Designing Lingerie

I fantasize about designing crocheted lingerie so I've started reading about that fashion sector. Three trends I've noticed so far (though I'm still learning about the territory) are:

-standards for how bras are supposed to fit are being overhauled to the point that a consumer education campaign is necessary

-more attention is going to the designers and design possibilities of lingerie

-In the larger fashion world, lingerie colors, styles, construction, and detailing are being applied to outerwear as the latest development in a longterm trend of reconceiving traditional lingerie as part of outerwear layering.

As a kid I wondered what the meaningful difference was between a bikini and a bra & panties set. Probably every girl wonders that at some point. Often, Madonna's Gaultier corsets are cited as the send-off for this last trend, but to me, once bikinis became accepted beachwear, the writing was on the wall.

My favorite lingerie blogger: Danae Shell of Knickers. Knickers has some great articles; see for example, "How to Become a Lingerie Designer" and "Top 5 Bra-Sizing Myths".

Of the bikini retrospectives I've scanned so far, I like Slate's; I saw another good one last year at a fashion site but can't find the link now.

A "Salon international de la lingerie" is held yearly in Paris. There's also an American lingerie show held in NYC and Las Vegas but I'd love to attend the Paris expo!

Today's story at Fashion Wire Daily rounds out this blog-worthy list of cool links to share with you:
"It's What's on the Inside that Counts Lingerie Awards"

Pesky Irregularities in Handknits?

Check out the knitting machine that expects to usher in a paradigm shift in the way knitwear is mass produced: it's called "Complete Garment Knitting". Shima Seiki calls it Wholegarment:

A whole 3D sweater can be made at once by the machine--no seams, no waste from from cutting pieces, and no inconvenient irregularities hand-worked into the garment. A sweater could also be made only on an on-demand basis.

As a crocheter I read this and think, "Huh--so the marketing edge for this company is: all the benefits of a handknit with none of the perceived drawbacks." (Handknitters can already create on-demand 3D garments with no seams and no cutting.)

You might wonder why this topic is on a crochet designer's blog. Crocheted fashions can be mass-produced at times, but never machine-made like mass-produced knits are. Well, at bare minimum, I've always been fascinated by how two manufacturing markets within the fashion industry compete: the Knits vs. the Wovens. ("Knits" here meaning the mass-produced, machine-made kind.)

We yarnies, even those of us who don't knit, are impacted anyway. For example, I've seen hand knitters evaluate their knitting using a machine-knitted standard of regularity, especially when it comes to stockinette and maybe garter, I guess where "irregularities" are easiest to spot; even the term "irregularities" seems imported from a machine-knitting aesthetic.

You know what? Crocheters just don't do that. This is a luxury that I think many of us crocheters take for granted. Good crocheters do aim for a consistent gauge, but are far less likely to have a perfectionistic goal for their stitching. After all, crocheters don't have machine-made stitches with which to compare their handmade stitches.

But what if they did? I look to knitters for clues to how machine automation affects the handmade experience. This is a significant, experiential difference between handknitting and crocheting.

It's good to keep an eye on the Knitwear industry's innovations, sometimes for design ideas, sometimes for a view of the future of knitwear, sometimes just for a fashion industry perspective on knits (and by extension, crochet at times).

What about "Gaugeless Knitting"? The benefit of having a machine with this capability is that it "helps the knitting industry to not only free itself from the standard notion of knitwear being mainly for the Autumn and Winter seasons, but to shed seasonal perceptions toward knitwear period, so that more collections can be made throughout the year and consequently attain a larger share of the textile market."
(Please note: italicizing throughout this blog post is mine)

As a crocheter, I easily forget to what degree knitwear is tied to certain seasons because crochet isn't, except when uneducated people conflate it with knitting. In fact, if you had to tie crochet to any season, a case for summer could easily be made.

Here's another way for knits to compete against the wovens:
"Thanks to WHOLEGARMENT^® technology, the term "knitwear" is no longer reserved for thick and bulky, clumsy sweaters reserved for casual occasions. New materials, especially fancy yarns combined with fine gauge capability and new knitting techniques result in a variety of fresh new items which at first glance seem like wovens."

In the fashion world the knitwear industry apparently labors under the same stereotype that crochet does in the yarn industry: does the criticism of "thick and bulky, clumsy sweaters" sound familiar?! Too funny!

Here's one more, special to designers: "Unlike conventionally knitted sweaters whose seams tend to break up the continuity of the garment design, the seamless process allows patterns and designs to remain uninterrupted across the entire garment-- front-to-back, over-the-shoulder and down-the-sleeves. And it looks much nicer, too. Also without seams there is the opportunity to create single-knit garments which feature truly functional reversibility without the added weight and bulk of double-knits."

Maybe this is a breakthrough in knitting, I don't know; for machine knitting anyway. In crochet, many stitch patterns are already reversible, as well as seam-free. Maybe that's why so many crochet designs in magazines are photographed inside out!

Crochet Content Alert!

