Archive of ‘sticks&strings’ category

Blood Blooms

shawl1I’ve been knitting on this shawl since the beginning of the year. Slowly, slowly. A row or so a night, or sometime I’ll go weeks without even looking at it. Maybe I’m not speeding through it because I’ve knit this pattern before, a long time ago. Another life, even! But I already know how it turns out, so there’s no hurry to get there. Just enjoying the glint of ruby silk and the sharp needled click-clicking whispered chatter of the stitches as they are drawn up and through and along their journey. I could do this forever. I almost don’t even care what it looks like when it’s finished (except I do, just a little.)

109041619_2600977726809187_5637272667716130177_n 110425873_989152101533413_5706391781993309244_n
It’s deep, deep summertime. My blood hums along with the drone of the cicadas, thrums with the promise of thunder on the horizon. I want to prick my fingertip with these wickedly sharp needles. To see if what drips out sings. Or roars. Or is instead a still and soundless blood bloom born .

(I got new knitting needles. They’re moving me in unexpected ways.)

Interview: Fantastical Fiber Artist Our Widow


Today at Haute Macabre it is an immense pleasure to share my recent interview with fantastical fiber artist Our Widow, whose exquisite stitches have had me in sighs and swoons for some time now. She answered my questions with warmth, candor, and sincerity and I am extremely appreciative for her time and thoughtfulness…and I was especially excited to learn that we are Sisters In Never-Swatching!

Immersed In Fantastical Creations: An Interview With Our Widow

2019 Lists: Things Knitted


I knit a decent amount of things in 2019, but I did slow down over the summer when I was meant to be working on some other things. I still knit a little here and there, but I guess I was feeling guilty about doing anything other than the task at hand. I felt furtive and underhanded about those sneaky stitches, like I was somehow doing knitting crimes, and let me tell you, I did not care for that feeling at all.

The above Underwing Mitts, pattern by Erica Heusser, were knit at the very beginning of the year, before all of the aforementioned criminal stitchery. I think I actually cast on at the tail end of 2018, but they were my first finished project of 2019, so it counts, I think. This was the first colorwork project I’d ever actually completed, and I guess it wasn’t so bad, but it wasn’t so great I went back for more, either. Like most things I knit, I have since given them away to a dear friend.


I always love knitting Caitlin ffrench’s patterns and the exquisite Jörð was no exception.  I think I might have screwed this up somewhere after one of the repeats where the stitches doubled. My stitch count was correct, but somehow it seemed like…parts of the pattern…just…didn’t match up? Ah, well. I just kept knitting. I have no idea where this one ended up! To be honest, the homes in which the majority of last year’s knits currently reside is a mystery to me–I have forgotten where I sent them all!


Clothilde by Kristen Hanley Cardozo was a lovely and simple knit, or at least I don’t recall it being particularly challenging. I really don’t remember much at all about it. But it turned out quite lovely, and I was quite pleased that I had enough yarn leftover from Jörð to create an entirely new and separate thing!


The Swallowtail Shawl by Evelyn A. Clark was a pattern that was all the rage in 2006 or so, when I was a wee fledgling knitter. I recall seeing all the popular knitting bloggers posting photos of that one and thinking to myself, “lordy, I will never be able to do that!” I had quite forgotten about it until I needed a pattern 13 years later that would use a certain amount of a certain weight of yarn, and I thought, “aha! why not!” I wish I could say it was a piece of cake but it was fraught with the intensity of too much pattern left for too little yarn, and I actually did run out of yarn, with six stitches to go. Yikes.

charade 2 Charade by Sandra Park is my go-to sock pattern, always and forever. This amethyst toasties now keep my Best Good Friend’s feet warm.

deco city

I thought the elegant geometric pattern of Amy van de Laar’s Deco City shawl seemed refreshingly different from the sorts of florid froofiness that I typically gravitate toward, and it coincidentally seemed like a good fit for some Shibui yarn that I’d somehow gotten ahold of (if you are the friend who gave it to me, thank you!) Not sure where this ended up, but it was a joy to spend time with.


