Happiness and cheer: The new Fringe goods are here!

New Fringe goods for the holidays!

In ten days it will officially be five years since I launched Fringe Supply Co. as a tiny online pop-up shop, and in all this time I have never been so excited about where things stand or what I’ve gotten to unveil for you. My goal has always been to curate a small and steadfast collection of goods that will make your knitting life (and mine!) as simultaneously beautiful, efficient and organized as it can be. Today it becomes a little more of all of that with the addition of two jaw-droppingly great new Field Bags — waxed canvas in camo and black-watch plaid — and three diverse new tool pouch options — a leather envelope, a canvas zip pouch, and a waxed-canvas roll-up — developed in conjunction with Winter Session in Denver, whose work I’ve long admired. I am over the moon about each of these pieces and hope you will be, too. But what they bring to the overall mix is so much more than I can describe in words.

Fringe Supply Co Holiday 2017

Thanksfully, once or twice a year I get together with my beloved photographer-friend Kathy Cadigan and get to express what Fringe is in photos, and this year’s are my favorites yet. As you can see from the glimpses here and in the full Winter 2017 Lookbook, the collection has gelled into the most beautifully coordinated and interchangeable array of bags, pouches and tools for bringing organization, durability and style into your world.

For all of the details and a deeper look, see the Lookbook — or hop straight over to Fringe Supply Co. to check it all out directly. And we also have the gorgeous new Mason-Dixon Field Guide in store today, Sequences.

Fringe Supply Co Holiday 2017

The new plaid and camo Field Bags and the leather envelope pouch are also available today at these fine stores around the globe.

Happy weekend to you, and happy start of the holiday season — may it be filled with happiness and cheer!

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Photos by Kathy Cadigan © Fringe Supply Co.

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Log Cabin: Ideas and considerations

Log Cabin: Ideas and considerations

The thing about this whole upcoming Log Cabin Make-along is it’s kind of a lot to think about! Am I right? If you’re anything like me, you might be combatting too-many-ideas-itis — debating yarns, color, pattern, what it will turn into. Of course, you can totally 100% keep it simple and knit something beautiful from one of the many great log cabin-inspired patterns in the world. But even then, there are most of these considerations, all of which are fun to ponder—

1. YARN / GAUGE
What yarn you use and how tightly you knit it will determine the character of the finished fabric — this is no less true for log cabin than any other form of knitting. Traditionally, log cabin patterns call for good ol’ garter stitch knitted at a gauge that’s the norm for the weight of the yarn. If you’re working with bulky yarn, that would mean a dense, gooshy fabric, whereas fingering-weight yarn would net a light and drapey fabric. But there’s no reason you can’t play around with gauge! For instance, the Sommerfeld Shawl (included in the Log Cabin Field Guide) calls for lace-weight mohair knitted at a very loose gauge, which takes a traditionally squishy fabric and makes it gossamer instead.

2. COLOR
If your goal is to knit from stash and scraps, you may wind up with a charming crazy-quilt sort of color scheme. Or if you have a palette you naturally tend toward, your leftovers may be inherently cohesive! On the other hand, you may be planning to bust open some fresh skeins for this and exercise complete control over the palette. Will it be bold and graphic, soft and subtle, monochrome, shades of sheep, black and white? Will it involve speckles or stripes? The possibilities are literally endless, and which way you decide to go may depend a lot on the other considerations here. For instance, are you making something to go with your couch or your wardrobe?

3. PATTERN
This whole form of knitting derives from quilting, and quilters are mind-blowing individuals. The myriad ways that simple blocks of color can be lined up with each other to form larger motifs and patterns is its own special rabbithole. With log cabin knitting, there are actually a few different basic blocks to start with — from original log cabin to courthouse steps, ninepatch, etc. Many of these are detailed in the Log Cabin Field Guide, but I recommend googling quilting patterns for inspiration about ways to use color and combine blocks. For example, check out this blog post and scroll down to Log Cabin Variations. The assorted motifs under the Chevron Blocks subhead alone have got my mind racing.

4. SCALE
In addition to gauge, think about how large or small your strips and blocks might be — again, how subtle or graphic. For example, look at the diminutive mitered squares of Marianne Isager’s sweater, Winter, versus the oversized blocks of Mason-Dixon’s Moderne Log Cabin Baby Blanket or Purl Soho’s Half Log Cabin Ombré Blanket. Scale alone can have an enormous effect on the look of your project. (And look what happens when you break up large blocks with stripes, as Terhi did!)

