Some Thoughts On Intellectual Property

Recently I have had a series of discussion with people on the topic of paying for patterns and respecting intellectual property. These people include Alison Crowther-Smith, Kate Davies, Sarah Hatton and Helen of RipplesCrafts - and as you can imagine, these ladies had very interesting things to say on the topic (and you can see Alison's thoughts in her link). I also followed a Ravelry thread with some interest; it was called "What patterns do you resent having to pay for?" and was a meandering debate on having to pay for uninteresting patterns in knitting magazines. And then there was the Danish blog I stumbled across which was somewhat laissez-faire about offering to translate paid patterns and distributing them for free. It all made me want to sit down and write a blog post about how I see it as a knitter, as a small-scale designer, and as someone who works for a yarn company.

Today I have been sitting for two hours charting a colourwork hat. Once I am done charting, I have two different set of decreased crowns to swatch before I can sit down to knit up the sample, block it, set up a photo shoot, do some post-shoot colour correction in PhotoScape, and then I will sit down to write a pattern. Normally I would then do pattern support for knitters who are unsure about charts or who need help finding a yarn substitute. If it sounds like work, it is because it is work.

Would I be upset if people started distributing one of my pattern for free? I would. Not only would it mock the amount of hours I put into a pattern, but it would also have real-life consequences in form of unpaid bills. That is right: I rely upon my design work to pay bills. It is a job, after all.

Stephanie Pearl-McPhee had a great blog post last year in which she wrote about knitting as work and the need to combat attitudes like "Knitting isn't an industry that needs to be taken seriously. Knitting is fun, and nice and so are knitters". Her reply deserves a highlighted quote:

I think most of you like to be paid for your work, besides, people do better work when they're paid.  The exchange of money for time and effort is a good way to make sure that people have the time and attention to do a good job, and you know what makes knitting more fun? Patterns with fewer errors because a proper test knitter did a good job.

As for the seriousness of the knitting industry, I don't really see how you can imagine that there aren't a lot of people taking it seriously.  I bet your local yarn shop owner takes it super seriously, right around the time he/she has to pay the rent.  I bet yarn companies (big and small) take it seriously too.  You know who else? Designers, test knitters, tech editors... all those people take it really seriously.  For you it might be a hobby, but for a lot of people trying to support their families in this industry it would be amazing if most of us could at least agree that there could be and should be an idea of what jobs are worth what money.

This is also why I do not resent sock patterns or baby cardigans appearing in a knitting magazine. I may have indirectly paid for these patterns although I will never knit them - but I will also indirectly have kept a dozen of people in work because I paid £5 for a magazine with 15 patterns. Employment is cool.

Three times a week I work for a yarn company. I meet a lot of knitters and 99% of them are cool, fun, sweet and fabulous. Unfortunately I do meet a tiny, tiny handful of people who refuse to pay for patterns, who demand that I photocopy from a book for them, and who tear out pages of a pattern book.

I always try to explain why I cannot photocopy a pattern and why a pattern typically costs £3 - I believe it is as much about education as anything - but my brain cannot process why anyone would vandalise a book by tearing pages out of them, let alone risk getting in trouble with the police because - rest assured - security personnel will get the police out if you are caught. It is a knitting pattern. You are destroying private property because of a knitting pattern. This is not about a lack of knowledge - this is wilful theft.

Knitters love to talk about 'handmade' and 'slow fashion' and 'shop locally' - why not include 'valuing intellectual property' (though it needs to sound snappier). I don't want to start a discussion about copyright because every country is different (and, in some cases local copyright laws were written in response to antiquated technologies and are in dire need of being updated). I would, however, like to open a discussion about best practices, about moral obligations, and about communal education.

In fact, I would love to read your blog post about this.

Wip-ping Along

These days I struggle to write eloquently about what I am knitting. It used to be that I could snap a photo, link to a pattern and wax lyrically about the process. As I now tend to design my own patterns and work on things that will not be unveiled for another six months .. well, it kills the sharing bug a bit. But let's see if I cannot circumvent the whole "cannot show & cannot tell" thing. WIPs July 2012

Pictured: a hat. This hat design (along with the matching fingerless gloves) was the first design I sketched when I started working on my Doggerland collection. It sums up the whole collection for me: a controlled colour palette, very  clean and geometric lines, and that little hint of the natural world to it.

I am knitting the sample in Rowan Creative Focus Worsted. I set out to design Doggerland using yarns from the North Sea/North Atlantic region but I could not resist the wonderful light grey - Nickel sh 401 - when I saw it. The CFW also had two other colours that were exactly what I wanted, so even though all the other Doggerland designs will be knitted using local-to-me yarns, this hat & gloves set will be slightly different.

On the plus side, it should be easy to find local-to-you substitutes with a worsted weight.

