Patternmaking at FIT

In a wild move, I signed up for a Patternmaking class at FIT (Fashion Institute of Technology) this past January.  I was displaced because of Sandy (I promise to stop talking about that), and needed a distraction.  I had no idea what I was getting myself into.  The course description sounded useful and I was excited to do something related to hand knitwear design, but different.  I marched over to the registration office, signed up for the class and then sat down to look at the schedule.  15 weeks long, 4-hour classes at night.  Oops.  I had no idea I was signing up for an actual CLASS.  Like a real class.  Something I hadn't done in 16 years.

Well, I wanted a distraction and I got it.  (I was stunned about the amount of time I had to dedicate to this class every week.)  The class focused on patternmaking for wovens.  And we went through the basics of the bodice, darts, etc. and then making slopers and then our final project was a production pattern of a blouse, of which we had a little freedom as to its design, and the actual blouse.  I had to sew up an actual blouse for this class.  I ignored this fact until the last few weeks of the class, and then freaked out.

If you're embarking on making a shirt, here are some things I learned through the process:

1.  Buy David Coffin's Shirtmaking book.  It is clear and gives you precise sewing tips for construction.  Also explains the very big difference between pressing a shirt and construction ironing where the iron is used as a tool to actually shape the fabric into what you want.  Who knew.

2.  This Craftsy class saved my ass.  I understand the parts that make up a shirt.  I understand how to sew and how a sewing machine works, generally.  But I was relatively clueless as to the actual construction of the shirt.  So, I bought this class, taught by Pam Howard, and it was amazing.  She's patient, clear and has a few tips and tricks which are pretty darn cool.  

3.  Do NOT use 100% linen on your first go.  I did, and I will never look at linen the same way again.  I bought it because it was on sale, and thought its similarity to cotton would make it similar to handle.  Not so.  Not even close.  Cotton behaves.  It pretty much stays put when you cut it or handle it.  Linen is so slinky that it shifts even if you're not touching it.  And the fraying turns little snips or little pieces like sleeve plackets into hairy messes.  My professor was even curious why I would use such a fussy material.  When I stared her down with my blood shot eyes, she looked upon me with pity.

4.  Cutting out the pattern can be very fussy.  I tried a few different methods and my favorite is the weights / rotary cutter method.  I went and bought pattern weights from Steinlauf & Stoller in the garment district.  It's just where one goes for notions, so I didn't think twice about it.  

And then I had to carry home said weights.  So my adivce to you is to order them online and have them delivered home.  Of course, if you're like a normal person with a car, this won't be a problem.  But, I did find a lot of great weights and tools on Nancy Zieman's site:  Nancy's Notions. 

As for the rotary cutter, my trusty 45mm Olfa that I use for quilting was a little big.  There can be a lot of curves in a pattern, so I dug through my tools and found an 28mm which worked much better around curves.  And, I also pulled out my 18mm rotary cutter which is super tiny just in case.  (I never needed it.)  Of course you'll need a cutting mat if you don't have one.  And buy some spare blades - they become dull fairly quickly.

5.  When time allows it, a muslin of whatever you're making is so handy.  You get to see the blouse in a plain cotton fabric before ruining your production fabric.  After an entire class, I went through yards and yards of muslin and it really started to add up.  Finally, I found that I could buy an entire bolt at $2.99 a yard at Joann's.  With their 40% off coupon, which they have all the time, I was able to buy the 25 yard bolt for about $45 which ends up being about $1.80 a yard.  I was ecstatic.  An even cheaper option is Swedish Tracing Paper, but there's no drape to it so it's hard to get a good sense of how the finished product will look.  As an aside, I love using Swedish Tracing Paper when I block sweater pieces, but that's an entirely different post... coming soon.

6.  Sharp sharp scissors are a must.  Even if you cut out the entire pattern with a rotary cutter, you'll always need your scissors for something.  I have a basic pair of Gingher Shears.  I couldn't even remember when I bought them, so I knew they were old.  When I tried to snip a little notch into the fabric and the fabric simply bent instead of cut, I knew something had to be done.  I didn't want to buy another pair since mine were perfectly fine, so I went to get them sharpened.  I took 'em to the Scissor Place, as I always call it, but their proper name is Henry Westpfal & Co. on 25th St, right down the block from the City Quilter.  For $8, I felt like I had a brand new pair of scissors.  I just love those huge scissors hanging over their front door!

Anyway, that's about all the advice I can pass along.  I still can't sew up anything wearable.  But I feel like I have more confidence now when it comes to patterns, sewing and minor manipulations for custom fits.  I was in such a crazed rush to finish my shirt before class that I didn't get to snap proper pics of the finished shirt.  But here is the one WIP pic I took:

Can you see that linen misbehaving around the neck opening?!

When I tell people I've taken this class they always ask me if it was to help with the knitwear designing.  My initial reaction is no, because that's not why I took it.  But there are definitely a few things that I've learned in relation to knitwear.  This patternmaking class is strictly for wovens, and it was interesting to see all the nuances that have to happen in order for a woven to lay over the body's curves.  Because knits are stretchy, much less shaping has to happen, except for the biggies, like the armholes and sleeve caps.  But it did get me wondering why in so many hand knitting patterns I come across waist shaping with just an inch difference.  Wouldn't the fabric take care of that as it lays over the curves?  I'm not sure that a little bit of shaping makes a difference in knitwear now.  This class has definitely got me thinking.

The more I thought about it, the more I realized that hand knitwear is somewhere between wovens and knits, jersey-type knits that most fashion industry people refer to as knits.  Because the gauge is so much larger than something like a store-bought t-shirt, a little shaping needs is required because it's not really desirable to have something tight across the chest, looser around the waist, and then cling to the hips.  Just thinking of worsted weight wool yarn hanging on me like that gives me the willies.