Check out the summer issue of Spin-Off magazine for an article about using a tie-dye technique to solar-dye a spiderweb stitch scarf! It's space-dyed crochet that gives the optical illusion of joined motifs worked in rounds with color changes, granny square style (whereas this stitch pattern is worked horizontally in rows). Starts on p. 58. See Jeannine Bakriges' blog for the story behind the article. The undyed image is from Interweave's site showing the classic stitch pattern pre-dyed. The other image is from Jeannine's blog. Very cool!

Fiberarts magazine, summer issue, also has some crochet-specific content: see the article on science and art where Daina Taimina's hyperbolic geometry models are featured.

With their fiber focus, both magazines always have something to offer crocheters in general, but when they get crochet-specific I want every crocheter to know about it!

Garment Designer software--Use the Grid Settings!

I've been experimenting with Cochenille's Garment Designer software and I like it. So far it only enhances my natural way of planning a design. It doesn't bog me down or leave me doing most of the work after all.

This isn't the best photo but I don't have any designs published yet for which I can share better examples.

It all hinges for me on how I use the grid option (In the Display menu select "Grid settings" then input the exact measurements per stitch and per row based on your gauge swatch; use all decimal places). I don't think many people know what they can do with this, judging from conversations I've had. Thanks to the grid printouts customized to my stitch & row gauge, I just settle into my comfy chair with an espresso and shift into Contract Crocheter for Self mode. To write up the pattern in different sizes, I print these maps for each standard size and "merely" translate the map into text. What a load off.

Here's a closeup of the grid that is scaled exactly to the gauge of my stitch pattern repeat. This is not the most straightforward example (sorry!) but figure 1 box = 1 stitch with the height of two different rows averaged together. This is why I've drawn the purple lines for myself: the narrow purple strip is a vertical row of short sts, the wider purple strip is a row of taller sts. (Sure wish I could show you my gauge swatch. Should I have waited on blogging about this until better examples are published?!)

I haven't tried every stitch pattern under the sun yet, but so far I've found a way to create grids for any stitch pattern in grid-like rows (even those that don't seem like such). I don't know yet if I could come up with a way to do diagonal mesh-based st pats. In other words, I could do a grid for big ol' fans that stack in columns, but I don't know yet about fans that are offset and stack in alternating rows (i.e. the classic shell st pat).

I can do some motif-based constructions with this grid method but probably not all; and I might find a way to do ripple pats. These aside, so far I've done:

-rows of different heights alternating (pictured)

-pretty wide range of stitch repeat sizes

-a design with an exaggerated edging that would have been painful without this software.

Side-to-side construction (pictured) is easy-peasy.

Not sure how I'd do *cough*dorischan*cough* seamless-top-down-in-the-round!

Fabric Strip Crochet

This topic came up in one of my favorite chat groups, Crochet Partners, and it reminded me of a shoulderbag I crocheted back in the 1980's from every kind of fabric I had on hand at the time.

The cream-colored fabric is from an old vintage bedsheet, the burgundy is a satin ribbon, the white is storebought lace, the dark gray is velveteen. You can see metallic gold from some braid trim I crocheted in. Everything else is a mix of cotton, rayon, poly blend-type fabrics that I had on hand for sewing. The strap has crocheted-along string for reinforcement. Below is the front view with flap open, and the back view.

All were lightweight fabrics (except the velveteen) but some still crocheted up stiffer than others. My favorite fabric to crochet is old silk, but I haven't tried a bouncy/stretchy type fabric such as t-shirt strips or lycra-content sport fabrics. I tried crocheting polar fleece and it's not my thing, but maybe it would be if we got a severe winter.

By the way, this bag shows no age. Fabric strip crochet so durable!

CGOA Conference: The Fashion Show

Or, There's a Story Behind Them Chaps".

These lacy leggings are repurposed sleeves, rescued from my personal Swatchpile of Obscurity after being asked to remake them in a different color just before I left for the conference. Who knew that they would also be the perfect size for leggings? I wanted to wear them in the fashion show as pants legs because the color would show up on the runway and I rarely see crocheted pants. (Captioned photo taken by designer Mary Jane Hall. Thanks so much MJ, it's a keeper!)

I don't know what made me think I'd crochet the upper part of the pants while at the conference. I went to the Tahki Stacy Charles -sponsored 24-hour crochet lounge to make progress but of course gabbed the whole time with friends. Heck, strangers too.

By the afternoon of the fashion show, I was disappointed in my progress and mentioned it in Joan Davis' Merry Go Round the Pi class to Dee Stanziano. Nancy Cornell, sitting on the other side of me, saw me bring out the sleeves and put them over my pants legs. (I don't think I was being disruptive, the class went on break.) They started making the GROOVIEST suggestions! The moment Nancy suggested the garter idea my fashion show dream revived like a phoenix from the ashes. No problem crocheting garters and a garter belt in an hour or two! (Although I was frantically weaving in ends minutes before I went on.) Not only that but crocheted-garter-belt-as-outerwear? Trendsetting!