I have Romi Hill’s Bitterroot so many times now. The first time I knit all of my grief into it, after a beloved feline companion died. This most recent time I sent it off to a glamorous friend. This was a humbling sort of project where I was probably overconfident and screwed something up even though (or perhaps precisely because) I’ve worked on it so many times that I should know these stitches by heart. It’s a pretty forgiving pattern, though. It didn’t matter in the end, and it was as beautiful this time as it always is


It’s the Charade socks again! I loved the demented joy and unhinged vibrancy of these colors, so I sent them away to an NYC witch who I thought might appreciate their twisted exuberance.

find your fade

Andrea Mowry’s Find Your Fade, was, in theory, a neat idea. And I can’t say that I wasn’t warned. But this thing was a tedious knit and it is freaking enormous, and I feel like to give it away might be rather punitive to the person who must accept the gift, so for the time being, it still lives with me, crumbled sadly (and massively) in a corner.

odyssey More colors! I usually save the brightly colored yarns for knitted socks, but I had several bits of leftover sock yarn and thought that a colorful shawl might be in order–and from this sentiment, the Odyssey Shawl by Joji Locatelli was born. I often found myself losing track on this project; the number of stitches, the number of rows, even which side I was on! These are good things to pay attention to. I suppose it turned out rather nicely, though! It made its way to a writer and perfumista who I am hopeful might wear it every now and again.


I truly adored knitting Stoker by Kristin Lehrer. This was a soothing project, with the most beautiful yarn. The pattern was perfectly written and though it wasn’t especially complex or challenging, it wasn’t mindlessly stupid, either. Just a really, really nice thing to knit on for a time. It now graces the home belonging to a mistress of cake witchery, and I’d like to think it smells of warm kitchens and sweet frostings and gentle spices now.

It’s That Time Of Year Again

IMG_8820It’s the time of year where I ignore all of my obligations, ignore even the activities I enjoy, really, and devote my entire being to knitting all the things. I don’t know why I don’t get this frantic urge in the winter months, when it’s cold and the chill calls for cozy time activities; I mean that would make the most sense. But no, I feel the irresistible call of the clicking wooden needles and the silken and squishy yarns and all of the lovely patterns I’ve had my eye on…in the spring months. When the tiny green buds are unfurling and the birds are twittering, and somewhere someone’s sidewalk is overrun with weekend morning rabbits (I know this happens elsewhere, though I’ve never seen them in Florida) and the breeze is still cool but it’s warmed by the promise of fiery July sunsets and the sweet, narcotic dream of tiny white jasmine blossoms. All of these things are very nice indeed, but no, they’re not the thing waking my itchy fingers, my craving for creating and corralling little loops and links, knits and knots, bound with needles, and if I’m being honest, a hair or two from my own head (sometimes it’s even an accident!)

I think it must the the light. The days have gotten longer and the afternoon sunlight through the dusty windows at the back of my house is yellow and soft and peaceful, and–lord knows I am generally no fan of sunlight– but in March I can’t simply can’t resist a 6pm beam of light across a crumpled sofa cushion, and I find myself compelled to bask in its golden glow. And there can be no basking without knitting.

I guess my point is, that’s why my interest (and instagram feeds) turns into 24/7 knitting nonsense this time every year. My books gather dust for a few months, and the oven grows cold and new recipes go untried; my other hobbies and passions, which I usually try to portion out in equal amounts, just get ignored for a bit, while I amass a pile of finished knits, woolen socks and warming shawls–just in time for summer’s heat.

(Featured knit is Evelyn Clark’s Swallowtail Shawl, which was all the rage with knitting bloggers a year or so after I started knitting–2006ish?–and which at that time I thought was too complicated to even attempt! More than a decade later, I am pleased to report that it’s a lovely pattern and is quite simple.)

crime & punishment


…tfw you are found guilty of premeditated dumbness in the extreme and your punishment is knowing that you were so close to being done with your project but now you must account for the crime of having obliterated a pair of knitpicks needles and dropping over 300 stitches in the process, derailing weeks and weeks worth of progress on the most complicated shawl you have ever attempted…

“If I may direct you to exhibit A., an artist’s rendering of the diabolical perpetrator involved in the events of last night.”