I should finish the hat this week and begin work on the gloves. After then I will start to work on a mini-collection in collaboration with a well-known indie yarn dyer. I cannot say much more at this point - mostly because we are still working out the finer details.

So, I am kept busy.

But I do find time to work on something that has nowt to do with collections.

WIPs July 2012

This is a little black shawl which may or may not end up a free download. I have been knitting it at knitting groups lately as it is marvellously portable.

I am using Lopi Einband, a fantastically sticky and rough-and-tumble lace yarn from Iceland. I bought in Denmark some three years ago and I never really knew what I wanted to make with it as it is not your standard soft, drapey lace yarn.

So, it is now becoming a straightforward triangular shawl with easy pattern repeats and chevrons (I am currently obsessed by chevrons). I don't expect the shawl to be finished anytime soon as it's just a for-pleasure knit.

Speaking of for-pleasure knitting.. I plan on making this beautiful cardigan for myself as soon as I have cleared my table of work knitting. And anyone who dreams of making an Icelandic jumper will do well to look at this website (esp. if you dream of designing one for yourself)

Finally, a big congratulations to Vivienne who won the copy of Coronation Knits from my give-away. Huzzah!

Coronation Knits by Susan Crawford

Go make yourself a cup of tea, butter your scone and get comfy. This is going to be a dose of loveliness. (And there is a giveaway at the end! Giveaway now closed!) There are some designers whose works are so distinctive that you don't need to look at a label or a tag to know who made a particular item. This is true for catwalk fashion design, of course, but also true for the very best of knitting design.

To my mind, Susan Crawford's work is instantly recognisable as hers. Her designs are informed by fashion history, always impeccably finished and oh so very British. Her work is nostalgic, but in a very wearable, contemporary way: these are designs to knit while you are watching Brief Encounter or A Matter of Life & Death in your 21st century flat.

Susan has just released Coronation Knits - a lovely collection of 14 designs inspired by the late 1940s and early 1950s. I was given a copy some time ago (such a huge treat!) and absolutely loved what I saw. The book plays right into that young girl who subsisted on Nancy Mitford novels and David Niven films when growing up in Nowheresville, Denmark. Susan's book makes me yearn to be impossibly elegant and witty with a rich, plummy accent. Maybe if I knitted that twinset jumper..?

.. well, I would look absolutely ravishing, of course, but there is no disguising those Scandinavian vowels of mine. Alas.

Then Susan sat down for a conversation with me. As you do.

To me, your work is always unmistakably British - and Coronation Knits is, of course, as British as you can get. Could you say a few words about what you think British style is and, if you think it exists, how it informs your work?

"I too look at my work and can see something ‘distinct’ about it, and I guess that distinction is as you say, unmistakably British. I think British style does exist but it is not just one style or a particular look. I think it comes from an absorption of (..) the landscape, heritage, textile traditions and history, dressmaking and tailoring aesthetics along with design, art, interiors, fashion history and much more. Added to that our 'interesting' weather, drafty old houses, being outdoors in all climates, even frugality and you begin to create a combination that seems to evolve into a British style.

I don't think any design is done in a bubble, we are all influenced either consciously or unconsciously by things we have seen, read, touched but I think those listed above with a good helping of film and social history thrown in are the primary influences on my work. I love how fashion is linked to social changes happening at any given time and I try to explore the connections between the two in my work."

How did you approach Coronation Knits? Did you have set ideas in your head or were you surprised by the direction CK took you?

"I didn't have any designs in my head when I first started thinking about Coronation Knits. More an abstract concept about connecting my interest in this particular period of British history with a very themed collection of patterns. From that point of view the direction the book took has remained very true to that original concept but how the designs developed into such a real 'collection' has surprised me, especially considering the short time frame the book was created in.

I was nervous before commencing the project as to how quickly I would get back in the designing 'groove' after spending over two years working almost exclusively on A Stitch in Time Volume 2, which doesn't allow room for personal design ideas. However as soon as I began designing the ideas flowed and this was most definitely helped by having already created a specific theme to work to. I enjoyed the process so much I would really like to work this way again."

When I think of your work, I always think of it as being soft and feminine. I was intrigued when I saw your mens' sleeveless pullover - it is very much recognisable as your work, yet it is obviously very wearable for any gentleman of discerning taste. Was it a challenge to design a menswear item?

"I've designed menswear before and often get asked by men to do more menswear but its just one of those things that is on the list to do when time allows. However I really wanted to include some menswear in this book. I deal a lot in shape and fit and using the body to create that shape which is very different to how most men think of their clothing I would imagine. I used to make men's tailored suits and learnt a lot about the fit of men's clothing through that so hopefully that translates into my knitting patterns. I also know a fair number of male knitters and wanted to design something which would be interesting to knit if you were knitting for a man or are a man who knits. Having knitted the sample garment myself I found the pattern moved along nicely and helped me feel that I was covering big chunks of length each time a pattern repeat was completed. I know the Coronation Sleeveless Pullover is quite a statement but I think the muted colour palette really turns it into a very wearable garment."