As I ponder all these nuances in hand knitting, I always come to the same conclusion:  it's personal.  Everyone's likes and dislikes and preferences are so personal.  I guess like most things.

I plan on taking more patternmaking classes in hopes of getting to the Knits class, but I'm also looking into Textile classes which delve into the actual fabric of knits and knitwear.  I'll keep you posted.

Improv

Whenever I hear the word "improvisational" or "improv", I always think of stand-up comedy.  Specifically, I think of "Whose Line Is It Anyway?"  I will never forget when I first truly appreciated this art form.  During and immediately following 9/11, every single channel was reporting what had happened.  I was sitting on my couch, staring dumbly and numbly at the television, probably drooling, probably crying and wondering what was going to happen.  As I flipped from channel to channel, continuously being bombarded by the same images, Comedy Central suddenly started airing episode after episode of "Whose Line Is It Anyway?"  It was genius.  I was frozen in front of the television like I was suddenly addicted to laughing.  No one was allowed to change the channel for fear of letting anyting other than laughter and comedy into my home.

What I have come to realize over the past few years is that this improvisational technique is difficult and takes much training.  And what looks like simple banter is the result of some serious training.  So whenever I see art that compels me and appears to be completely random, unplanned and unworked, I know some hard work and a heavily trained eye was probably behind it.  Denyse Schmidt's quilts are the perfect example of this thoughtful improvisation.

As you probably know, I love sewing and quilting.  Knitting and I are like BFFs.  We're besties.  We just get along.  I like her (yes, she's feminine) and she likes me.  However, anything having to do with sewing is more like one of those hot-blooded relationships where doors slam, voices are raised and tears are shed.  The result of sewing happens so quickly, that sometimes I don't have enough time to digest what I've done.  Or more accurately, how I could have messed up something so simple, so badly.

So when it comes to something like quilting, I've developed the habit of planning out the patchwork.  I hem and haw over the colors, which blocks go where, the order in which I'll sew them together, which way to press the seams... weeks can slip by before a single piece of fabric is cut.  A quilt I had just made about a month ago is the perfect example of this.  Yes, I love the result, but the patchwork looks so planned and was so planned. (My quilting, on the other hand, is usually free motion and I love being able to let my hands guide my brain.)

But, I do sit in front of my laptop for hours, scrolling through beautiful pictures of modern quilts on Pinterest and Flickr wondering how I can make such beautifully wonky, perfectly imperfect quilt tops.

So, I decided to take a deep breath and sign up for the Improvisational Patchwork class that Denyse Schmidt held at Brooklyn General.  I had been tempted to take it when I saw it posted on Denyse's site years ago.  But, it's held in her Bridgeport studio which wouldn't be easy to get to.  And the dates never seemed to work out.  I chalked it up to kismet, signed up and went last Sunday.  

WHAT A BLAST!  The workshop began with Denyse laying out the rules.  Grab from a bag, don't look and start sewing together... basically.  With total abandon, I started to piece together scraps Denyse had brought along attaching small pieces together, then medium, then large.  What happened was something so magical, I really couldn't believe my eyes.  The entire class started to put their blocks on the design wall and we were creating one of the most beautiful pieced tops I had ever seen.

Now, the second half of the workshop was where things got dicey.  Again, we were to piece random bits together, but incorporate the fabric we had brought along.  It was a way to have us start thinking about the improvisation.  And a way for us to find a balance between letting go, to allow the process to take over, but also to consciously make design choices along the way. This was the trick.  This was where hours of practice, making mistakes and experience would help hone.   I found it difficult to walk this line.  I was either just sewing without thinking, or really trying to figure out how my fabric could work into the block I was creating.  I was starting to actively design, when passive designing would have been more relevant.  I made the following four blocks in the second half of class.  Nothing I would have consciously made, but I can see a bit of myself in each of them.

It was so refreshing to spend an afternoon, moving through and learning from a different creative process being led by someone like Denyse Schmidt at such a beautifully charming store as Brooklyn General.  This is the my definition of true luxury.

Patience

Almost a year ago, I started a conversation with Quince & Co. about doing a sock design with their yarn.  I started to swatch some stitch patterns I liked and immediately fell in love with their yarn, Finch.  It's perfectly squishy - not too soft so you feel like the yarn is melting in your hands and not too stiff where you feel like you're working with twine.  The sturdy softness of this yarn is perfect for socks.  And the color!  Whenever I work with Quince, they always ask me what color I want to work with.  Usually, I'm fairly picky about how I picture a stitch pattern, or what colors I think are appropriate for clothing or accessories.  But, I can always safely answer, "Whichever.  I love them all."

So, out came Petit Fours.  As you can probably tell, I was (am) having a love affair with chevrons.  I really have no idea what that's about.  But, I do love them.  Graphic and simple.

© Quince & Co.

Designing socks allows me to let go a little.  I can use stitch patterns I feel may be too fussy for a garment, or a color I feel may be too loud or obnoxious.  They're socks!  I love how you just get a little peek of them and usually only when you sit down.  I'm always checking out people's socks in restaurants as I walk through, or on the subway, or while I'm standing on an escalator going up. (Businessmen really let go when it comes to their socks!)  It's such a strange habit, but I get such a kick out of people's socks.  I love the little surprises I get when I peek.  I'm never disappointed.

While we didn't collaborate directly, I was really excited to be in a sock book with Cookie A. and Star Athena - both sock superstars!  This is only my second sock design, so I was nervous to be 'round such talent.  And both of their designs blew me away.  I love Cookie's reverse stranded colorwork.  It's genius.  When you pull up a pair of socks, and if there's stranding on the inside, more likely than not, that pinky toe is going to get caught on a strand.  What a perfect solution.  And Star Athena's sweet details are so perfect for summer.  I think they'd go perfectly with my new pair of Supergas.