I just LOVE what Noreen Crone-Findlay wrote about them in her blog. She's a witness that I did try to make progress on the pants. And check out Dee's photos at her blog where she said I "rocked the house"! Like Doris said, "Yee-haw!" It was really fun.

I'm starting to get comfortable with being on a raised runway with hundreds of people looking at me (well, looking at what I'm wearing). Nancy Cornell helped me with this too. She said, "There's always plenty of Beautiful up there. What everyone remembers though is the Outrageous. Go ahead, be Outrageous."

CGOA Conference: The Free Yarn, The Classes

Or, Goody Bag Swatchin'.
Seriously thanks to Coats & Clark, conference attendees received plump goody bags when they registered. As you can see, the new yarns were so touchable that I got right to swatching. My first class was "The Savvy Single Crochet" taught by Karen Whooley. Yeah, sure, I brought suitable yarns from home for the class, but I preferred using these new goodies:

Moda Dea Washable Wool. Very soft and bouncy! No scratchiness and no squeaky-plasticky feeling that washable wool can have. It's my favorite washable wool, period. The swatch is one of SIX stitch patterns using the "Savvy" technique. It became a coffee cozy. Click on the photo to enlarge but you might not be able to tell how different the stitches are from standard single crochet. You can get fascinating effects from the technique and I recommend this class AND teacher (Karen Whooley) highly. I'm so glad she is teaching nationally again.

Moda Dea Tweedle Dee. Not only is it sooo soooft, it has mellow color shifts. (Two more "Savvy" swatches, one I turned into a wrist cuff.)

Moda Dea Fashionista. You wouldn't believe what this one feels like either, and the sheen is beautifully stylish.

I started a hat in the Red Heart Hula while in Joan Davis' [sold out!] "Go Round the Pi: Creating Perfect Hats" etc class but didn't get far because of the Chaps (for another blog post).

Goody bag aside, those bottom two balls of thread were were generously donated by Skacel for Professional Development Day and the Chapter Tea. The Optima thread came in a gorgeous array of colors. I made the flower in the class I took with McKenzie, taught by Kathie Earle (see earlier blog entry; see some of Kathie's work here). McKenzie coveted my ball of pale green Optima so I had to give it to her. Speaking of Skacel, be sure to see Dora's interview with Karen Skacel-Haack in the latest issue of Crochet Insider.

I took another class, Single Crochet Entrelac taught by Joyce Renee Wyatt, but that's for another post because I need to take a photo of the swatch!

CGOA Conference: The Handbag Silent Auction

For the Helping Hands Silent Auction I entered the "Caged Tote" published in 100 Purses to Knit and Crochet ed. by Jean Leinhauser and Rita Weiss. It's fully lined, in fact it has a vintage Indian lining that doesn't show in these photos. I've included a few pics I took during the interlining process and a photo of the finished bag befor sending it off to the publisher.

I've never participated in a silent auction before and wasn't prepared for seeing lists of bidders and their bids for the duration of the conference! I was squirmy and self-conscious about that at first, but then I recognized two of the bidders as designers I looked forward to meeting and did during Professional Development Day: Sharon Mann and Phyllis Sandford. That somehow made it seem more fun, like a game.

And then, it was a wonderful feeling when the winner of the bag was announced because she would be taking my bag home and using it. I sure hope she puts it to use: I knew the publisher would be returning to me the 6 bags I made for the book. They are all well-finished so that they can hold a good amount of stuff without it poking through or pulling it out of shape.
I went over immediately to thank her for her winning bid and it was definitely worth it.

Three Crocheters with something in common....

....they're all exactly TEN YEARS OLD and attended the 2007 National CGOA Chain Link Conference in Manchester NH! (In fact, Casey's birthday is only ten days away from McKenzie's; I don't know when Katie's is.) All three became good friends in a short time. Casey and Katie were fabulous models in the fashion show. It was short notice for McKenzie this year but she might want to try it next year. I do know McKenzie wanted to be backstage more than she was so we can arrange that next July, right, Katie's mom? (Above photo taken by McKenzie's mom; below by Casey's mom.)

CGOA Conference: Meet McKenzie

McKenzie is a remarkable 10-year old crocheter whose mother and grandmother are such close friends of mine that "close friend" feels odd to say and "family" feels better. Not only do McKenzie and I have a serious interest in crochet in common but I just found out that Ananda is a long-time crocheter just like her mom, Lucy!! This was their first crochet conference, which was a short road trip for them. Since the conference will likely be in Manchester next year, I'm betting that Lucy will be coming with Ananda and McKenzie if she doesn't want to miss out on any more hugs than she already has. (That's Ananda on the right and a very sleep-deprived me on the left.)

There's a pack of 10-year-old crocheting girls who roam the conferences now (McKenzie makes 3). I don't have permission from all of the moms to post a photo of the three so you just have to imagine it!

One thing that McKenzie wanted to learn was how to make a popcorn. People: she learns so fast, she could have been a professional crocheter who invented stitches in a past life. After working a small swatch of popcorns, we turned it into a wrist cuff, and she never took it off, even to sleep. We put 2 "buttons" (Clones Knots) on it. She learned that stitch so well that she did the 2nd one, and swooped that hook through all the loops in one fast pass. The first time.