*Addresses jury of peers*

“Yes, I can swear to it! This vampire bat ring totally came to life and ate my knitting needles. You can even see the bite marks from his pointy fangs! I absolutely did NOT have over one thousand stitches jammed on a  flimsy 8-inch circular needle with known defects. No, ladies and gentleman of the jury, only a madwoman would have attempted such incredibly stupid and dangerous folly.”

*adjusts collar,sweats nervously*

All Of The Things I Knit In 2017


Yes, we are halfway through the month of January in the new year, and here I am still talking about what I accomplished in the last year, like that high school quarterback whose glory days you have to hear about every time you go to get your car serviced, because there’s that guy who peaked in his senior year and now he’s changing the oil in your Toyota Matrix. I mean, I don’t personally know that guy. I don’t have any friends who played sports. And I didn’t have any friends in high school. And I quite frequently forget to get my oil changed!

But because I am a busy lady with stuff and things to do and who is living her best life and every day is a glory day (right? right!) I am just now getting around to gathering up all of the projects I finished last year. It makes me feel like I have been productive, like I have been industrious, like all the time I spent watching things like Broadchurch and Jordskott weren’t hours totally wasted, because I was also creating something beautiful! Just let me have this, ok?



These are the Froot Loop socks by Kristi Geraci from the Spring Issue of Knitty, 2008. I have knit them up several times now, and they are one of my favorite sock patterns. I think the yarn is from knitpicks. I believe they now reside with a Russian poet.



The Blue Dahlia shawl by Andrea Jurgrau, which you can find in her book New Vintage Lace: Knits Inspired By the Past. I thought this was going to be a major challenge, but nce I got the hang of the pattern, I daresay I enjoyed it; I ran into a snag and panicked, but rejoiced when I realized there is some errata, and it was not, actually, my fault. Yarn is a steely grey from knitpicks, and the shawl now lives with a creator of jewels and magic.


19380086_801094526712559_8479197213984030720_n_medium2 (1)

I guess it took me three months to knit up these socks? They are the Rib and Cable Socks by Nancy Bush from Interweave Knits, Fall 2005. I didn’t really love the heel and the toes in this pattern so I just used the instructions from Charade, instead. There may be some tiny differences, between the two–one of the cuffs is slightly longer, one of the toes is shorter. I’ve nicknamed them the wabi-sabi socks, because for whatever little flaws they have, I still think they are perfect, and they currently warm the tootsies of a dear friend of mine, a jeweler and artisan who has elevated jewelry–and friendship–to an art form.



In August I went through a phase where I wanted to do something with my funky-colored sock yarns other than make socks. Reyna by Noora Laivola was an excellent pattern for this! A pattern designed specifically to work with the variegation of colors, instead of getting obscured underneath the color changes, it is supposed to work with a single skein of sock yarn, but due to some miscalculations on my part, it took a bit of a second skein of the same color way that I just happened to have on hand. Reyna flew off to sweet friend who is a sculptor of curious critters and is one of the most generous souls that I know. (Top photo by said friend.)


In August I also knit another pair of socks, using the Charade pattern, by Sandra Park. I have knit this pattern countless times, it is one of my favorites, and my go-to for whenever I get new sock yarn without a specific idea in mind. These were gifted, along with the shawl immediately above, to the same person.


The Age of Brass and Steam Kerchief by Orange Flower Yarn was a lovely, mindless knit and I have quite forgotten who I sent it to! I hope they are enjoying it, where ever it ended up.


This is…an unfortunate photo of the second version of the Reyna shawl that I knit. I finished it in a hotel room, and gave it a bit of a soak and lay it on a towel to dry. I shared a photo and someone pointed out that it looks like a slightly rounded bottom, wearing a pair of undies! I’ve nicknames this version the “secret butts shawl”. It was knit up in some old hand painted lace in lovely earthy tones, and gifted to a perfumer who already owns the sister shawl–a piece I knit ages ago, with the same yarn. It was my first ever fancy shawl! I am so pleased that this wonderful person now owns both.