When the design was finally released last Wednesday, I couldn't believe my eyes, but my socks were on the cover of the booklet.  Thank you, Quince!

© Quince & Co.

From Corporate America to Working From Home, Part III

Wow.  I'm home now.  And I've never loved my apartment more than I do at this moment.  The idea of working from home has an entirely new meaning to me.  By having no actual home these past several months, I realized that I didn't just work from home, but that I didn't work in an office.  I had no place to escape to, and had no infrastructure I could rely on.  I'm not an overly dramatic person, but I have to admit:  it was a pain in the ass.  Thankfully I had just started renting a studio space, but if any of you out there know what typical studio space in Brooklyn is like, you'll know it's not some place you can go to every day, all day.  The heat is sporadic, and there is no internet service.  So I ran out and got a space heater and a MiFi card, which is like a personal HotSpot (again, see Part II where you'll need more money than you think).  My husband and I referred to every chapter in our displacement as a new adventure.  And I like that.  We explored different parts of the city and were able to break out of our routine.  My routine, which as you know, was hard-won.  Just as I had gotten down a schedule and some rituals, poof!  It all disappeared.

So, a lesson I learned over these past few months is to be flexible.  Yes, I think my case is a little extreme.  It's not every day you're displaced from your home.  And it's not every day you have to figure out things you normally take for granted like internet service, your comfortable office chair or having decent light.  But, all of this brings me back to my corporate days and all the committees and meetings based on the idea of "disaster recovery".  I had no disaster recovery plan.  And I'm realizing it's not so much all the equipment or logistics, but it's your mental state.  Simply thinking about and going through the exercise of "what would I do?" is helpful in preparing yourself.  I was completely caught off guard, and realized that my work and productivity slowed down not because I didn't have my own space to work in, but that I had been mentally slapped around.

Now, I'm not sure if this next lesson is universal, but it was something that bothered me deeply, and I saw evidence of it when I was on my "adventure".  Be prepared to be misunderstood.  I'm not sure what throws people off.  Part of it is the working from home aspect, and part of it is what I do.  But, when I told people I quit my job and was going to persue designing knitwear full-time, it somehow meant that I wasn't working anymore.  I kept getting asked, "How's not working?"  Or, "What's it like being unemployed?"  Better yet, "Oh, so you're just home knitting?"  And when I would talk about the difficulties I was having in regards to work while I was displaced, I would get the occasional, "But you just need to knit, right?"  In the beginning, I was offended.  Then, I started correcting people thinking part of it was my fault, not explaining and educating people as to what I did.  Now, I just smile and say, "Sure."  Even though America was built on entrepreneurial expression, it is something foreign to most.  All I can say is that we should redefine what "work" means.

Last, but definitely not least:  Do what loves you.  I know.  We hear this all the time.  Do what you love.  But what exactly does that mean?  Yea, sure - we're not going to go off on our own and do something we sort of like.  (That wouldn't get you out of bed in the mornings.)  And, I'm sure there's a laundry list of things that you love.  I love to eat; I love to run.  But when I think about true love, it's a two way street.  (Eating is actually overeating and gorging for me, and running has given me stress fractures.  I'm thinking these are one-way streets.)  So, it’s also something that has to love you back.  It has to suit you.  One of my favorite books is Outliers by Malcolm Gladwell.  And one of the themes in the book is that no one is really a natural.  No one is really an overnight success.  That if you were to examine all of the successful people out there, there would be a long line of experiences that has contributed to their success.  And when I think about my own experiences, it’s a wonder why I hadn’t started designing hand knitwear sooner.  My two absolute favorite subjects in school were Open Studio Art, and Calculus.  I loved sketching, and loved numbers and curves.  I wanted to be a fashion designer, and took classes at Parsons for a while.  And having played piano, I developed a decent level of dexterity.  Also, a major part of my last job was technical writing and editing.  I can’t tell you how handy that’s been when I have to write out a pattern.  All of these things, and all of those experiences created the right foundation for me to really take to knitwear design.  It felt serendipitous in the beginning, but looking back, I'm realizing I had been preparing for it all my life.

Oh wait - one more thing.  Take a break.  How could I almost forget!  I really never thought I'd have to force myself to take breaks, but here is the unfortunate result of doing what you love.  Some days just sitting on the couch, watching tv and eating junk food is enough.  At other times, a break can mean something completely different.  They can be productive or fun and exhausting.  I've been taking a Patternmaking class at FIT and having to go to class every week, and doing homework has forced me to take a break.  I still feel like I'm being productive, and I like doing something related to my work, but I'm breaking from my regular patterns of thinking.  And these breaks are so necessary to keep perspective and maintain creativity.

I hope my sharing these experiences and things I've learned have helped you, or at least entertained you slightly while you read my posts.  May you all spend your days doing what you love, and breaking down the barriers of what we think of as work.

Life Goes On

Months ago, I was preparing the third and final part of my "From Corporate America to Working From Home" post and trying to put into words how unpredictable life can be, when Hurricane Sandy hit.  While my physical apartment is undamaged, my building was hit hard and my little family had to find a temporary home.  I had hoped to write this post when I moved back home and could reflect on what had happened, but alas, I am still staying with dear dear friends (you can't imagine the generosity).

I will eventually finish up my Working From Home post.  I feel like I'm learning a lot about being flexible and working through those creative slumps, so when I get back home (fingers crossed) I'll finish that up.  But right now, I'd rather not dwell on the drudgery of being displaced and focus on... the latest collection from Brooklyn Tweed - BT Winter '13!