(This sleeveless pullover is one of my favourite pieces from Coronation Knits, actually. Far too often designs for men equal baggy, dull jumpers in safe, dark colours. No man of my acquaintance would ever wear such shapeless things and it was so wonderful to find a fitted and quirky menswear piece in Susan's book! Huzzah!)

 

Finally, the book looks absolutely gorgeous. It is an absolute joy to look at. How did you go about styling it?

"As a vintage clothing collector I do have a lot of bits that I have collected over the years – hats, scarves, bags and jewellery in particular, but clothes, shoes etc as well. The main difficulty this time was having chosen the red, white and blue theme all the props had to fit in with that theme too so it did involve quite a bit of searching. Fortunately I have some great contacts who work with vintage fashion who help me out when I get stuck and who came up with some key pieces on this occasion.

I had decided from the very beginning of the project to use the 'Royal Route' background that you see in every image. This original illustration from 1953 was the perfect backdrop for the designs and made it much easier to theme. I also have hundreds of magazines and books from this period and both my models, my daughter Charlie, and her boyfriend Denis, spent a lot of time studying the magazines to identify poses that were appropriate to the time frame. They really worked it and brought the images alive.

Gavin, my husband, is the Graphic Artist on all our projects and he has an amazing eye for detail and can make any page look better just by minutely adjusting something. It really is a team effort and I hope it shows in the finished results."

It does indeed look gorgeous - as I am sure you can tell from the photos. Isn't that Diamonds Is Forever jumper just lovely? I can just imagine myself wearing it with a little pencil skirt to a certain little retro tea shop in my neighbourhood. And, you know, I bet my 16-year-old Mitford-reading, Niven-watching self would say I was the height of glamour.

You can purchase Susan's book here but Susan Crawford has generously offered me an extra copy to give away to a reader.

Thank you, Susan!

In order to win this, I would love to know which piece from the book you would knit and where would you wear it? Giveaway runs from Saturday July 7, 2012 until Saturday July 14, 2012 8am GMT.

This blog post forms part of the Coronation Knits blog tour - please go visit all the blogs on this tour - they are all great reads.

12th June 2012 - More Yarn Will Do The Trick - Jean Moss 16th June 2012 - JenACKnitwear  - Jen Arnall Culliford 18th June 2012 - The Icelandic Knitter - Helene Magnusson 20th June 2012 -Knitting Institute - Knitting Magazine 24th June 2012 - Ingrid Murnane Investigates - Ingrid Murnane 28th June 2012 - Domestic Soundscape -Felicity Ford 29th June 2012 - Sheep To Shawl - Donna Druchunas 2nd July 2012  - The Making Spot - Simply Knitting 6th July 2012   - rock+purl - Ruth Garcia-Alcantud

-- 10th July 2012 - By gum, by golly! - Tasha 14th July 2012 - tomofholland - Tom Van Deijnen 18th July 2012 - Woolly Wormhead - Woolly 22nd July 2012 - Crinoline Robot - Mim 25 July 2012     - Sexyknitter.com - Sarah Wilson

Therapy

I was grumpy yesterday. I was so grumpy (and whiny) that my partner started laughing hysterically every time I said something. It did not help.Yesterday I hated humanity. I hated the world. I just wanted to curl up in a ball and not interact with anything or anyone at all. Snarl. But I mellowed. I treated myself to some of my favourite things and I got into my comfort zone. This is how I eventually returned to normality:

  • Tea. A strategically timed cup of hot, milky, strong tea with plenty of sugar. I am normally a coffee fiend, but tea makes me happy.
  • Some old favourites on my iPod: Finn Brothers' dark and atmospheric Suffer Never hit the spot as did Crowded House's wistful, mysterious Kare Kare.
  • Knitting in bed. I am currently working on a shawl pattern with a release date ultimo September. I loved working soothing lace repeats with  Juno Fibre Arts' "Belle". The feel and handle of the yarn is extraordinary.

My other half is off for a second blissful day of Glasgow Comic Con (yesterday he met Grant Morrison, if that means anything to you. Dave told me it was A Very Big Deal). I think I shall flex my toes, have a long bath and then continue my therapeutic dose of 90s moody Antipodean pop, tea-drinking and knitting. And breathe.

Scottish Textiles Heritage - A Day in Paisley

You may remember that I have been involved with the University of Glasgow and their work on Scottish textiles heritage. Most of the talks from the workshops are now available to download from iTunes.