Elle Eir 21436061_131225074166337_4353030224435216384_n_medium2

Eir by Caitlin Ffrench was among the hurricane knits I busied myself with while we were waiting out a violent storm in late summer of this year. It was a lovely, mindless triangle shawl project, with an interesting border that I really love. Knit up in knitpicks city tweed, it now lives in TX with lovely friend who makes gorgeous jeweled creations. (The top photo is hers.)


Siren’s Song by Caitlin Ffrench (you’ll notice that a Caitlin Ffrench obsession has begun) was knit up in Knitting Fever Painted Desert yarn and was another really nice pattern that kept my interest but also allowed me to watch a lot of teevee at the same time. I gave this to a wild, wise, bohemian spirit out west who shared some poignant insight with me several years ago when my mother died and I have never forgotten her words or their impact on me at the time.

21910716_796552350506861_9014419180664913920_n_medium2 25465848_10215025231002887_1434747529_n

It’s strange how sometimes you will make something and already have someone in mind to be on the receiving end for it. And in extra-special sometimes, you were right to think so! I completed the Elk Tooth shawl by Caitlin Ffrench and upon sharing it on instagram, a friend immediately commented upon it. The funny thing is, the pattern, the name, the yarn–it all had me thinking of her as I was knitting it! And so of course it had to go home to this person, a far away friend that I would love to spend time with in real life because I think we would get on splendidly.  The bottom photo was taken by this very friend.



Sometimes people ask me if I sell my knits. I do not. I knit because I enjoy knitting, and I give my finished knits away because I enjoy giving. Selling the product of an activity I enjoy lessens the enjoyment of it for me, somehow. Also, I do not write my own patterns–everything I knit is from a pattern that someone else’s work and creativity has gone into–and I am not sure of the ethics or legalities involved in that. However! I do trade my work! This particular knit, Mabon, by Caitlin Ffrench, was traded away and you may very well see the other side of the trade showing up on Unquiet Things here soon!


These two altar cloths were each knit up in the span of a day, another wonderfully satisfying little pattern by Caitlin Ffrench. I sent these to a longtime friend and purveyor of enchanted & esoteric perfumes, and hopefully they are sitting around in her laboratory, witnessing all kinds of sorcerous stinkery!


23421421_1017087681764733_8898084446649974784_n_medium2 Darla Ostara

Ostara by Caitlin Ffrench called for a much bulkier yarn and larger needles, but I knit it up with lace weight and sizes twos, just to see how it would come out. It doesn’t work for my purposes, but it’s beautiful, nonetheless, and a fairly simple, engaging pattern. In the meantime, I am knitting up several different version of this pattern–different yarn, needles, pattern modifications–so I’ll get the perfect shawl eventually! Subsequent versions of this shawl are all headed off to the same very special version, for a very special event, and I am hoping one will work. If not, that’s okay. I kind of foisted the idea on them anyway, and they don’t have to use it for this express purpose! They can use it for whatever. I just wanted to make something special for someone dear to me. This first test version, however, lives with an artist and photographer and amazingly creative mind who I admire tremendously. She snapped this bottom photo of the shawl for me– and this, too, is a small piece of art that blows my mind.



I closed out the year by knitting up another version of that Steam and Brass kerchief, simple stitches whilst watching Dark on netflix (which was excellent and you should watch it now if you have not already!) This was a trade with an incredible artist for which I received a most exquisite photo in exchange.

And that’s it! If you’re curious though, here are some things I plan on tackling in 2018:




The Magic Of Earth And Thread: Caitlin Ffrench


Textile artist and knitwear designer Caitlin Ffrench is an incredible inspiration for me and such a lovely human, as well. I am thrilled that our interview is up over at Haute Macabre this week, and I can’t wait for you to read it (You don’t even have to be a knitter to fall under her spell!)

Bonus material and behind the scenes peeks: In preparation for this piece I did a great deal of research…in the form of knitting up several of Caitlin’s patterns. What! That’s totally research, and I won’t hear differently. Each one of them worked up simply and smoothly, with no issues, but with enough detail to keep me interested and engaged. I can recommend her patterns without hesitation (and as I matter of fact, I am knitting another one right now!) I have included links to each of the ravelry pages if you are interested in creating any of these gorgeous knits yourself.