I just love this collection.  I'm amazed, again, that four very different designers can come together and create a cohesive collection.  You can definitely see our individuality in each design, but I think they flow from one another so fluidly.  This is in large part to Jared's clear and focused direction, but also his faith in us and letting us go with our gut instincts.  As a Creative Director, I don't know how he's able to find that balance.  It's astonishing.

I designed three garments and two accessories for this collection.  I love them all for very different reasons.  As a designer, Hellebore was invigorating, challenging and so very fun to create.  Something hand knitters don't always consider is the work involved in the actual written pattern.  Designers approach designs very differently, and I'm still trying to find out what process works best for me.  For this particular design, I spent a lot of time on the cabled charts for the sleeves before any actual knitting happened.  It was a true test of my Illustrator skills, and while I can say Illustrator got the best of me on some days, I was able to power through and create a pretty cool chart for the sleeve cap, if I do say so myself.

©Jared Flood/Brooklyn Tweed

Adara is the result of a little test I put to myself.  The test was to create a fair isle garment that is modern and easy to knit.  While I love fair isle, sometimes I find it too busy, even old-fashioned looking, when it's over an entire garment.  Additionally, I don't like "fussy" knits - of course "fussy" has a very broad meaning.  But things like steeking or knitting fair isle back and forth qualify as fussy to me. 

©Jared Flood/Brooklyn Tweed

So, the result was a fair isle turtleneck in worsted weight yarn where the fair isle is only knit in the round and only covers a portion of the garment. And if you haven't noticed already, the motif is split in half - the top half is an inverted reflection of the bottom half.

And Stowe.  I heart this one.  Why?  Because I just want to wear it and knit.  The color, the stitch pattern, and the silhouette all seemed to come together perfectly.  The construction on this cardigan couldn't be any easier.  Five rectangles, seamed together to make a 2-way cardigan.  What could be better? 

©Jared Flood/Brooklyn Tweed

I think I may need one in every neutral color.  While I was designing Stowe, I was planning on making it primarily stockinette and was swatching different ribs to put along the opening.  Eventually, I reversed it and placed the ribbing all over the garment, and used stockinette along the opening.  I liked the natural roll of stockinette and thought it would work better to soften up such a geometric silhouette.

Of course Winter wouldn't be complete without some mittens.  I love mittens and am convinced they're much warmer than gloves.  Maybe not as practical, but since I have to constantly take off whatever is on my hands for my iPhone anyway, I wear only mittens now.  I used Loft doubled for these Knoll mittens so the twisted stitch motif would "pop" a little more.  But, I think you could use Shelter if you can get the same gauge.  And right above the ribbed cuff, I used a bind-off/pick-up technique to create the braided look.  It's really easy and adds some additional interest.

©Jared Flood/Brooklyn Tweed

And you know me - I love me some cowl.  And I'm slightly obsessed with chevrons at the moment.  I've been seeing them a lot on interior design blogs, and the "zig zag" has always been one of my favorite quilt patterns.  The Warren Street Cowl is also with Loft doubled, but with two similar colors held together, Snowbound and Foothills.  The doubling makes the chevrons really squishy and the mixture of the two colors really adds some nice depth.  I just love the embossed subtletly of the stitch pattern; it's one of my favorite fabrics in this collection.

©Jared Flood/Brooklyn Tweed

Knit on, my friends!  

From Corporate America to Working From Home, Pt. II

Okie dokie - where did I leave off?  OK, so my escape plan was forming.  I was really gearing up to leave my 9-5'er and was starting to put all my ducks in a row.  This included a lot of conversations with my husband.  I felt like I had been building up to this moment for years.  And he was probably more excited about it than I was.  He was so supportive, and really helped me through the entire process, always asking me the hard questions.  Having the support from family and loved ones is crucial.  This decision doesn't affect only you, but obviously it affects all those around you.  And it's so important that they're on the same page.  The transition is a somewhat taxing one, and it's ideal to make sure all that can be smoothed out beforehand, is smoothed out.

Something I always relate to "support" is "money".  Let's face it - emotional support is one thing; financial support is quite another.  Money is a huge deciding factor.  The first question you would probably ask yourself is: can I afford to make this move?  And while I've learned to live without a lot of things (weekly manicures and shopping at lunchtime), I've realized you will need more money than you think.  Money is a necessity, and working for yourself leaves no room for romanticized notions of being able to subsist on just love and grit.  You can plan all you want and budget down to every penny, but life is funny, so they say. 

So funny that about a week after I gave notice, my husband's company declared bankruptcy.  And before my husband landed another job, our cute little Pug had to have spinal surgery and poof!  It felt like my years of saving and planning evaporated.  Oh yea, life can be fucking hysterical.

Anyway, at first it was fun.  Every day was like a Saturday.  My husband and I were really enjoying our time together, and it was during the holidays so it was good timing.  But as soon as January 1, 2012 arrived we knew we had to kick ourselves into high gear.  I quickly learned I needed structure to my day.  I didn't need every minute accounted for, but I needed to set up daily goals.  Recently, I started reading Twyla Tharp's Creative Habit and she really emphasizes the importance of ritual.  A ritual that brings you into your creative space.  A ritual that gets you into your routine.  I'm still figuring out a ritual for myself, but she's convinced me that it's necessary.  It's especially necessary if you're working from home, without a boss breathing down your neck.

It's challenging to work from home.  For so long it's been my place to relax, the place where I escape work.  People have the misconception that working from home is the best.  And there are a lot of pros.  But what people forget is that you are now WORKING from home.  Essentially, I've brought all of the stress and worry into my oasis, my fortress of solitude.  And it's definitely been interesting.  Just recently I realized my apartment looked like a sweatshop.  I had swatches blocking on the countertop.  I had garments blocking on the dining table.  I had boxes of yarn piling up in the "office".  I try to clean it up every night, but sometimes it can't happen.  You've got to be prepared to live with your work all the time.  You end up thinking about it all the time, and not just because you love it, or you're working for yourself now.  But because it's staring you in the face 24/7.  A new oasis has to be created, and it doesn't need to be a physical space.  I've taken up running again, and I'm realizing that time I'm spending by myself, free to think about whatever I want, helps me deal with it.