She witnessed the frantic completion of the Chaps I wore in the fashion show (I need to blog about that!) and wanted to know what some of the less common stitches were that I was doing, so get this: she learned how to do a foundation sc, foundation dc, a split sc, and a linked dc! Ananda too!

That's not all. Then McKenzie and I did a special class together the next day with the amazing Kathie Earle of Ireland, our international teacher for 2007. Here's a pic of McKenzie and me in the market after class and she's wearing a gift from Kathie pinned to her shirt.
I had taken one of Kathie's classes a long time ago and knew she'd be wonderful for McKenzie (patient, flexible, creatively freeing, among many other stellar qualities). This was McKenzie's first time crocheting with thread and a tiny steel hook and she set about it with her signature competent focus and left that class a threadie with TWO completed Irish roses. By the way, this means she also reads and follows patterns--I'm a witness.

Okay so is there anything about crochet that McKenzie finds daunting? In the market a vendor showed her a book and she said, "No thanks, it's too easy for me." She chose Sasha Kagan's lovely new Crochet Inspiration and found the next thing she wanted to learn: a ripple stitch pattern so that she could make a headband. I looked at the page and thought, "Wouldn't it be so much better if she could use the symbol diagram for it? She does great with written instructions though. I don't want to overload her, but I don't want to underestimate her." So I explained what the symbols were there for and I told her why I prefer them, and it was up to her. She opted to try the symbols and I'd say it took her 5-7 real minutes of concentrating on them and trying them out to say, "I like them better too." And that was it.

I can't imagine bullions would be daunting because clones knots weren't. I bet she's freeforming right now. A freeform book was her first purchase (I think it was Jenny Dowde's but was possibly Prudence's?) and was already acquainted with everyone in the freeformers' booth by the time I found her and her Mom!

I learned to crochet around 8 or 9 and was completely immersed in it at 10. I can't fathom what it would have been like to attend a crochet conference at that age!!

CGOA Conference: The Shopping

Or, "Which Yarns Did a Designer Buy at Full Retail?"
My yarn buying habits have gradually changed since I began designing professionally. Yarn accumulates in my house regularly whether I buy yarn or not, because yarn companies send me yarn to play (design) with and extra skeins for sold designs.
This doesn't stop me from buying yarn, though it does slow me down. It does change what I buy. For example:

1. I don't buy the yarn of a company I design for unless I know that it's a project that's only for myself or a gift.

2. I hesitate to buy yarn that is discontinued or seems likely to be soon, because if it inspires a design out of me, I won't be able to sell it as is. (Occasionally I can talk myself into buying it anyway.)

3. This one's dangerous: If I have a vague design idea, or am curious about a theme or a developing trend, I'll start buying a ball of this or that if it has anything to do with what's on my mind. For example: bamboo. I now have a ball of every kind of bamboo yarn that has crossed my path.

4. There are yarns that I really want to see and touch before I buy them, even for designing, rather than formally request yarn from the company or purchase it online or wait for my yarn shop to stock it.

In the photo above, you might detect an organic and color grown cotton theme developing (see #3). I'd have bought some O-Wool if I'd seen it too. I bought the Patagonia handpainted cotton because it was a very good sale price! All of the above came from Elegant Ewe's booth. I also bought some beautiful hooks.

In the 2nd photo, Gene Ann was having a last day sale of 4 for 3. You see, when I love a yarn, I want an excuse to buy more than 1 skein but how many more? Gene Ann guided me.

These are all Kollage yarns, and the designer in me welcomes getting to know a new-to-me yarn company. The stripey yarns on the far left are stretchy and I have a thing about stretchy. So of course I had to buy one, or make that 4. The plum Scrumptious is 70/30 angora/silk and I was sold when Gene Ann showed me her scarf in progress: zero airborne fuzzies and the stitches were softly and evenly blooming. This says to me that someone knows how to spin angora! On the far right is Yummy, 80/20 bamboo/merino. My stitches are going to be YUMMY. The color is "Foggy Dew"--I have a thing for silvery shades but I could have picked any color of this yarn. The lone blue skein is Kollage's corn fiber and the lone novelty yarn is full of squiggly butterflies so how could I not try it?

What I WOULD have bought:
- A bunch of Tilli Tomas silk skeins (a friend bought them for me instead, yay!)
- A Grafton Fibers hook (also a gift from a friend! More on her later! More on the hook too!)
- A complete set of the "Crochet Lites" but I had trouble getting a straight story from attendees whether a vendor had them or was just taking orders, where exactly the vendor was, and whether they were like the Clover hooks, or like the heavy fully-lit ones.
-Some Noro Kureyon. I have to leave it around the house so that I pick it up and invent new things. It does that to me.
-7 or 9 balls of Rowan Natural Silk Aran for a specific sweater for moi and no one had it, so I'll get it at my yarn shop.
- A hook holder IF: it has clear vinyl pockets labeled with mm sizes. Don't know if it exists.
- Giant tunisian hooks.
- A crochet-themed tshirt or bag or jewelry.
- DMC Cordonnet in sizes from #10-#30, poss. #50.
- Any yarn with Lycra-type content.

