painting of a Curiosity Cabinet

Cabinets of Curiosities, or Wunderkammern, arose in mid-sixteenth-century Europe as repositories for all manner of wondrous and exotic objects. In essence these collections, combining specimens, diagrams, and illustrations from many disciplines; marking the intersection of science and superstition; and drawing on natural, manmade, and artificial worlds can be seen as the precursors to museums. The key concepts and notions that lay behind the assembling of Cabinets of Curiosities were: 

experiencing a sense of wonder in all kinds of things in the world; discovering new and extreme examples of the natural and the man-made; making connections across the whole field of human knowledge; Experimenting with arranging, re-arranging and classifying parts of the world (and the connections between them) in many different ways. As Samuel Quiccheberg (an eminent curator of cabinets) wrote:
”The ideal collection should be nothing less than a theatre of the universe..keys to the whole of   
 knowledge.”

CuriosityCabinet2

An early example of a Wunderkammer

I created two Curiosity Cabinets. The first one deals with a small selection of cast-on and cast-off techniques, single and double increases and decreases, selvedges:

cast_ons_etc

Most of the techniques displayed here come from an anthology about knitting by Threads Magazine, Barbara Walker’s Knitting from The Top, Montse Stanley’s Knitting Handbook, Mary Thomas’s Knitting Book, and June Hemmons Hiatt’s The Principles of Knitting.

The second Cabinet is all about lace: lots of different fagotting stitches, exploration of bias in fabrics introduced by the interplay between eyelets and their balancing decreases, the many different ways of creating chevrons which is an essential shape in lace knitting, and a variety of eyelets:

lace

The lace knitting techniques are for a large part from Susanna Lewis’s Lace Knitting Workshop, sprinkled with some Mary Thomas and Montse Stanley.

But that is not all: I will reveal the top 3 Knitting Nightmares! It turns out that the regulars frequenting Prick Your Finger don’t have that many knitting nightmares, they are very good knitters indeed. Luckily when I asked the audience at In The Loop 3, I got inundated by responses. And indeed, I would like to thank The Knitting Reference Library, where you can find more books about knitting than you could dream of; it is where I learnt about the existence of quite a few books now also to be found in my own library.

KnittingNightMare2

Knitting Nightmare, based on Fuselli’s The Nightmare

I hope you will join me for the Private View on Friday, 15 February at Prick Your Finger. If your curiosity is not quenched by a drink that night, then I would urge you to join my Curious Stitches Class on Saturday, 16 February (details to follow).

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Goodbye 2012

Some of my personal highlights for 2012, a year in which I saw my making and mending practice bloom, are almost too many to count. I’m thankful for all the people that believe in me, with a special mention (in alphabetical order) to Susan Crawford, Felicity Ford, Louize Harries, Rachael Matthews, and Linda Newington; and last but not least, all my blog readers. So, without further ado, here are some of my highlights:

Commissions:

THAT Green Cardigan, was a commission that I really enjoyed doing, contrasting luxurious soft dyed cashmere with sturdy, natural Jacob wool.

VMPZC

Invisible Mend: this commission was a learning curve for me, and rather scary: an invisible mend of a beautiful 1950s (?) Aquascutum woollen coat:

ZCFinished

Mending:

I started teaching regular Darning Workshops in Brighton at Super+Super HQ (incidentally, the next one is on Friday, 1 February 2013). I have also been roaming the country for one-off workshops. One that I particularly enjoyed took place at the Shipley Art Gallery in Gateshead.

SAGDarning

I also started taking my darning to a whole new level: meta-darning Sanquhar Socks.

SSMDSoleAndCuff

My favourite Visible Mend of 2012, however, must be my shoes!

WWS14

I felt honoured when I was asked to be Mender in Residence at the MendRS Symposium. I met so many amazing people and I got to talk about mending in a barn, what’s not to like?

InsideBarn

Knitting:

In 2012 I also released my very first knitting pattern: A Sanquhar-inspired Pencil Case.

