In 1998 Sally Tuffin, a pottery/designer reported to me that a pottery at the top of Scotland was using my books as inspiration for their highly decorated stoneware. My assistant Brandon Mably and I immediately traveled up to have a look and were staggered at the beauty of landscape in this remote corner of the British Isles.
We were welcomed with open arms by the busy studio and invited to try designing our own pots. It took many try's to get the hang of the glazes which are very different colours going on the biscuit ware than they are when fired to high temperatures. For instance, the deep brick red is off white before it is fired. Celadon is deep pink, and dark purple is grey. After many disasters I'm feeling more confidant with more than half my attempts coming out as intended. David Grant (a fine potter and founder of the pottery) is a great encouragement and Richard Dennis (Sally Tuffin's husband) who runs a well-respected gallery in London helps us with pricing and marketing.
I thoroughly enjoy the spontaneity of decorating pots which is more physical to me than easel painting and the unexpected effects of the fire adds hugely to the excitement of each kin opening. I recommend anyone who is curious about this pottery to travel up to the stunning northern landscape with mossy stones and beautiful tender light. The ancient hills and lochs thrill me every time I travel the road up to Lochinver and the Highland Stone ware pottery.
If you want to find out more about Highland Stoneware at their website
Caravan of Quilts
Preface to Kaffe Fassett's A Caravan of Quilts
Most people know that I am interested in low-contrast colour harmonies, but for those who do not, I should explain that I get a sense of drama in my quilt designs from building up pools of colour rather than from startling dark and light contrasts. Therefore, I like to use fabrics that are very similar in texture and colour to create quilt designs that employ similarly subtle changes. The collection of fabrics that I have designed for Rowan form the basis for the quilts in this book and allow me to explore these values.
The title of this new book, 'Caravan of Quilts' - the sixth in the Rowan series - sprang from a gorgeous set of old gypsy caravans that we found in the English New Forest. Gypsy caravans are renowned for their wonderfully rich and patterned decoration. I think this mirrors the art of the quilt maker, so they provided us with a wonderful background against which to photograph some of the quilts in this book, in particular the 'Wheel of Fortune' quilt on the cover and the 'Gilded Frames' floor cushion project on page one.
To continue the theme of pattern on pattern, we shot the remainder of the quilts at the house of a friend, who is as enthusiastic a collector of decorative arts as I am. As you can see in the shots of many of the quilts, he has painted his house, a former Victorian vicarage, in the most wonderful, off-the-wall palette of colours. The rich and varied background, and the wonderfully eclectic artifacts, turned out to be the ideal choice to echo the different moods of the quilts in this book.
'Caravan of Quilts', as with the previous books in the series, showcases the work of a group of designers as well as my own. I am very glad to be able to introduce some new names to the group of those who already design quilts in the series.
To the original group of Liza Prior-Lucy, Pauline Smith, Mary Mashuta, Roberta Horton, Sandra Donabed and Brandon Mably - all of whose work always delights - we have added a couple of interesting new designers, each contributing their own particular style and colour choices. It is nice to include the fresh colours from Oregon of Betsy Mennesson. I should point out that Betsy's quilts also have a secondary appeal: the reverse side is made of up of a patchwork of shot cotton which is particularly attractive (a detail of this can be seen on page 15). I do think the back of a quilt should relate in some way, even if by contrast, to the front of the quilt. In addition to Betsy's work, we also have the subtle colour palettes of Gill Turley from England. -- Kaffe Fassett
Each season we add a collection of new fabrics to the existing range and each collection has its own unique design source. The fabrics are woven in India and I find sourcing them a thrilling experience. It is a delight to go to a country that is obsessed with textiles and where they still create extraordinary weaving and wonderful embroidery of every type, texture and colouring.
I sit sometimes for four or five days, going through archives dating back for decades. From these I pick out various ideas that catch my eye - perhaps the corner of a fabric which might translate into an entirely new and modern design. Other ideas can spark off a new collection, as well as build on the existing designs. One new set of fabrics, such as the Ikat stripes, based on the famous traditional dyeing technique, has inspired in its turn a totally new kind of stripe that I shall be adding next season.