I will finish my conference shopping online, buying first from businesses who were in the Market, and I'll ask them to consider my purchases as part of the conference event. If any of these things were in the Market, I couldn't find them in time because I couldn't shop until the last day, when the Market closed at 3pm.

How did I do?

TNNA Report #2: Illusion Crochet Class

I took one class at the TNNA show: Illusion Crochet taught by Darla Fanton (a first-rate crochet teacher by the way! It's no wonder her illusion crochet class is already sold out at the upcoming CGOA conference).

This technique has exciting possibilities and I enjoyed its unique rhythm. It's a new way to experience crochet. The second photo shows what the back looks like.

Sometime during the 3-hour TNNA class Darla mentioned that people won't finish the project during class, and I privately turned that into a challenge. Turns out that my designing cohorts, Marty Miller and Drew Emborsky, did too. Maybe we get conditioned to crochet for deadlines? The good news is that I did indeed finish with time to spare; the bad news is, I came in THIRD! I'm pretty sure Drew came in FIRST.

If I were a better blogger I'd have a photo here contrasting the 3 potholders done by Drew, Marty, and me, all with size H/5mm hooks: all three potholders were different sizes! It's the infamous "Crocheter's Hand" effect. (None of us were aiming for a stated gauge so it means our native gauges were all different.) Not only that but earlier, I had to rip out the first 4 rows and start over because the class started at 8 a.m. and when do I ever crochet at 8 a.m.? My starting gauge was changing as I warmed up. I wonder if my 8 a.m. gauge would have matched Marty's....

TNNA Report #1: Crocheters Unite!

I just returned from The National NeedleArts Association's summer trade show in Columbus OH and I have lots of things to share so this blog entry is one of a series. Yes folks, there's a revolution going on, a groundswell. Spidey senses were tingling! Plans were hatched! A fist pounded a table!

Not only did a CROCHET SUMMIT happen but a galvanizing '60's-style CROCHET-IN electrified the show lounge in the dead center of the room. It's obvious now: there's no keeping crochet down anymore. It's NOT just some supporting player for knits when you need a bag, a belt, an edging. It's NOT just some funky style departure from knitting. (It's all this and waaaay more.) It's NOT okay to leave out the word 'crochet' as if 'knit' is a satisfactory umbrella term and crochet is merely a subcategory. Enough is enough. It's a new day and there's no going back. I can't believe I didn't have my camera but VIDEO FOOTAGE EXISTS. I'll keep you posted on that.
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I needed yarn and fast! So I managed to find some nearby yarn company friends and offered to CRIP (Crochet In Public) with their yarn at the Crochet-in. Kathleen Greco of Jelly Yarns graciously donated some striking neon-lime Jelly Yarn, and the folks at Universal Yarn blessed the cause with a ball of their new Tango. Some knitted-up Tango is meeting with raves but crocheting with it seems to be pretty uncharted territory. The exciting design possibilities of this yarn guarantee that I have lots of experimenting to do now that I'm home.
In the case of Jelly Yarn I've got plenty of preliminary swatching under my belt so all I needed to do was decide what to make that would be a souvenir of the event. I knew I'd always treasure a jellyjavajacket. As if I need another one. And yet....as if a collection is complete without one.

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I'll try to update this entry with links to other blog entries on this topic:
Dee's blog entry.... WEBS blog entry .... from Noreen's blog .... Crochet me armband project .... The July 3, 2007 issue of Carol Alexander's Talking Crochet newsletter (online, free subscription).

I've Been Tagged! With a Meeeeme

It's like a blogrite of blogpassage (it's my first time) and isn't "meme" a cool word? So let's see, the tagger says I should post the rules, which are:
"Each person tagged gives seven random facts about themselves. Those tagged need to write in their blogs seven facts, as well as the rules of the game. You need to tag seven others and list their names on your blog. You have to leave those you plan on tagging a note in their comments so they know that they have been tagged and need to read your blog."

OK: Seven Random Facts About Me:

1. In 5th grade I learned how to sing the names of all 50 states, in strict alphabetical order, and I can still do it. It's permanently etched in my brain. If I ever must recite something to stay alive or avoid a coma, this would be it.

2. I just learned that one of my ancestors, an aunt, was hanged as a witch in Salem. That's pretty random, right?

3. I can spell 99% of the words in the English language correctly. I wish I had grown up in a time and place where I could have competed in Spelling Bees. Since this is a list of facts, and 99% is kind of a ballpark figure, it might be more like 98%. (This isn't an invitation for spelling or grammar police to add harassing comments on my blog! I don't approve of any language policing. Conversely, I have immense respect for people who COULD correct people and DON'T unless asked. If any spelling-challenged folks are reading this, don't worry, I don't police people's spelling.)