SPC title page blog

I presented at In the Loop 3. Incredible that it is possible to talk about knitting for three days, my head was spinning for days afterwards. Alas, I didn’t take any pictures, as I was completely immersed in a different world.

Although I’m no speed knitter, I did manage to churn out a lace stole sample knit for the cover of Susan Crawford’s Coronation Knits in 3.5 days.

CoronationKnits

Coronation Knits Cover © Susan Crawford and used with her kind permission

Wool:

For the woolheads amongst us, November was transformed into Wovember. A month-long turbo-celebration of all things wool. This was the first year I helped out, and I curated a series of posts called Wovember Words. It also spurred me on to start sewing and I made myself a pair of Woollen Trousers.

WTGreenPea

2012 was a great year, and I hope to continue this in 2013.

Hello 2013

Mending:

One of the things I really enjoy doing, is running my darning workshops. So I will continue my regular workshops at Super+SuperHQ, although somewhat less frequently. Also, I will be doing more one-off workshops. You can stay up-to-date by following me on facebook and, of course, my blog.

TOM SAYS DARN IT

As I learn more about darning, I realise there are more darning techniques to be explored then just the regular Swiss darn and stocking darn; a new world is waiting for me.

Knitting:

One reason for doing less darning workshops, is because I want to start offering knitting classes at Super+Super HQ. I’m working on a Sock-Knitting Workshop – details to be announced in a few weeks!

Sanquhar Socks

Art:

At long last, the Curiosity Cabinet of Knitting Stitches will see its first outing. Head over to Prick Your Finger in February (Private View on 15 February, Tom’s Curious Stitches short workshops on 16 February).

CAbinet1

Once the Curiosity Cabinet of Knitting Stitches Show has finished, I will start working on Bursiforms: an exploration of seamless containers.

New Skills:

Last but not least, in my quest of making my own things, I will start developing my sewing skills. With knitting, I know now how to make garments that fit me, without using commercially available patterns and I want to be able to do the same for sewing. In 2013 I would like to learn how to draft my own trouser and shirt patterns.

And to take the ‘making my own things’ a step further, I have started spinning. I’m taking this very slowly, using a drop spindle to get familiar with drafting fibre and everything that comes with it. Having done a little bit of fibre preparation, I’m amazed at how different wool is when you use it from scratch. It highlights how processed commercial knitting yarn is in order for the mechanical spinning process to work smoothly.

Here’s to a new year; I’m curious to see how all this will develop over the course of the next twelve months. I hope you have plenty of ideas, too!

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Last week I attended the In the Loop 3 conference, organised by the Knitting Reference Library, part of the Winchester School of Art. From the individual to the industrial and from the technical to the intellectual, I had no idea that a conference on knitting could generate such a diversity of topics; there were 28 presentations in all.

Strangely, I did not take any pictures during the conference, as I was too geekily absorbed by the World of Knitting –  I hope you can forgive me. Here’s a selection of personal highlights from the conference, presented to you in chronological order:

(1) Dr Martin Polley, Senior lecturer in Sport (he’s a sport historian) spoke engagingly about Knitting and the Olympic Games. Not only was knitting part of the predecessor of the Olympic Games, The Much Wenlock Olympian Games, where women and girls were judged on the fastest and neatest knits; knitwear has also caused controversy at more than one Olympic event. Most recently the LZR Racer swimsuits developed by Speedo to emulate sharkskin, gave swimmers an unusual advantage. These suits have been banned since the 2008 Games saw an incredible amount of new records.

(2) Sharon Evans-Mikellis, senior lecturer in Fashion and Textile Design at AUT University, New Zealand discussed garment shape innovation in knitwear design. I don’t know a single thing about knitting machines, let alone the high-tech ones that Sharon works with, but I was struck by the fact that even with the latest technology, knitting machines are usually used to emulate flat knitting, even if they can knit in 3D. Sharon explored some new ways of shaping knitwear using these capabilities, which is much more easily done in hand-knitting. Her talk has inspired me to try some new sweater designs, on which I will report in due course!