Our printed range is manufactured in Japan and Korea. One of the driving inspirations for the new prints in my range this year is a flirtation I'm having with antique quilts at the Victoria & Albert Museum in London. I am currently working on a book that will portray my version of some of the old English quilts in the museum. When you look at them carefully you see that a lot of the fabrics are extremely simple two- or three- colour designs that read well, singing out in the mélange of patterns.
As it is difficult for me to design a very simple fabric and launch it in the market I have combined four simple ideas in each of two new fabric designs - one is called Organic Stripe the other is called Swiggle Stripe. These have been created in various colourways. It never fails to surprise me how much mileage one can get out of each of these fabrics.
The best example of this in our new collection is the 'Big Bang' quilt. It uses five colourways of these two fabrics, plus just two other prints for the entire quilt. When you glance across the surface it looks like at least 20 different fabrics!
The other textiles in the current collection that I developed in India are Double Ikats. These are very graphic ideas that make a crisp profile. Polka is a simple dot motif, and the other is a two-colour check called Checker Board. They are constructed of a two-colour dyed weft woven on a two-colour warp. Getting the design to join up is a very exacting and time-consuming process that can only be done by hand. The result has a rustic charm that is exactly what I was after. When we were in India researching this collection, we visited the village that specialized in this ancient craft and watched the dyers tie, dying the warps and wefts. For close-ups in a quilt see pages 10 - 11 as both fabrics are used in Roberta Horton's 'Tree of Life'.
The third group of fabrics being launched are Pansies, Kashmir, and Paper Weight - which was inspired by a paperweight I saw in Liza Prior-Lucy's house. It is similar in design to the very popular Roman Glass but a little more intricate. I have a great fondness for dotty, spotty fabrics which seem to find an enthusiasm amongst my fans. These three new designs are small scale, intricately detailed fabrics that will work well with previous patterns like Roman Glass and Peony.
I hope that you have as much pleasure in creating these quilts as we did designing and making them and that you find our new fabrics a source of future inspiration.
This article was written by Susan Berry for the new patchwork magazine 'Caravan of Quilts'.
'Princess Primavera' by Kaffe Fassett for the town of Bath
King Bladud's Pigs in Bath was a 2008 public art event to celebrate Bath, its origins and its artists - and provide residents and visitors with artistic enjoyment. Over one hundred decorated pig sculptures were on display throughout the summer around Bath and beyond.
Artist's Journal - Kaffe on Approaching Design
When I receive a commission to design a collection, I usually am given a chart of colours that are available to me for that season. I send for a ball of each colour I fancy and spread them out before me, letting my mind roam across the colours, seeing if any general idea is spurred by this particular range. I then go to my vast collection of source books, books on textiles of all sorts, from carpets to dress prints, but even more useful books on decorated surfaces like tile walls, mosaics, pottery, beaded bags or fans. All might reveal an idea that seems exciting for these colours. I then take some graph paper and draw out the motif that caught my eye. As you know, each tick on graph paper will become a stitch of knitting. If I plan to shade a flower shape or other form in my design, I will merely outline that shape on the paper and shade as I come to it while knitting. I don't bother to draw out all the colour changes. The same with streaky atmospheric backgrounds, no need to make rows of ticks for all the changes of tone. Just be careful that whatever colours you pick for this multi-toned ground really do contrast enough with the foreground motif so that it reads clearly. You don't want a mush of tone with motif indistinct from the background, unless you want an old, faded antique look which might be charming.
My favourite knitting when I am in a hurry or travelling is to memorise a simple geometric like tumbling blocks, steps or Persian poppy, make a selection of colours and just knit away. This way I can just concentrate on the colour harmonies and not have the inconvenience of making sense of a graph.
Following a graph is perfectly easy once you get used to it. I cover everything above the line of knitting I am doing at that moment; you knit from right to left on your knit row and read from left to right when returning on the purl row. A secret to making your own graphs is to pick motifs or subjects that are bold simple shapes. Single flowers rather than multi-petalled double ones, objects that have a clear, readable silhouette. Once you have that outline, you can imbue the shape with as much colour as you like, a contrast centre to a poppy or just a warm blush of tone in hombre shading.