4. I learned how to meditate (Transcendental Meditation) when I was 9, and learned how to crochet sometime before that. I know because when I learned how to meditate I thought, "Hey! This makes me feel the same way that crocheting does!"

5. My first car was a white Firebird. When I drove it fast enough I felt like I was on a 'fine Arab charger' as Mick Jagger would say. I don't really enjoy driving a car unless it feels like a horse.

6. I've been some variation of vegetarian for a total of about half of my life (such as macrobiotic, vegan, raw foodist, ovo-lacto, etc) and currently am not. Even when I'm doing the meat thing, I still eat lotsa veggies and nearly zero red meats.

7. I lived on the Bahamian island of Eleuthera for the 4 hottest months of the year. Then I moved to Maine in time for winter. (I didn't plan it that way.)

And now I get to tag 7 people! How about Bud, Noreen, Angela, Chie, Annette, Robyn, X (I'm waiting to hear if her blog is private).

My Shangri-La

Pictured: the cover of Lark's forthcoming crochet jewelry book, due out Oct. 1'07!
U-betcha I'll be blogging about my included designs because I have supplemental data and it's hard. to hold it. back. Nevertheless I shall remain an example of proper professional comportment.

Swatching up crocheted jewelry designs set me on a path to a secret paradise, my Shangri-La. I feel a list coming on:

The Seven Treasures I Picked Up Along the Road to Shangri-La

1. Jewelrymaking gives me permission to stop and appreciate the little things. Life slows to a different tempo. I have the same experience when I crochet fine lace.


2. It frees me to concern myself solely with beauty and charm, icing on the cake, wearable candy. I think some people have the same experience when they crochet doilies (they're jewelry for furniture) but for some reason I don't, maybe because it's home decor instead of personal adornment.


3. Like felting, it cultivates new ways of seeing familiar stitches--in the case of jewelry, it's because the scale changes (whereas in felting, the material changes). For some kinds of jewelry, crochet stitches and techniques are done on a tiny intricate scale like filigree; other times, they are blown up as if seen through a microscope; and the amount of stitches is often drastically reduced so that each stitch becomes an accent, like a gem or bead. All because a jewelry piece needs to say a lot in a small space.


4. I look at materials a new way. My ideal is for jewelry to be durable--not show wear or staining, like when I crochet handbags--but be too beautiful to let on that it's also practical, unlike when I make handbags. For both jewelry and handbags, I also want to use the sculptural capability of crochet without any stitches stretching out over time.


5. Traditional jewelry shows off precious metals and gemstones, but when crocheting, (other than with pure gold or silver wire) you can choose non-precious materials and let the crochet make it special. If I choose the fanciest intricate stitches and superfine thread, I can still finish a piece in an afternoon or so.


6. The coolest thing is that a piece of jewelry is small enough that a "swatch" is a whole bracelet, or ring, or necklace. So after getting design submissions ready, I had a bunch of new jewelry.


7. Jewelry experiments make nice gifts!

Feeling the Felt Love

Flushed with felting pleasure and success*, here's a Ten Things I Love About Felting Crochet List:

1. Hidden facets of a yarn's personality are magically revealed. Everything--the yarn's fiber content, spin, dye, etc.-- matters.
2. Felting makes simple stitches new again. I've been crocheting for so long that I thought I'd seen simple stitches do everything!
3. Feels primal and cozy
4. Also feels northern, so I get nostalgic because I grew up in Ohio & Wisconsin but have spent most of my adult life in the subtropics (love the smell & feel of wet soapy wool!)
5. Forces me to use a hook that's normally too big for the yarn. Simple stitches look different--I can see their inner architecture better (uh, I'm on record as being kind of obsessed with crochet because of this), and they feel different-- all stretchy and drapey.
6. Forces (or frees?) me to take a back seat while a process larger and more mysterious than me (in this case, the unpredictably complex alchemy of felting) does its thing. So it can be a kind of spiritual practice/experience.
7. Spiritual development aside, it requires and often rewards risk-taking, thinking big, and process orientation. At its most dramatic, I take the "known" (my crocheted piece), and even if I like it as is, I must "cut the ties" and let it go into the "unknown" (felt it) and who knows if I'll like it better on the other side of the "abyss". If I do, the ecstasy is addictive. At times I've had to take a deep breath and close my eyes when felting luxury fibers like cashmere and angora!
8. Sometimes instead of having to "let go" of a crocheted piece I like, it looks yucky on purpose in preparation for felting (stitches and rows look sleazy, weird shape, etc.). Then I felt with abandon because I have nothing to lose! When it comes out all evenly felted, there's that ecstasy again but for a different reason--I felted straw into gold; or the ugly ducking became a swan; or I salvaged and recycled trash into treasure. (Pick one)
9. My hands change a bit to maintain the loose gauge with bouncy wool yarns. This is a new skill for crocheters who are accustomed to cotton yarns and threads at normal-to-tight gauge because cotton is dramatically less resilient than many wools. It's not a new skill for me but still it takes an adjustment every time I crochet to felt. When would I crochet worsted wools like this otherwise? Yet it's fantastic practice for crocheting lycra-content yarns with a more standard-size hook. (You need to crochet these yarns in such a way that you don't stretch them while working.)
10. It encourages lots of crocheters to experience crochet in new ways and challenges them to develop new skills that are important for non-felted crochet too.