On a very related note, I travelled to Paisley today to have a closer look at their textiles heritage. Paisley is a town just south of Glasgow and it is steeped in textiles history - not only did it lend its name to the paisley pattern and the Paisley shawl, but it was also home to many textiles mills and weavers. Be warned - this is going to be a picture heavy post. For the full set of photos, do go to the Flickr photo set. Paisley Textiles Heritage

Mile End Mill is no longer a working cotton mill, but it used to be a part of Anchor Mills, home of Coats & Clark and the world-famous Anchor threads and crochet cotton. Coats & Clark still exist today and they still produce the Anchor threads, of course, but the company has left Paisley (though the Anchor emblem is scattered throughout Paisley as are statues of Messrs Coats and Clark). Today the Mile End Mill is a business centre with a gym and a nursery attached .. and a museum.

Paisley Textiles Heritage

The Thread Mill Museum is symptomatic of many local museums: it has practically no funding and is run by volunteers - most of which are former mill workers who delight in talking about their former workplace and in keeping the memory of Paisley's industrial past alive. We were greeted by the lovely Eleanor who took us around the small space. There was much to interest the casual textile enthusiast.

Paisley Textiles

Many of the machines on display had been rescued from skips or recovered by former mill workers.

Paisley Textiles Heritage

Boxes of brightly coloured crochet cotton. 1970s?

Paisley Textiles Heritage

Various stages of cotton thread production - from raw cotton via bobbins to finished dyed thread.

Paisley Textiles Heritage

Mill workers leaving the Anchor mills, 1950s. Note the "mill wheel" on the gatehouse.

And that was what really struck me. When we visited, there was a small group of elderly ladies chatting in the room whilst leafing through photo albums. It soon became clear that when the last cotton mills finally closed in the late 1980s, Paisley did not just lose a lot of jobs; it lost a sense of community. The mills had not just provided a paycheck, but also a social structure around which lives were constructed. Tellingly, when a supermarket chain opened a new store in the mill area, it branded its building with anchors. We belong here, it screamed to me, and you belong to us.

Paisley Textiles Heritage

Paisley's weaving industry can be examined in the Sma' Shot Cottages - a small cluster of buildings a short walk from the mill complex. They are found in Shuttle Street (Paisley street names are fantastic markers of textile history). I really enjoyed these cottages - I did not know nearly as much about weaving as I did about cotton mill production - and I found the place fascinating. Material history and social history twined together.

Paisley Textiles Heritage

This sock-in-progress was too lovely not to photographed. One of the local guides was busy spinning yarn on her wheel when we arrived. I wondered if this was her work too?

Paisley Textiles Heritage

A 18th century loom still in use today.

 The weavers of Paisley had a dispute with their employers in 1856 over the sma' (small) shot thread used to bind the weft and warp threads. As the sma' shot was not a visible part of the shawl, employers refused to pay for the thread leaving weavers to purchase the thread themselves. The weavers organised and eventually the employers had to back down. Paisley celebrates a Sma' Shot day today - the first Saturday of July - by staging a rally and burning an effigy of an employer. Ouch.

Paisley Textiles Heritage

Paisley museum has an entire section devoted to Paisley shawls, as you might imagine. Sadly the museum is being refurbished and you can only access the shawl gallery by a side door. It is well worth the effort, though. The museum has some beautiful looms with great educational material displayed. And they have shawls. Photos do not do the shawls justice: their colours are deep and rich, and the patterns are intricate and exotic. The shawls were (mostly) woven using jacquard looms with punch cards (as pictured). Many of the punch cards reminded me of knitting charts.

Paisley Textiles Heritage

I found it particularly interesting to see how fashion had an impact on the Paisley shawls. The stoles were particularly popular during the Regency period. The 1820s and early 830s favoured triangular shawls (the notes on these shawls called to mind knitted triangular shawls) and later squares became popular. The Paisley shawl was finally undone by the bustle - you did not want to hide your bustle under a shawl nor did you want anything to hide that tiny waist above the bustle. I have always been a fashion history geek and I had a bit of a moment there and then.

Paisley Textiles Heritage

The refurbishment meant the Textiles Department was in a bit of a disarray but we were lucky enough to meet up with Dan Coughlan who works as the Curator of Textiles at Paisley museum. This proved to be my personal highlight of the day. Unfortunately we were not able to leaf through the museum's collection of paisley pattern books, but we saw photographs as well as various types of looms. Dan also spoke passionately about the need to highlight not just Paisley's but Scotland's textiles heritage. I could not agree more.

Paisley Textiles Heritage

It was raining all day long but I did not mind the rain. There is such a rich seam of textile history in Paisley and it is a shame that this is not discussed with same fervour as Bradford or Leeds.  I wish funding was in place to fully support Paisley's textile and industrial heritage - as it stands, much depends upon volunteers to keep places running. Do visit and do support the hard work all these people are doing. I learned a lot today. I think you would too.