It's almost been a year and I'm positive I've made the right move and have zero regrets.  I'm starting to think more seriously about next steps and trying to make a growth plan for myself.  And all of this has led me to decide on renting some studio space.  (See the "You will need more money than you think" section.)  I'm excited as I've never had anything as cool as "studio space", but I'll have to reconfigure any routines I have in place.

Stay tuned for Part III!

From Corporate America to Working From Home, Pt. I

I had so much fun at the talk I had at Knitty City last Thursday.  There were a lot of familiar faces in the audience, and a few new ones too.  A few of my friends couldn't make it, and were hoping I could write up something to summarize what I talked about.  The focus of my talk was on the change I made from working in Big Law IT to working freelance as a Knitwear Designer from home and if I had any advice to those thinking about doing the same, or something similar.  It was incredibly difficult to put my experiences into words, let alone coherently discuss any lessons.  But, as I started to think back on my career and all the business ideas I've had along the way, there seemed to be a lot of things I learned and a lot of lessons I could share.  I've broken up this post into three parts and I've bolded all of these so-called "lessons".  I should preface this by saying, I'm a WIP, my life is a WIP and life is a learning experience.

It was last October, October 21st to be exact, when I quit my job.  While I had been planning to leave my job for a long time, that exact moment wasn't really planned.  And I don't necessarily recommend doing that.  But when I calmed down (and crawled out from underneath my desk), I remembered it was something I had been thinking about and planning for for a very very long time.  For as long as I can remember working in "Corporate America", I had been looking for a way out. 

One of my earliest business ideas was to open up a bakery.  I had just quit smoking and was desperately looking for a way to keep my hands busy.  So, for reasons unknown to me, I thought baking would be a great idea.  I went out and bought a KitchenAid Stand Mixer, a handful of cookbooks and got started.  I made breads, cakes, cupcakes, frostings, fondant, cookies, tarts, pies, cobblers, crumbles... you name it, I made it.  My very supportive roommates were very appreciative of all the homemade treats, egging me on to make their favorites.  Confident in my basic knowledge of baking, my next step was to go over to a bakery and ask for a job.  I'm not sure of our conversation, except something about a 4:00 am start-time.  Once I heard that, I knew a bakery wasn't for me.  I was young at the time, and 4:00 am was often a time I would be getting home.  I played with the idea, and sort of kid myself into thinking it wasn't so bad.  But, no.  I came to my senses and realized it wasn't for me.  I learned then and there that you really have to "Know Thyself" if you're going to work for yourself.

It's not just about what you're doing, but it's about the lifestyle and knowing what fits you... what suits you.  So after a few other failed ideas of how I was going to make my escape from the corporate world, I realized that the exercise of just thinking of other things taught me a lot about myself.  I started asking myself some hard questions about what I was willing to put up with, what I was willing to sacrifice and what kind of life I wanted to live.  What was the life I envisioned for myself?

I put my KitchenAid Mixer away (not forever), and after gaining about 20 lbs., I started running.  I eventually ran the NYC Marathon, and wanted to open up a high-end gym focused on women.  That didn't really turn out (again, the lifestyle thing wasn't really for me), and I searched for something less active, and less having to do with my legs.  So I turned to knitting.  I was immediately smitten.  I had to knit every day, and I remember calling into work sick to finish a scarf.  Of course, I started thinking about business ideas regarding yarn and knitting.  I wanted to open up a yarn store.  I thought a yarn store owner needs to know as much about knitting as possible, so I started signing up for classes and this is when my life changed.

I enrolled in a class at Cooper Union with Lisa Daehlin, recommended by a dear friend.  Lisa was (is) a huge fan of Knitty City, the only store in NYC at the time that carried her favorite needles.  She recommended all of us to go up there and look around.  She also mentioned that Pearl Chin, the owner of Knitty City, was a wonderful woman and that we should mention Lisa's referral.  I went up to KC, looked around and really loved the warmth and friendliness of the store.  Later on, I was online doing some research and saw that Pearl Chin of Knitty City was going to have a talk through a group called Asian Women in Business.  The talk was a members-only event, so I immediately signed up, and went to hear Pearl talk about opening up a yarn store.  About a week later, I approached Pearl, told her my plans, and asked to intern at the store.  In true Pearl-style, she said, "Sure - why not.  We've got to stick together."  And since she was uncomfortable having me work for free, she insisted I at least work for yarn.  So, I started working on the weekends, learning as much as I could about knitting, yarn, the customers and most of all, the business.

But because of this Cooper Union class, I also met Mari Tobita.  She is an incredibly successful and talented designer and at the time was sample knitting for Shirley Paden.  We exchanged e-mail addresses on the last day of class and she contacted me months later to see if I would be interested in doing some knitting for Shirley.  I think the saying goes, "When one door closes, another opens."  I was realizing that opening a yarn store was a little overwhelming and becoming a retailer involved a lot more than just yarn and knitting.  But, when I began sample knitting for Shirley, I was realizing how much I loved the process, and she exposed aspects of designing that really piqued my interest.

I almost couldn't believe how much had come out of this one Cooper Union class.  And I realized how important networking and researching are when stumbling into a new world.  It was serendipitous and it's partly why I fell in love with the knitting community.  After years of working in environments I disliked, I knew how important it was to really mesh with the industry you'd be working in.