5. SHAPE
And then there’s the question of what it is you’re making! Is it a blanket or wrap, or will you turn your squares/rectangles into something 3-dimensional? Whether that’s a hat, a cowl or a sweater.

I’m working on a post about just that — patterns composed of squares or rectangles that could be filled with log cabin patterning. So look for that soon! And I’ve also started a Pinterest board for Log Cabin ideas, which I’ll continue to add to — although the latest changes to Pinterest mean my notes on the pins are mostly buried. (Why are they so hellbent on making it unusable?!)

Meanwhile, what are you thoughts and ideas so far — do you already know what you’re making? Will it be carefully planned or made up on the fly? Remember, cast on is January 1st! Share your plans below or on Instagram with hashtag #fringeandfriendslogalong.

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PREVIOUSLY in Log Cabin Make-along: Striped cabin

Top photo © Terhi Montonen, used with permission; pinboard here

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Slow Fashion Citizen: Jerome Sevilla

Slow Fashion Citizen: Jerome Sevilla

BY KATRINA RODABAUGH // Today I’m thrilled to share the work of Slow Fashion Citizen Jerome Sevilla of Gridjunky. I’ve been following Jerome on Instagram for several years, and while his craftsmanship, choice of colors and fibers, and his designer’s approach to textiles make him one of my favorite creatives to watch, it’s his use of recycled fibers that actually blows my mind. He makes beautiful hats, scarves, sweaters and bags but oftentimes by unraveling a quality secondhand sweater or tenderly dissecting a family heirloom to be made into new creations. The boldness and thoughtfulness in his approach to materials is something that comes with his passion and commitment to simply make the most beautiful things.

What if the highest quality fibers are out of our price range but we don’t want to settle for their affordable counterparts? How can we shift our thinking of “new materials” and be resourceful in accessing the very best fibers anyway? In Jerome’s case, by unraveling a beautiful Banana Republic sweater or cutting into his mother’s stash of beloved table linens. Combine this discernment for materials with the trained eye of a graphic designer and a minimalist bent on what makes beautiful garments and, well, it’s a powerful result. Jerome’s drive for the most gorgeous fibers combined with his willingness to take apart the materials around him manifests in a particular magic that’s all his own. It’s a refreshing and inspiring approach to truly making Slow Fashion work regardless of budget.

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I love imagining how your work as a graphic designer informs your work with textiles. Can you talk about any overlaps or shared aesthetics between the two?

I think the creative process in general is an important overlap. Visual designers aren’t trained to come up with one idea per project. We come up with ten, or twenty, depending on the concept. Then we start killing the weaker ideas, and nurturing the stronger ones. This idea of “killing your babies” was first introduced to me in high school when I took photography. This was way back when, so we’re talking about chemical photography, with the darkroom, and stinky solutions, and staring at timers, and shaking canisters. And we eliminated bad shots the same way we weed out good ideas. Each roll of negatives was cut and printed en masse onto one print, and you circled the ones you wanted to enlarge into actual prints. Successful designs rely heavily on one’s ability to self-edit. My textile work is cultivated in the same way, where everything starts as a bunch of ugly sketches.

How did you learn to knit? To sew?

I’ve been hand sewing all my life. My mother and grandmother were a constant resource. I grew up making this and modifying that, and it wasn’t really about practicing heritage skillsets, it was just a necessary skill to have. I’ve always been different from everyone in terms of personal style. Being able to modify clothes was a major part of my identity and individuality.

Knitting was one of many things that piqued my interest on the internet. Back then Jared Flood had this blog that I liked a lot. I’m pretty sure it was called Brooklyn Tweed back then, but I could be wrong. There were a lot of people on Flickr back then, too. So I just decided to do it one day, simple as that. Took me about a month to really get the hang of it. That was … gosh, 2009. Wow.

Slow Fashion Citizen: Jerome Sevilla

Your work with recycled or redesigned yarn is stunning. What inspired you to deconstruct that very first sweater so that you could work with that yarn? Weren’t you intimidated to start unraveling?

Thank you. No, it wasn’t intimidating at all. I was really into it! Maybe it’s a creativity thing, but I like destruction. And if I can take something and kill it, and turn it into something else, that’s power. The object represents creative power. I’m inspired by that. That process of destruction and creation is addictive. When I started recycling yarn, it wasn’t nearly as profound. I killed that first sweater because I was poor and had no money for yarn. Technically, this is still the case.