Do you feel it too? Feel the felt love?
----
*success in the professional sense--more details on the felted design when published!

Marty's New Crochet Blog!

Today is Marty Miller Day on the Designingvashti planet! Check out her blog here:
http://notyourgrannyscrochet-marty.blogspot.com/ The focus is swatching and I'm hoping newer crocheters will be inspired by Marty's blog to find out what an art swatching is. For me it was a consciousness shift. I guess it happened sometime when I started designing. For my younger crochetself a swatch didn't used to be an end in itself--swatching was not a process that I enjoyed for its own sake. Instead, it was a means to an end that I had to get through to make something "more" or "real" such as a sweater (a.k.a. the "gauge swatch").

Besides finding one's gauge, a swatch is a content-rich research document. I save them like I save notes to myself. Like poetry fragments. Or like maps to secret gardens.

Here's a pic of Marty and me in the old-style CGOA booth (before it got a facelift by our competent Offinger staff), circa 2005, Oakland Chain Link conference.

We had just finished breakfast and were about to leave for a field trip to the legendary Lacis, hence the sunglasses I have handy.

Found Some Great Crochet on the 'Net

Just a quick post with links I'm loving:

"Twin artists crochet enormous 'reef'": Margaret and Christine Wertheim. Margaret says, "Coral reefs are, as it were, the canaries down the mine for the global warming system."

Kathleen in Hawaii crocheted an amazing array of leis--some based on real flowers associated with specific Hawaiian islands, some imagined (inspired by the yarn). Her blog shows not only her leis but how they were incorporated into a larger May Day library display!

Some of us crochet designers sure would like to see exactly what Bjork is wearing! We know it's crocheted. It brought to mind the crocheted coral reef for at least one person, and for me I thought of some multicolored ruffled tulle stoles I saw in Vogue about 2 years ago. I looked all over the internet this morning and couldn't find an image though. :-(

'Swingy Ruffles' Bag: Visual Aids

Here's a published design for which I had the rare foresight to take pics as I went. It's on p. 58 of 100 Purses to Knit and Crochet, ed. by Jean Leinhauser & Rita Weiss (Sterling, 2006). This bag is a stiff-sided trapezoidal box shape smothered with ruffles. I think the finished bag is hard to capture in photos because to me it comes out looking like a big ruffly lump, whereas if you saw it in person, you see how the ruffles move against the stiffened structure. I mean, this bag has corners. I'm thinking now that if I'd tried getting a photo of the inside of the bag, the structure would be really obvious. (I'm still learning how to make a picture speak a thousand words.)
It has a magnetic closure and a silver jewelry-like chain handle that's long enough for over the shoulder, or it can be doubled up to carry as a handbag.

New Uses for Coffee Cozies

I have this compulsion to crochet coffee cozies. I've made dozens and no two are alike. So far 2 designs are published, one in Crochet Today! and one by Berroco (scroll down to see pics in righthand column). It's a fun way to turn a swatch into something or to use a small amount of highfalutin' yarn that I'll see and touch a lot. I never have to use a cardboard coffee sleeve again--they're ugly, boring, and wasteful, and so is the doubled-up paper cup. The colors and textures of a crocheted cozy, on the other hand, fire up some brain neurons while the fresh-roasted coffee fires others.
I have too many now, so the ones I haven't given away have little jobs to do. My first attempt at felting a cozy works well as a bungee thingee in my car. The cup holder in my car was SO LAME until I stuck a coffee cozy on it. Now things are bungeed to it.
A coffee cozy that I made in a basket shape (has a bottom) out of stiff hemp is a perfect place for my sunglasses. I have also put crochet hooks in it in a pinch.
Exhibit C demonstrates the way a coffee cozy is the perfect size for keeping a ball of crochet thread from unwinding. (Even though this cozy has an open bottom, the thread doesn't fall out.) I first discovered this use when I had a cozy in my purse and wanted to throw a ball of crochet thread in there but didn't want it rolling around.
Some other uses for coffee cozies are:
- Tunnel for pet hamster
- Experimental sleeve cuff swatch
- Wrist cuff, watch band --see Robyn's "Beer Bracelet"

The REAL Kooky

Here's the actual cover of the book. The ski mask cover shown in the previous entry was the working mock up for the past 6 months or so. I think it's still showing at Amazon, but you need to be thinking Pink Wig now. No more ski mask. It's pink wigs from now on.

So who designed the leg and hand warmers?

Good times.

Kooky Approaches!!

Here are appetizers of some designs I did for the forthcoming book Kooky Crochet. You're looking at fingering weight alpaca, silk, cashmere, and merino. Tasty?

For dessert, some Jelly Yarn(R). What kooky crochet book would be complete without it?

An advance copy of the book has been sighted at the publishing house!!