Many of my flowers and fruits, you will find, are done in a simple 2 colour a row format, as this is easiest, but always feel free to add extra colours to a row for a richer effect. I think you will find that these simple 2 colour a row images are quite effective, and you can easily get bogged down trying to follow a graph with too many colour changes in the row, especially if there are only a few stitches of each colour close together.
When there is only one motif, you can repeat it over a garment by staggering it or placing the next row of motifs directly above the first set. This makes a formal, solid feel - staggered by staring the next row of motifs half-way into a motif, so that this row sits between each of the first rows of motifs, having a more organic, natural flow).
If you have never tried fairisle or 2 colour a row knitting, you might want to play with colour in simple, 1 colour at a time stripes. Why not take all the stripes of that nature in the book and do a delicious, changing - stripe jumper in a group of colours (light or dark) that work together. As long as you have enough of each stripe (say 40 or 50 rows) you could do the back, front and each sleeve in a completely different set of stripes – this could result in a very young and spirited jumper. A good first fairisle project would be a sampler scarf - take at least 3 of the border ideas and knit those in the first dozen or so rows of the scarf. Next take a sequence of all over geometrics like tumbling blocks, followed by stars, followed by Persian poppy, and then mirror the image back through this sequence, ending with 3 or more different borders.
A cushion is another excellent trial item - knit a square of one big flower or several smaller ones, then make a mitred border on all four sides using the dot border, paisley stripe or small flower border.
A child's sweater is a perfect little project that can be made very personal and quite magical by using several borders and motifs from each of the chapters. I make little garments all in one piece. You can start and finish one or two on a holiday, packing a supply bag of a colourful bouquet of coloured yarns of similar gauge, your pattern source book and your imagination – I do some of my most inspired work away from the studio in this way. It's a wonderful antidote to long delays in travel these days.
A simple hat can be made by knitting a band of fairisle that fits round a head, then crochet round to complete a top, another row or two on the bottom to firm up the shape – quick and effective. When you have put your toe in the water of colour knitting you will either be running smartly back to your cables in one colour or be excited to try large projects.
I've long been an admirer of a type of paisley design that is laid out in stripes of different colours with small motifs running through them. The simple row-upon-row elegance of these coloured sections could be achieved by knitting similar sized borders one after another right up a shawl or long waistcoat or done vertically on a wide coat. This could be easily knitted by starting at the cuff and knitting across the garment so knitting is sideways on.
You could take the layout of stripe-patch design and do each patch as a flower print from the book. For colouring, you could choose many shades of ochre or blues or whatever colour mood you wanted the end product to reflect.
Another Eastern way of using pattern is to do a carpet with very detailed decorative borders of flowers or animals and do the body of the piece in some some form of stripe. Wouldn't that be quite smart for a jacket or coat: A lush border large and small flowers or animals with a bold stripe in any of the ones on offer here. You could do a series of cushion- sized swatches to try out different motif combos and colourways.
Choosing Colour Palettes
One of the ways I've played with pattern and colour is by knitting as many swatches of various motifs in at least 3 or 4 colour combinations (as designers, we call these colourways). Each one could be just one repeat of the motif or several if small scale. These I keep in boxes until help arrives, (usually in the form of students doing work experience), when I crochet around each one and sew them into a “sampler” blanket. At the very least you could do patchwork cushions if you hate the idea of wasting time making colour trials. The main thing is to try out colours, the wilder the better. None of us designers really know what works until we see it, so sampling becomes wonderfully exciting as you stumble on really unpredictable and interesting colourings. If you have a hard time starting on this exciting colour play, tear a page from a magazine or purchase a post card of a painting that contains combinations of colour that make your pulse work faster. Then choose colours in the painting and try to use them in the same ratio as they are in that artwork. For instance, if it's a mainly blue painting with just a shot of orange in one small object, choose a lot of shades of blue and use only a small accent of orange in your knit.