You’ve mentioned cost is prohibitive in buying quality new yarns, yet you’ve chosen to deconstruct vintage garments to gain access to their valuable fibers. This makes me cheer! It’s something I think about so much in my work: Choosing quality secondhand fibers over cheap new ones. But in this equation we choose the value of time — our own time — to locate, acquire, wash, deconstruct, redesign and work with quality fibers over the money of buying new materials. Can you talk about this tension and thoughts about value, about making something new from something old and investing time — sometimes so much time — to access quality materials?

I see it as an act of defiance. Think about the value that this person placed on that sweater. That value becomes zero when they decide to donate it or throw it in the garbage. I defy that assessment of value. The fast-fashion industry trains us to want more, and we apparently do. That’s so stupid. The best silk thread I’ve ever worked with was recycled multi-strand from a Banana Republic sweater. I have tons of it. I’d estimate the value of this black silk at about $100 or so a skein. I’ve sewn with it, knitted it, and wefted it into cotton. That sweater wasn’t worthless.

There’s a minimalism in your work that has such power. Do you consciously try to work with minimalism — paring color, line or composition back as far as possible as you design — or does this just materialize organically as you work?

I just don’t like a lot of fuss. I believe the subject of a work should be concise and clear, and there is nothing easier from a production standpoint than minimalism. I wonder if that’s a terrible thing to say? Either way it’s true. I’m no artist; I’m a designer through and through. Things should be neat and beautiful at the same time. I suppose this goes back to the self-editing thing. Composition requires a conscious awareness of the layout, and how the work is seen. There has to be negative space. In magazines it’s white space. In knitting it’s stockinette (for me, anyway). Patchwork looks amazing when there are long swaths of consistent color.

Slow Fashion Citizen: Jerome Sevilla

Mending, you know it’s my passion. So when I see your work with denim, hand-stitching and mending it makes my heart race. Do you find working with denim and working with yarn to have any similarities?

Well, working with sharps is a nice change from the knitting needles, but it is more physically intensive. I have so many compositions in progress, it’s pathetic. With my knitting, I have a max of two projects, but in sewing I believe I have five or so. In that respect, the two are very different. Sewing is a very quick process most of the time, so I tend to favor whichever project I’d most likely wear. On the other hand, I’ve been knitting this alpaca shawl for two years because I basically hoard the process of knitting. I like picking it up every once in a while. I like that it’s there. Sewing isn’t like that. Either I finish it, or I kill the idea.

In one of your blog posts you wrote, “I guess what I’m trying to say is that the meaningfulness of these fragile things is paramount in my thoughts, and that working with them gives me a very private sense of accomplishment and emotion.” I love this. I’ve been thinking about the connection between healing, mindfulness, and cultivating connection or meaning through slow fashion. Can you talk about the meaningfulness or sense of accomplishment that results from handwork and redesigning fragile textiles?

The majority of my yarn and fabrics is recycled. The yarn was bought second hand as sweaters, typically from flea markets and thrift stores. However, the fabrics are all recycled directly from my home, mostly from my own wardrobe, but some also came from my family. The things I make out of these fabrics carry the memory of our lives, and the places we’ve lived in. They’re not worthless. They’re immensely valuable to me.

Lastly, can you point us to three artists, designers, or makers currently inspiring your work?

Dan Bell’s videos of dead malls, Techland’s FPS survival horror game Dying Light, and Mary Shelley’s Frankenstein.

Slow Fashion Citizen: Jerome Sevilla

Katrina Rodabaugh is an author, artist and slow-fashion advocate. Visit her website www.katrinarodabaugh.com or follow her on Instagram at @katrinarodabaugh

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PREVIOUSLY in Slow Fashion Citizen: Rebecca Burgess and Fibershed

Photos © Jerome Sevilla, used with permission

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Someday vs. Right Away: Mosaic knitting

Someday vs Right Away: Mosaic knitting

Maybe the reason I keep saying I want to try my hand at mosaic knitting but never actually do it is that I keep favoriting blankets and scarves, and I apparently don’t knit blankets or scarves! Even Dami Hunter’s Southwest-inspired Kiva wrap (top) isn’t allover mosaic like some others I’ve daydreamed of knitting, and yet it’s a Someday project for me nevertheless. Meanwhile, Andrea Mowry’s new hat pattern, Tincture, is bite-size mosaic, highly tempting. Or there’s the possibility of a dishtowel or washcloth-sized appetizer such as Purl Soho’s Slip Stitch Dishtowels (free pattern).