The rest of the copies (mine for example) are on the cargo ship. I'm having trouble waiting! Consider some of the designers: Marty Miller! Tammy Hildebrand! Gwen Blakley Kinsler! Myra Wood! Pam Shore! Jennifer Hansen! Drew Emborsky! Regina Gonzalez! Sharleen Morco! Sharon Mann! (Someday I hope to meet the rest.)

Kooky designs are a BLAST to do. Wouldn't a "Kooky Volume II" be swell?

'70's Read-Along Book #6: Adventures in Crocheting

[W]hen clothing is made from some of the very unusual and interesting pattern stitches herein, the pattern stitch itself becomes the style, and it should not be obscured or belabored by complicated styling known as high fashion, which usually enjoys so short a period of popularity that it is often out of style before it is finished. Most certainly an item lovingly made by hand over a period of weeks or months, and with it a joyous anticipation of the item finished, should be of such simple lines that it will stay in style until it has worn out.
Barbara Aytes, 1972

It is with regret that I return this book to the public library. I hold pretty much the opposite position toward fashion crochet than Ms. Aytes does in the above quote but it won't stop me from adding a copy of this book to my collection when I get a chance. The content is solid, accomplished, and well-rounded. The author certainly met her stated goal: to "strike a happy medium between those books which are full of pattern stitches and nothing to make, and those which are full of items to make and few or no pattern stitches".

Maybe now would be a good time for me to state a personal bias: I'm not interested in making or wearing timeless fashions. I don't shop for them and designing them is not a meaningful career for me. Designers who appreciate timeless fashion are the ones who do it the best and so I'm happy to leave them to it and remain impressed from afar.

The opposite is what I buy, wear, crochet, and design: trendy. I think the world can never have enough trendy crochet patterns and I'd produce far more designs than I do if I humanly could. I even teach a class on designing trendy crochet at the CGOA conferences. Contrary to what timeless crocheters say, I think crochet is well-suited for trendy projects because:
- crochet itself continues to be a trendy look in the larger fashion world (yay)
- the internet offers a whole new opportunity for trendy crochet patterns to reach the widest number of crocheters a.s.a.p.
- you can crochet it with plenty of time to wear it, and make more for your friends and relatives too! The amount of time it would take me to sew a garment is roughly comparable to how long it would take me to crochet it. This is the exact opposite of what Ms. Aytes says--that by the time you put in all that work crocheting something fashionable, it's out of style. This is the amazing versatility of crochet: both Trendy and Timeless crocheters can be right!

Back to the timeless book: Ms. Aytes' designs have the kind of simple lines of good proportion that I admire in timeless designs. This is one reason I want to own the book. She offers a range of slippers, for example, that are great to have on hand as templates if nothing else. Remarkably, I can imagine wearing many of these designs even though:
- they are photographed flat in black and white;
- they are intended to look timeless, and did I mention timeless is not my thing?;
- we're talking 1972. (I think of myself as 1970's-friendly, yet so far as I review these books I often cringe.) Compared to many early '70's crochet books, the photos are high-quality, the projects are well-finished and blocked, and the overall selection of projects is sound.

Viewed within the context of my project of reviewing pioneering 1970's crochet books, the author's goal is not exciting enough to justify having the term "adventures" in its title. I was a little disappointed in this respect, but the book makes up for not delivering a promised adventure in other ways. Besides offering a thoughtful collection of timeless designs, the stitch patterns are thrilling! Each crocheter is probably unique when it comes to what counts as thrilling stitch-wise. For me, it's how uncommon it is, how difficult it is for me to figure out how it's done by looking at it, and if the solid-vs-open shapes the stitches make are distinctive. Out of about 65 stitch patterns provided, only about 5 appear in every crochet book ad nauseum (plus another 5 or so motifs); the rest are unusual somehow. A few are downright alien to me {{said with shiver of delight}}.

When I began this '70's book review project, I envisioned zipping through what I had on hand in Jan-Feb'07 while taking a vacation from design deadlines. As people emailed me titles of books to add to my reading list, and as I immersed myself in reading them, I stopped expecting to skim and gab, and instead, ponder and savor and try to give each book its due. Now it's mid-April and I have design deadlines and then prep for conferences to do. So the bad news is that these '70's book reviews are going to slow to a crawl; but the good news is that I'm in it for the long haul--I'm NOT stopping. It's way too rewarding. Heck, I haven't even gotten past 1973 yet!

Satin Ribbons Ponchini: Visual Aids

This design appeared in the November 2006 issue of Crochet! magazine (scroll down to see official photo in righthand column of this blog). The yarn is "Pizazz" by Caron and I loved working with it because the stitches plump up and have a rich look and feel. So naturally I swatched up some puff stitches as you can see in the swatch. In those vivid colors the stitches look like gems to me.
In the more muted rose shades the puff stitches looked more like rosebuds--I wish I had a close-up pic of those. I found a stitch pattern in a Japanese stitch dictionary that I modified so that the puffs are puffier and so that it could be worked in the round.