Currently {1.20.16}


Doing: attending birthday parties in public places –the idea of which which will never fail to freak me out because: people & conversation. However, I always forget that in this particular group there are also people like me who are similarly freaked out, which is great because misery (and anxious weirdos) love company. We always seem to find each other, and a corner to cozy into, cringing away from the crowd.  Look at this guy! It’s a Mexican Salamander, or Axolotyl. He is a cold-blooded, live-in friend of my corner-companion and her husband. These are the kinds of things we talk about.



Reading: Beautiful Darkness, a thoroughly charmingly illustrated graphic novel that is savage and unsettling and not at all what I expected.  Although I kind of figured out what I was in for by the second or third page.  Beauty, also illustrated by Kerascoet and is supposedly an “immersive”, “dark, feminist parable”; I’ll know more tonight, after I’ve settled in with it!  And lastly (well, not really lastly, I’ve got stacks and stacks of unread books) is Wylding Hall, by Elisabeth Hand.  Here’s the synopsis–doesn’t it sound dreamy?

“After the tragic and mysterious death of one of their founding members, the young musicians in a British acid-folk band hole up at Wylding Hall, an ancient country house with its own dark secrets. There they record the classic album that will make their reputation but at a terrifying cost, when Julian Blake, their lead singer, disappears within the mansion and is never seen again. Now, years later, each of the surviving musicians, their friends and lovers (including a psychic, a photographer, and the band s manager) meets with a young documentary filmmaker to tell his or her own version of what happened during that summer but whose story is the true one?”



Knitting: Terpsichore Street, by Romi Hill.  This pattern gave me extreme agita around this time last year, and I eventually called it quits and felt like a failure and moped about it for the next year. Well, this year I am attempting it again, and I am seeing that a great many of my issues are directly related to misreading the pattern, misinterpreting the instructions, and making assumptions that aren’t accurate.  So far progress is slow–we’re talking a glacial pace– but I am reading and re-reading and correcting myself every time I go astray. Except for a potentially huge mistake that I made at the beginning…but I think that’s only going to affect the size of the finished shawl, and I’m over that.  I’ll just give it to one of my tinier friends.  Problem solved!

Oh, and what’s that, you ask? Another book?  Yes, you caught me.  This one is Death’s Summer Coat by Brandy Schillace and touches on a subject close to my heart: death awareness and death acceptance.

“Death is something we all confront―it touches our families, our homes, our hearts. And yet we have grown used to denying its existence, treating it as an enemy to be beaten back with medical advances.

We are living at a unique point in human history. People are living longer than ever, yet the longer we live, the more taboo and alien our mortality becomes. Yet we, and our loved ones, still remain mortal. People today still struggle with this fact, as we have done throughout our entire history. What led us to this point? What drove us to sanitize death and make it foreign and unfamiliar?

Schillace shows how talking about death, and the rituals associated with it, can help provide answers. It also brings us closer together―conversation and community are just as important for living as for dying. Some of the stories are strikingly unfamiliar; others are far more familiar than you might suppose. But all reveal much about the present―and about ourselves.”


Listening: Daughter, Not To Disappear. I am happy to report that Daughter’s second album sounds very much like the first, which is to say: lush, beautiful sadness. Hushed, desolate dream-pop. Heartbreak and doom and gentle glooms.  Perfection.



Wearing: Black Phoenix Alchemy Lab’s Mother Ghost, from their Crimson Peak line {a cold, sheer white musk gleaming with black orchid, benzoin, labdanum, and blackened amber, and embraced by white rose, tea leaf, and vanilla flower.} This is a pearly, translucent delicate scent that reminds me very much of my lost (discontinued) love, the delicate, gauzy, Antique Lace.



Anticipating: The release of our Occult Activity Book! Co-conspirator Becky Munich and I have been working with several splendid several artists and writers to conjure forth this wicked little book …and for true believers we have concocted a Deluxe pack which includes the 24-page Occult Activity book, two 5×7 color prints and a sticker by contributing artist Casket Glass Studio .