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PREVIOUSLY in Someday vs. Right Away: Brioche tasting

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2017 FOs 14-16 : Pants and more pants

2017 FOs 14-16 : Pants and more pants

The most momentous thing for me this year, as a person trying to make most of her own clothes, was deciding to make pants as a part of my Summer of Basics. I think it’s at least as life-changing as having decided to make sweaters a few years ago. (Note that I’m saying “deciding” and not “learning” — making pants is sewing, and making sweaters is knitting. They are just different applications of those skills from what I had previously done, and it’s genuinely more about simply deciding to do it than anything else.) Up until a few months ago, the one giant piece of the wardrobe puzzle that I felt I couldn’t exert control over was pants. And that’s a big one for me since, A) I wear pants about 98% of the time, not being much of a skirts/dresses girl, B) I have fit issues with pants (most women’s pants don’t fit me) and C) I am incredibly picky about the shape of my pants. So to have such a key and complicated aspect of my wardrobe be at the mercy of others has been a lifelong challenge. And to have cracked that nut is enormous.

Certainly sewing jeans was a big effing deal, but these “toddler pants” (as I really need to stop calling them) have had a way more dramatic impact on my closet. And they’re so simple to make! Hence why I’ve now made 4 pairs of them. My lifelong preference is for wide-leg — I watched a lot of Katherine Hepburn movies when I was in high school — and that’s obviously a thing that comes and goes from stores. So I’ve always had to stock up when I find a pair I like. Which might also explain why I immediately cut out 3 more after making the first pair.

These are all essentially the same as my olive-green modified Robbie pants. To recap: I use the leg pieces from that pattern, with a few fit tweaks (noted below and previously), but with my own pockets and a 2″ waistband. Barring any dumb mistakes, I can cut and sew a pair in about 3 hours, so I’m tempted to cut up a lot more of my stash into these exact same pants. The exaggerated shape and utility pockets are both really current and really always-me, and the elastic waist suits my life. Not only do I do a lot of bending, lifting and hauling things, squatting or sitting crossed-legged on the studio floor shooting photos, etc., but comfort is just really critical to me. If I’m not comfortable in my clothes, I’m distracted by that, and with my daily to-do load I can’t afford to be distracted. So for all of those reasons and more, these pants have been a godsend.

2017 FOs 14-16 : Pants and more pants

FO 14: DENIM
These came right after the olive ones and are identical. After marking a change to the pattern to lower the waistline in the back, I forgot to actually do that when I cut them out. Whoops! I also bought stretch denim by accident (at Fancy Tiger while I was there) but just went with it. These are currently my favorite pants, but they are rather heavy in this heavy-weight stretch denim. Next pair will be lighter and non-stretch.

FO 15: NATURAL
When Kristine Vejar was in town to teach in September, she brought me the most thoughtful gift: a length of Huston Textile’s Union Cloth — climate-beneficial California wool and West Texas cotton, woven in California — that happened to be exactly enough for a pair of pants. It’s incredible fabric, unlike anything I’ve ever owned. And as you may have seen, I was sewing with it on the day of the Climate Beneficial Fashion Gala to console myself for not being able to be there — cruising along, feeling pretty pleased with myself … when I absentmindedly attached my waistband to the wrong side of the pants. And serged the seam allowance. If you’ve ever worked with fabric off a smaller loom like this — where there are fewer, larger strands per inch — you know how shreddy it is. And of course I had used a nice tight stitch. So ripping out the construction seam was a painstaking operation, done a little at a time, and then I had to actually cut off the serged edge to separate the waistband from the pants. So these wound up with a 1.5″ waistband instead of 2″, and they’re slightly lower waisted. But they’re kind of perfect, for all that. As special as they are, I’m going to try not to treat them as precious.  Although you probably won’t find me cross-legged on the studio floor in them …

FO 16: CAMO
These were the third to be cut, and their whole reason for existence is so I can wear my beloved old camo pants much more sparingly for however much longer they manage to last. These don’t begin to hold a candle to those spectacular old dears, but they’re pretty great. For this pair, I did lower the back waistline about an inch and I also trimmed away some of the “excess” fabric in the butt and legs (due to my flat ass). So the fit of them is a little more traditional, but I really prefer the baggier ones. This fabric is the dead opposite of the natural pair as far as origins — it’s made in China, purchased from JoAnn online. It’s also on the thin side for pants, despite the product reviews on the website. If anyone knows of a more earth-friendly, heavier duty camo source, please let me know!