So finally I was faced with something I really liked to do - designing.  I started getting really excited about the thought of designing full-time and leaving my job. I finally found my way out!  But I was really skeptical about how I could make a living doing it.  I kept trying to talk myself into it with craziness like, "If I could just quit my job, I could devote all my time to it, and eventually I'd make enough money."  That is a thought created out of desperation, not intelligence.  And something I had read, popped into my head and I believe it was something Joelle Hoverson, the owner of Purl Soho, mentioned in an interview.  And it went something like, "Do both for as long as you can."  I think she was either debating between styling and painting, or painting and opening up the store, or styling and opening up the store.  Anyway, It made total sense to me.   

While I worked full-time, I started to design on the side.  I started with a few pieces in Vogue Knitting and designed a piece for the Knit Noro book.  And while I was itching to focus all of my attention on design, I just wasn't making enough money.  And when I would daydream out loud to my husband, he would always ask me, "What's your plan?  How are you going to do it?"  I knew "designing a lot" wasn't a plan, so I stayed put and did both.  I knit during all of my free time, constantly.  And I realized that doing both was not just about money and planning, but it gave me the opportunity to really see if designing was for the long-haul.  I had to make sure it wasn't a passing infatuation.

About a year and half after I posted my first pattern on Ravelry, I was contacted by Jared Flood to see if I'd be interested in doing a design for a collection he was putting together for his new yarn line, Shelter.  He had seen my project page on Ravelry and thought our aesthetic was a good match.  It would be for a one-time design for Wool People.  I had no idea where this was going, or if I even liked his yarn having never used it.  But I did know he was wildly popular, and that everything he touched seemed to turn to gold.

This one collaboration turned into a friendship and eventually he approached me about his idea for an In-House Design Team.  Immediately I accepted and got to work on the Fall '11 Collection, and soon thereafter he launched the fingering weight companion to Shelter aptly named Loft.  And then we started working on the launch collection for Loft.  And then we began the Spring Thaw collection soon thereafter.  It was exhilirating and an incredible learning experience.  But, I knew I couldn't do both that much longer.  The balance was becoming skewed, and I knew I had to make a choice soon.

Now, finally, I felt ok to truly plan for my departure.  I knew I wasn't running away from something - I knew I wasn't just leaving my job because I was frustrated, or didn't like it, or hated the project I was on.  I was leaving because I had something better to do.  I finally had my alternative, and I finally had a plan.  I realized how important it was to make sure I wasn't running away from something.  Rather, I was running to something better.  It was important  for me to make sure this experience was positive, not negative.

Stay tuned for Pt. II & III... I'll be writing about making the actual change and working from home for yourself.

Woolly Invasion

Campaign for Wool, a nonprofit organization created to spread woolly goodness across these lands, set up shop in Bryant Park last Thursday.  It was such a delight to see sheep hanging out in the middle of NYC.  I'm not exactly sure what kind of journey these sheep had to make in order to get here, but some looked mighty tired.

I was a little worried about these guys.  But I soon realized they were simply staking their claim to the best spot - next to the hay.  As soon as their caretaker came out with a fresh bale of hay, everyone perked up.

And they all gathered round for the feast.  (I wish I got that excited for dried grass.)

Some others seemed more interested in the water.

And some just thought all the pushing and commotion most uncivilized.

After I visited the sheep, I walked over to the Knitty City crew who were giving out free knitting lessons and lending out yarn and needles to those who had time to knit up a square for a charity blanket.  Before I sat down, I noticed the backs of each chair had a lovely Harris Tweed coverlet.

See how wool makes everything so lovely?

For those of you unfamiliar with Bryant Park, it is the park that sits behind the beautiful New York City Library.  In front of the library, facing the east, are the two infamous NYC Library Lions, Patience & Fortitude.  When I left the festivites and walked out of the westside of the park, I was faced with some sheep, no doubt, giving the lions a run for their money.

It was such a treat to have sheep in this big bustling city.  I still dream of the day when sheep can inhabit Sheep's Meadow in Central Park once again.

Young Designers' Talk at Knitty City

You may or may not know this, but I adore Knitty City.  Let me count the ways:

1)  When I only knew how to cast on, knit, purl and cast off, Pearl hired me to work as a sales associate.

2)  If you're having a bad day, you can plop yourself down at the back table and I guarantee someone will make you giggle, most likely at yourself.

3)  The store is oozing with yarn.  And I mean that literally.  It's not for the faint of heart. 

4)  When Pearl was deciding on the logo, she liked it because it kind of looked like a pizza.

5)  The staff has been known to be the friendliest in "the city".  I'd like to make an argument for "the world".

6)  It's open 7 days a week.

7)  Usually you'll find a canine friend napping on the floor at the back table.

8)  There is ALWAYS someone there, employee or customer, to help you decide on color and/or yarn, or interpret a pattern.

9)  It has the best selection of Madelinetosh yarn.

10)  They think I'm "young"!

They've asked me to speak as part of their Young Designers' Talk series.  So I'll be there on Thursday, October 4th at 6pm.  Come hang out with us - it'll sure to be tons of fun!  I'll be talking about my transition from a full-time job in Corporate America, to freelancing as a knitwear designer.  And, I'll be sure to chat about some of my latest designs. 

Wellwood

Personally, I have to do a lot of warming up before I can sit down and think about a design.  I really don’t know how other designers approach their collections or individual pieces.  I know some start with the actual garment in their head and fill in the pieces from there.  But I’m realizing I like to start small and work out.

Usually, I start with the yarn.  Fortunately I work with the same yarn most of the time.  But when I don’t and have to familiarize myself with the fiber, I start simply with a lot of touching and tugging.  I really like to figure out whether or not the fiber has any elasticity and if so, how much.  Since my preferred fiber is 100% wool, I always compare it to that.  I don’t think there’s any other natural fiber as elastic as wool.  I don’t know if elastic is the right word, but natural wool has that natural “give” that lends enough flexibility to each stitch as you work it, and the right amount of body to a knit garment.