We should have them available for purchase sometime in the beginning of February, but be forewarned! Only 250 of these marvels will be printed, so you’ll want to nab them while they are available on this plane of existence!


Bonus! Another one from the cutting room floor, from How To Wear A Séance over at Dirge. That dress is utterly killing me.



Shapeshifter shawl available from Morph Knitwear

Today over at Dirge Magazine I discuss my own personal “yarnomancy”, and the ritual connectedness of crafting by hand with Morph Knitwear’s Angela Thornton.

Bad-Ass Knitting Magic: Angela Thornton of Morph Knitwear

One of my favorite pieces from Morph Knitwear is the huge, open knit Shapeshifter shawl. (And come to think of it, I probably should add that to my winter uniform!) Curious as to how one might style this wooly behemoth?  I’ve a few suggestions for you, below. As always, click on the image to find more details on the items within each ensemble.




Bad-Ass Knitting Magic: Angela Thornton of Morph Knitwear


When I began knitting in the winter of 2005 as a means of keeping both warm and sane during a weird and terrible time in my life, I never dreamed I would come into contact with and eventually become part of such a diverse community. As I knit and purled away the hours, and eventually the years–in what I now refer to as “the shitty black abyss of Central New Jersey”–I was soothed by the slow magic of softly slipping each stitch from one needle to the next.

I came to think of this wooly sorcery, this stitchy witchcraft, as “yarnomancy.”  It provided a connectedness, sometimes quite literally, that I was sorely lacking in my life at that time. As I gave form to each new knit I crafted–connecting each stitch, one at a time–I tapped into a creative drive I didn’t know existed within me, and in my growing confidence, I connected with a community of like-minded people. These knitters, along with their craft, saved me.

One such knitter who believes in this ritual connectedness is Portland, Oregon-based designer Angela Thornton, of Morph Knitwear.

Designed for individuals who want to feel “powerful, mystical, and like a total bad ass,” Angela Thornton’s Morph Knitwear is an intensely personal endeavor melding artistry and utilitarianism to create handmade garments that challenge the traditional perception of knitwear, while retaining classic virtues of durability and timeless elegance. Her pieces are fashioned from a single strand of fiber, the process of creation “giving a unique connectedness to the fabric of each piece, a connectedness which allows the knit to give form to the emotional processes and explorations of its maker. “

We recently caught up with Angela after her completion of Morph Knitwear’s Sand and Storm collection and its corresponding editorial. Read on to learn more of this bad ass knitter’s unique vision and the magic that she weaves into each of her creations.

Angela Thornton. Photographer: Courtney Brooke Hall

Angela Thornton. Photographer: Courtney Brooke Hall

As a fellow knitter, I can’t help but to be immediately interested in how you came to knit in the first place. I think I read somewhere that you began knitting in 2010 or so, is that correct? And what prompted the desire to learn?

Angela Thornton: I actually began knitting as a little kid. I can’t recall who it was who taught me, but all of my grandmothers knit, as well as my mother, so it’s safe to say it was one of them. My earliest solid recollection of knitting a real project is with my grandmother–we would visit her in Minnesota in the summers and she would set us kids up with a ball of cotton each and some old plastic needles to have us knit dishcloths for her kitchen. I loved that kind of project when I was younger: fast, and satisfying. I casually knit through high school (especially after I had seen Rodarte’s knit tights from their F/W ’08 collection), but then didn’t touch a pair of needles again until I was living in Germany in the summer of 2010. Through that summer and fall I re-learned the basics and then that winter I got bored with what everyone else was knitting and began designing my own patterns.


What was the catalyst behind launching Morph knitwear? What was/is your vision for the brand? How would you describe your brand, the essence of Morph Knitwear?