To see copious pics of the denim and camo pairs on me, in combination with my other garments, see my 20×30 outfit recap. The natural ones up top are pictured with my Channel cardigan.

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PREVIOUSLY in FOs: The purple lopi pullover

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Q for You: What’s your picky fit detail?

Q for You: What's your picky fit detail?

I’m pretty sure we all have a pet peeve or two, garment-wise — the little fit detail that can make the difference between most-worn and never-worn. Last weekend, I was posting on Instagram all the gory details of how I’m nailing down the exact length of the sleeves on this vanilla cardigan. Sleeves and neck shaping are the two potential deal-breakers for me. I can’t stand a garment that shifts around on me during the day, requiring me to tug at the neckline all the time, and same goes for sleeves. I want them out of my way, which means they’re either pushed up or rolled up most of the time. If a cuff is too wide to stay put when they’re pushed up — creating that perpetual push-and-slide scenario — I might actually lose my mind. And if they puddle on my hands when they’re pulled down, I definitely will. As I said the other day, I find this matter of sleeve length just that much more important on an oversized sweater like this. I want this cardigan to be nice and slouchy; I don’t want to look (or feel) like I’m swimming in it.

For me, that difference can be like a half an inch, and even though I have a blocked swatch and correct gauge and good math and preferred dimensions and all of that, no two sweaters sit or hang on the body precisely the same way. So since this one is top-down, what I’ve done is knitted one sleeve to just before the bind-off point and blocked it. Once I put it on, it was easy to see that it’s 6 or 7 rows too long — it already covers the top of my hand even without the bind-off row, whereas I want it to hit right at my wrist bone. So I’m ripping back the sleeve to 7 rows before the cuff, redoing the ribbing, and then it should be perfect. And I won’t have to worry about being institutionalized over a sleeve! It’s an easy enough thing to nail, and worth taking a minute to get it right.

So that’s my Q for You today: What’s the make-or-break fit detail for you — whether it’s a hat, socks, sweaters, whatever — and what do you do (or do you?) to get it just so?

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PREVIOUSLY in Q for You: What do you do with your unworn FOs?

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Wardrobe Planning: November sweater weather!

Wardrobe Planning: November sweater weather!

We went from days of sleevelessness to boots and sweater weather almost simultaneously with setting back the clocks. Sunday was the most perfect early-Fall day imaginable — trees in full color, the ground littered with leaves, and a breezy 78 degrees — and we literally woke up to cold and rainy early winter on Monday morning. The funny part is that on Sunday I was telling myself It’s cool, no need to be in a hurry, and was mapping out an outfit plan in my head that was all about faking sweater weather. (E.g. cowichan vest with tank dress and boots!) Then whoosh, and suddenly I’m standing in front of the closet dumbfounded and planless again.

Here’s the thing I’ve noticed while doing these wardrobe plans over the past year: They’ve slowed down my drive to make or acquire new things and have shown me how to get more mileage (i.e. more outfit combinations) out of the things I own. There’s still that old habit, though, of looking ahead to what’s new or in-progress or on my wish list rather than just concentrating on what I already own. And now there’s this whole new element of having laid out so many outfits over the past year that have never even been worn! So this next little plan is all about going backwards — digging up the unworn outfits, the favorite combos from the past few seasons, and the things that can become new again with just the addition of a cardigan or jacket, a switch from sandals to boots. And this time — for the first time since I began this — I’m not including anything in the plan that’s currently a WIP. Which means I’m also only thinking through the end of November, keeping it a little light still, and yes, looking forward to having my vanilla cardigan and natural wool pants to play with in December.

Wardrobe Planning: November sweater weather!
Wardrobe Planning: November sweater weather!
Wardrobe Planning: November sweater weather!
Wardrobe Planning: November sweater weather!
Wardrobe Planning: November sweater weather!

For details on all of the garments pictured, see my Fall Closet Inventory + camo/denim toddler pants post coming as soon as the natural ones are finished (soon!), but they’re all basically the same as the olive pair, with assorted variations. The black ankle boots are Everlane, and the tan flats are identical to my silver ones, handmade by Solid State Studios. An early holiday treat for myself!

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PREVIOUSLY in Wardrobe Planning: 20×30 outfits and after-thoughts

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