It’s easy to love Shelter and Loft.  To me, it’s the perfect starting point.  And they invite me to use them and work with them.  Of course not every single stitch pattern is going to work with these yarns.  Because of their gentle ply, the wool naturally blooms as you work with it and even more once it’s blocked.  It makes for the most heavenly fabric, but sometimes stitch patterns aren’t defined enough.   Knowing this, swatching is the next most essential step for me in the design process.

I’ll start by flipping through my many many stitch dictionaries and see what catches my eye.  I’ve noticed that what catches my eye on one day, isn’t necessarily what attracts me the next.  I wind up some yarn, pull out my books, plop in front of the TV and start swatching.  I can sometimes go through two skeins of yarn, just swatching away getting to know the yarn better and better with each stitch, and with each swatch.

I try not to decide whether or not I like a swatch until it’s been wet-blocked and completely dry.  Untreated, natural fibers tend to transform once they’ve been wet-blocked, so I like to hold off on any opinion until then.  They haven’t shown me their true colors yet.  So what I like to do is fill up a big bowl of water, pour some Soak wool wash in, and put it on my coffee table as I swatch.  Once I bind off, I throw the swatch in.  I’ll do this all day, sometimes two… sometimes three.

Once I’m through swatching, I let the swatches sit even longer and eventually drain the water and roll them all up in one huge swatch burrito to squeeze out the excess water.  I lay out all my blocking mats, pin them all down, totally hog up the entire dining table for the next two days and let them dry out.

When I know they’re dry I try to approach them with a fresh eye.  Sometimes I don’t even remember what I’ve swatched.  I unpin them, and pile them up and start flipping through them like I’m shopping for fabric.  This is my favorite part of the entire process.  It’s really like I’m seeing them for the first time.  There are always the clear winners.  And with the stitch pattern I used for Wellwood, it was a definite clear winner.

Once I lay out the swatches that I like, I try to imagine where they would work best.   The pattern used for Wellwood played many different parts.  A trim?  A striped band?  Just the sleeves?  Top half?  Bottom half?

But, eventually a few ideas start to really stick.  When I look at a swatch, so many ideas start to swirl, but only a few really stand out.   And to really determine what I’m going to try, I sketch out some of the ideas.  It starts to become more real that way.  The idea becomes a vision becomes reality, and you can get a better sense of how it will work.  But, more on sketching in another post.

I knew this stitch pattern wouldn’t work as an all over, at least not for me.  I thought it would end up looking too busy or too scale-y.  So I tried to refine it to an area of a garment.  And finally, the bib area of a henley was what won out.   The henley silhouette can be very sporty, even a little masculine.  It reminds me of a baseball shirt.  Anyway, I thought the patterning coupled with a deeper opening would be a nice feminine touch.

I plan to write more about how I approach design focusing on other designs in the latest BT Fall 12 collection.  If there are any would-be designers out there,  I hope to demystify the process for you by sharing my experiences and hopefully inspire you to start designing some of your own knitwear.

falling into wool

Oh. My. Gawd.  I am beyond excited right now.  I don't know where to begin.  I'll start with the obvious:  the Brooklyn Tweed Fall 12 Collection was just released!  After months of designing and production, it's finally here!  I couldn't be more proud of a collection, and for several reasons.  First, Jared and I bid a fond "see ya later" to Leila Raabe.  While she's no longer part of the Design Team, she's heading up Operations for Brooklyn Tweed.  I'm sure you can surmise that her Operations job has been growing exponentially in the past two years.  But, she has promised that she'll tease us with her designs when she gets the chance.  (I promise - I'm harassing her quite vigilantly.)  So, because of that we've welcomed two designers to the team.  And when Jared told me who was joining us, I almost jumped out of the moving car we were in!  Veronik Avery and Julie Hoover.  Done.  I need say no more. 

I couldn't be in better company, and I couldn't respect two designers more.  They are true talents and I feel humbled to have the opportunity to work with them.  But, back to why I'm so proud of this collection - I think it's amazing to put a collection together of designs by 4 designers who've never worked all together before and put out something cohesive, complimentary yet unique and identifiable to each of us.  It's unfortunate that the 4 of us aren't sitting together in a big studio, day in and day out.  Imagine what we'd dream up then!  But, we make the best of it with Skype, texting, emailing and IMing... and Facebook... and Ravelry.

I'm also proud because this collection marks a very loose anniversary with BT for me.  My first collection as part of the Design Team was last year's Fall collection.  I can't believe it's been a year.  What's more unbelievable to me is that this is my 4th collection as part of the Design Team.  Wow - what a year it's been.

And what just makes me glow from the inside out, is that my Eternity Scarf is part of this collection.  Oh, how I love this Scarf.  It's what started it all for me.  It was my very first self-published design that I posted onto Ravelry on a whim.  What was once a dream to design knitwear, had become a reality and in large part due to this Scarf.  And I thank all of you who've bought the pattern.  You don't know how much it means to me.  So, the special edition BT version of the Eternity Scarf has three sizes - the neckwarmer, the long cowl (like the original), and an extra long version (which will fit over men's heads). 

© Brooklyn Tweed/Jared Flood

All of you who've bought this pattern on Ravelry in the past, will receive this version for free as an update.

Speaking of accessories that I love - the Fade Slouchy Hat.  All I wanted was a cool looking hat that I would wear day in and day out once the weather got cold.  With its ombre effect, it just makes it so much more special than a store-bought version.  I had so much fun experimenting with all the different combinations of colors.  I really really encourage you to play around.  I can't wait to see everyone's versions!  And I'm not exaggerating when I say this - 3 hours.  It takes around 3 hours to knit this hat.  And I'm not a fast knitter.  It is THE perfect gift... although, you'll probably want to keep it for yourself when you're done.  One color combination that didn't make it to the photo shoot is a "gray" version.  It's Fossil, Sweatshirt and Soot.  And while the colors don't bleed quite as naturally from one to the other, I still love it.