The catalyst behind launching Morph Knitwear was really experimental, and a direct result of beginning to design my own patterns. I decided as a personal challenge to try to create pieces that were cohesive, and as I did so I also thought, “hey, fuck it, why don’t I try to sell this online?” I was actually really surprised when things sold! I took that, coupled with my immense creative satisfaction as signs to keep at it, and I think I’ve essentially kept it very true to me, and to what I see the brand to be–evolutionary, textural, and created with integrity of design, method of production, and ethics. My vision for Morph Knitwear is and has been essentially the same since my experimental launch: to create clothing that I want to wear, made using ancestral techniques in a non-exploitative manner. Morph Knitwear has definitely become more refined as I have honed in on my own personal style and simultaneously grown in my technical ability, but essentially it is born of the same concept-to create because I cannot fathom not creating, and in doing so, bringing awareness back to mindless material consumption.


I have read your remark that the things you make are really just an extension of yourself. How would you describe your personal style? How does that inspire and influence the designs you create? As a further to that, tell me about the type of people that you envision wearing your pieces.

They really are! Not only because I make each piece by hand, so while in the process the pieces are physically extending from my body, but in a more liminal sense as well. Everything I make comes from somewhere in my head, from the need of somehow being able to express myself. I’ve always used what I wear as a direct method of self-expression, so naturally I feel the need to create things that can be worn as such. My own personal style has evolved and solidified over the years, and at this point is basically an armor of black. I value tactile quality and timeless shape in the clothing I wear, as well as integrity in its method of creation. I envision people who are self defined, strong willed, tender, and unique as the wearers of my creations.

Do you wear your own knits? What are some key pieces that you can’t live without?

I do wear my own pieces, though not as many as one would expect! That being said I absolutely can’t go without my merino wool vest or the newer pieces I’ve designed for Sisters of the Black Moon (the Haze sweater in particular) once the temperatures drop. I also wear a lot of my lighter weight dresses in summer, so perhaps upon reflection I do wear more of my work than I think!


How long does it take you to design a knit? And how often is one of your creations knit by hand, as opposed to a knitting machine? I’m assuming that there is an entirely different kind of pattern for hand-knit vs. machine knit? Do you have a team, or are you a one-woman operation?

The length of time it takes to design something is completely arbitrary. Sometimes I won’t even make a sketch of a piece, I’ll have such a clear vision of what I want it to be that I just get working and bust it out. Sometimes, though, a piece can take me weeks to make and remake in order for it to be right. That process holds true for both machine and hand knitting, though the actual pattern writing process is different between the two. For each collection I usually do about 60% of the pieces on the machines, and 40% handknit, though it really just depends on the end product I want to make–handknitting is ideal for some, and machine knitting for others. At this moment I have one amazing intern who helps with production, but other than that Morph Knitwear is a one-woman operation!


That brings me to my next question; I know you have made a few of your patterns available for intrepid knitters who may want to bring one of your creations to life for themselves, with their own hands. How do you choose which patterns to release for this purpose? Many knitwear designers eventually release a book of patterns–is this something that interests you at all?

The patterns I’ve chosen to release are generally archived pieces that I am no longer producing, though honestly several of them have been popular designs that I just got sick of knitting myself! (Re)writing patterns to be readable to the general public is such a time-consuming job for me that I don’t see myself releasing a book of them anytime soon, but I think if I ever have the spare moments I will try to release several more of my archived pieces to Ravelry. And who knows the future? A book might happen sometime!


Your previous collections–Infinite Abyss; Behemoth; Blood, Ash and Bone–these all conjure wonderfully dark, gritty, fierce, primal imagery. Can you talk a bit about the inspirations for these collections, and what we might expect from future collections?

I think the inspiration for the collection names (as well as the collections themselves) all come from a place of wanting to imbue my creations with those aspects. I want to create pieces that express a deep, dark, primal ferocity, a connection to the old while being a clean slate for the new. I want the people who wear my pieces to feel the fierce, animal beauty and power of natural fibers, the human magic and intent woven into each piece. I want the clothing I create to simultaneously be a shield and a proclamation of self. The places I find myself most shielded and most myself are in shadows and mystery and the cycle of light from darkness. I simply try to create worlds reflective of these feelings through each of my collections.

Find Morph Knitwear: Website | Instagram | Facebook Twitter

(This interview was originally posted at Dirge; the site is no longer active.)

1 2