(3) Hazel Tindall, knitter, spoke about her mother’s diary she wrote in the 1960s. It gave a personal voice on how knitting pervaded this woman’s live, who much preferred reading and writing. Before the discovery of oil, knitting was about the only way to earn extra cash for housewives in rural Shetland, so apart from making garments for her family, she knitted goods for local knitwear buyers. Hazel read out snippets of the diaries, showed some of the garments mentioned by her mother, and gave an insight in how live must have been for many a housewive in Shetland at the time.

(4) Juliette, knitter. I only spoke to Juliette during dessert at the conference dinner, but I so admire her. 78 years of age, she was so lovely to talk to, and she knew so much about knitting. She was not only wearing a perfectly fitting cardigan, but on her shoulders was draped a beautiful Shetland lace shawl (in Jamieson’s cobweb, of course). Then she pulled out of her bag some miniature knitting she was working on. Jumpers knitted to a 1:12 scale, using needles made from piano wires and knitted in polyester sewing thread. And not just any old stocking stitch. Oh no, one was knitted in entrelac and another in a Sanquhar pattern.

(5) Helen Whitham, recently graduated with a first class honours from Duncan of Jordanstone College of Art and Design showed some of her graduation collection and spoke about her research, in which she concluded that knitted textiles from Shetland are authentic products expressing a time, place and culture and offer a basis for emotional attachment. This then, will encourage owners to hang on to these garments for longer. In her graduation collection Helen managed to create a whole new and more intellectual approach to Shetland knitwear, creating her very own personal ‘tradition’ informed by colours and shapes of things she found, amongst others, on the beach. Amazing.

(6) Roslyn Chapman, researched the history of the fine lace knitting industry in the nineteenth and early twentieth century Shetland for her PhD, with a focus on the social and economic relationships between the production and consumption of the fine knitted items. During her research, Roslyn became more aware of things that she had never seen, descriptions of the sale of articles that seem to have vanished without a trace. Where are the Shetland knitted opera cloaks? The Shetland lace clouds, lappets and hoods? And what of the scarlet, crimson, purple and blue shawls and the lesser known spotted hap? Where are all the Shetland fringes, tassels and ‘balls’? Were they loved so much that they have been worn to death, or hated so much they have been relegated to the backs of wardrobes? Roslyn showed photocopies of photographs of photographs (yes, really!) of intricate gossamer lace blouses, contemporary adverts selling burnouses, and payment receipts to Shetlands fringers (who’s sole task was to add fringes to knitted items.)

(7) Sandy Black, professor of Fashion & Textile Design & Technology at London College of Fashion, University of the Arts. Sandy discussed couture handknitting in the postwar period, and especially the work of Maria Luck-Szanto. Hungarian by birth, she came to London in 1939 to establish her hand knitted fashion business, using the skills of British knitters to produce her unique creations which adorned the elite society of London and beyond. Her designs contained many innovations, including the minimizing of seams, and influenced the patents for new machine knitting techniques which are only now possible to execute, with the current advanced knitting machines. Looking at the incredible detail of these handknitted garments, I feel all the more inspired to attempt a high finish on my own knitted garments.

Last but not least I, too, presented at In the Loop 3. I spoke about my Curiosity Cabinet of Knitting Stitches. An installation that had to be put on hold due to personal circumstances. However, when I have confirmed new dates for the exhibition, I will write a detailed post about it. The Curiosity Cabinet of Knitting Stitches gives a voice to some of the more esoteric knitting stitches, by presenting them as the rarities they are, by displaying swatches as a natural history collection of yore. It will be accompanied by a series of short workshops, to show others some of these techniques. I got so much good feedback from the audience, that I can’t wait to have it all sorted out and share these cabinets with all of you!

There, I managed to squeeze in a picture after all! I hope this post has given you a flavour of the conference. Personally, I cannot wait till In The Loop 4!

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Post updated on 11 September to correct spelling mistake in Helen Whitham’s name, and put a link in to her blog.

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