 

In addition to the two accessories, I designed 3 sweaters that I thought would be perfect for this transitional period.  While it's gotten cooler here, it's still pretty warm during the day (and don't get me started on the humidity.)  I just love these sweaters.  I really wanted to design sweaters that were instantly nostalgic.  I hope you can see yourselves in them for a long time, fast becoming your favorite... an old friend.

I plan on writing a post on each sweater to give you some detailed insights into each piece and a bit on my design process.  So please come back and take a look!

I hope you've enjoyed the Look Book on Brooklyn Tweed's site and I hope you like these pieces as much as we do. 

back to school

I was surprised when I started seeing "Back to School" specials on TV and in store windows, but here we are in the middle of August and I'm seeing kids moving into dorms all around the city.  I've always been excited for the first day of school, and I still get a little tingle when September is around the corner.  Now, instead of lining up my pencils and packing up my notebooks, I start sifting through my yarn stash and digging through all my patterns and favorites on Ravelry. 

My vote for the Back to School knit of the season is Exeter.  I named this sweater after Philips Exeter Academy up in New Hampshire.  I was lucky enough to go to summer school there between my sophomore and junior years in high school.  It was a magical time, and an experience I will always cherish.  This sweater has that slightly bookish quality that reminds me of that time, and it's perfect for going to football games, Wednesday night study groups and for late nights editing the Yearbook!

© Jared Flood/Brooklyn Tweed

Now I just have to find two pocket protectors.

light

It is fascinating what knitting has brought into my life.  What started out as a hobby to distract me from an otherwise mundane life, has turned out not only to be a passion, but a gateway to other delights... spinning, fiber, sheep, crocheting, sewing, quilting, weaving (in my dreams), embroidery... and the list goes on.

From knitting has come a real curiosity in photography.  In our world of ravelry, flickr, blogs, instagram, tumblr and other online goodies, photographs are our one true way of showing the world how we see it and in my case, what we've created.  I'm not so good with words, and as they say: a picture is worth a thousand of them.

Light is hands-down the most important aspect of photography.  It's scientific really.  Photography is the recording of light, in its simplest terms.  And once I realized that, I've been tuned into good light, or light that I like.  Morning light vs. afternoon light.  Winter light vs. summer light.  Artificial light vs. natural light.  All have pros and cons.

So this morning, when I walked into my studio and saw my Novak Shawl hanging on my dressform with early morning, summer light shining on it, I had to snap a pic.  The natural light made the yarn glow with the softest, pearl-like quality that I stopped and stared for quite a long time.

Now if only I could walk around with a permanent softbox lighting me.

applique

It was meant to be.  Anna Joyce was teaching a machine applique class at Purl Soho on a Saturday where I was jam-packed with plans.  All of my plans were either canceled or rescheduled, so voila!  It was serendipitous - open spots were available and I signed up just in the knick of time.  I was so happy to be doing something different from knitting (we all need a break), and really jazzed to meet Anna and learn her technique.

There were only two of us there taking the class, so it really felt like I was getting some personal attention.  Anna prepared two patterns for class, both of which were modern, classic and easy.  I chose two Liberty fabrics, and two Shot Cottons for my chevron pattern.  The background fabric is a linen/cotton blend which gives the case a little more oompf.  We went with the chevron pattern and I was so elated with my completed pillowcase! 

I think my pillow looks quite comfy and right at home on my bed.

plied

The BFL plied...

Not exactly laceweight, a little overplied, and it's unintentionally thick 'n thin.  But overall, I'm happy with it considering you could knit with it and the colorway is quite beautiful.

bellocq

I'm furthering my relaxation with some beautifully crafted Bellocq tea from Purl Soho.

I am completely infatuated with their No. 52 blend, Etoile de L'inde.  While I prefer green tea over others, it was the beautiful dried rose petals that really swept me off my feet. 

Since tea is wool's perfect companion, I'm slowly getting back into the design game with every sip.  Let the swatching begin!

respite

You'll often hear me say that I find spinning much more relaxing than knitting.  In fact, I don't really find knitting relaxing at all.  I'm not someone who can sit in front of the television and knit without a few mistakes here and there.  So I find that I have to concentrate and focus quite a bit when I knit, which can sometimes be meditative because I end up blocking out the rest of the world.  But, not relaxing. 

I found myself with a few days rest between designing for the Fall and Winter Collections.  After knitting non-stop to get the Fall samples made in time, I needed a break.  So I rifled through my studio, sifting through fabric, wanting to continue with my quilt top and realized that would take too much concentration as well.  Out of the corner of my eye, my fiber stash waved at me.  Long ignored, almost forgotten, my fiber stash appeared welcoming and nurturing to me in my time of crafty neediness.

It's just the right thing! I find spinning so relaxing, almost hypnotic, and totally productive at the same time!  And it's the perfect companion to watching the Olympics.  I wheeled my office chair out of my studio, dusted off the Ladybug, plopped in front of the TV and spun up some BFL that a friend donated to my stash. It's from A Verb For Keeping Warm (100% BFL; colorway Abalone).

This is my first attempt at something sort of resembling lace weight.  We'll see what happens when I ply it.  After plying, yarn seems to come out much thicker than I anticipate. 

gray on gray

Jared's latest design, a Guernsey Shawl, for the Tanis Fiber Arts Year in Colour Club.

(I had to post since it's modeled with Bedford.) 

© Jared Flood/Brooklyn Tweed

tubular

tubular cast-ons are totally tubular.
another wip for Fall '12...

previews

coming soon.