Many yarn shops help these days by displaying their various yarns in colour groupings. You can see at a glance how magenta and orange make red really dance, but often a bit of emerald or turquoise really spike up that red. Multi shades of similar colours are definitely a rich way to proceed, but do look for kick colours as all one colour family, even with 20 or 30 tones, can look strangely dull after all your work. Contrast is a definite tricky area - too much, and work can be cheap and course looking; not enough, and motifs dissolve into minestrone soup! So do put the effort into those colour trial swatches. I was once shown a design that looked like a jazzy Harris Tweed, “it's a teapot,” said the proud creator, but for the life of me I couldn't distinguish what all her efforts had rendered.
For colour combos that work, walk through any museum containing decorative arts, for that matter, shops that contain antiques or even fashion with prints can educate your eye as to what works and is alive and unusual. Even builder's yards with stacked bricks or wood can give you wonderful tonal ideas. As you will see here in the Circle chapter, I designed the Floating Circles from a black tray of eye shadow I saw in a TV makeup studio. Stone walls and beehives are thrilling arrangements of tone though quite neutral.
Scale has a lot to do with the success or not of various patterns. Sometimes large areas of dullish colour become quite strong because of the mass, whereas a small dab of colour has to be pretty intense to read from a little fragment of a motif.
When using plied yarns (2 or more threads together in each stitch) you can unify a palette of colours by running a tone along with each of them. For bright pastels you might run a silvery grey along with the colours to create a pearly effect, or black along with deep jewel tones to deepen and slightly merge them. I rarely use hard, clean white in my designs, but in case you feel like that's sounding like a rule, there are times when a really fresh, harsh white is just what's needed. You will notice I often suggest a motif would be good in black and white because it has such a good silhouette. You should have good fun seeing how utterly changed a design that was done in pastels say, can be when done in strong colours against black.
Yellow can be very tricky in design, used in its primary state, it is often far too strong making the eye jump to whatever corner of a colour scheme it lurks. However, I've done whole outfits in shades of yellow and a bit of primary yellow really lifts the whole effect.
These days, yarn shops are spilling over with textured yarns, manmade or natural-containing elements of feathers, ribbons, lurex, mohair, silk, slubs and even sequins. Since I usually have my eye more in the past, I find all the glitz and glitter a little tinselly. I had a whole period of using lurex but I tried to make it feel like old Byzantine churches and ecclesiastical robes. Mohair used judiciously with chenille can give great depth and quality to reds or a rich deep brown pallet. Silk, mercerised cotton and linen can give highlights to a pale palette.
Running several different colours of yarns together to create marbles can be an exciting way to create a bulky blanket or large-scale coat. If one of these is mohair it lightens the weight of it all. I've not tried much embroidery on knitting but I've seen it done wonderfully. Cross-stitch or chain stitch or running stitches for big flower bursts, or dainty daisy-like repeats round a waistcoat or child's jacket could be an attractive change of texture. I haven't yet mastered textural stitches like cables and bobble stitches, as plain old stocking stitch has been enough for me, allowing me to concentrate on colour. Reverse stocking stitch is my one departure as you can see on page . This is a very effective way to add texture to a plain stripe. Please do experiment, as I'm sure you will, with all sorts of textural stitches on these motifs or in the backgrounds. I'm sure it will add another exciting note.
Having all these various motifs under one cover should encourage some creative and exciting mixtures. Flowers and stars, animals and fruits, and borders with everything could be rich. As I've stated, adding all the borders together, even rows of animals or flowers as borders, sometimes adding a contrast stripe behind a motif, makes it more border-like. Certainly in the same garment you can mix patterns, think of all the trendy t-shirts with odd sleeves, front and back.
I've often paired a strongly patterned waistcoat front with a striped (echoing the colours) back. During an early lecture on my work, I showed a slide of one of my patterned waistcoats with a striped back and a woman yelled from the audience “you could have got the back and front to match if you had really tried!” And there I was thinking I had achieved a really biblical look!
On my heavily patterned garments I often do stripes through the ribbing at the bottom and on sleeves and neck to keep the colour story flowing, not abruptly ending with a big, solid colour rib. As a general rule I use medium to darker tones of the colours in the garment in my ribbing. On a darkish garment a light, bright colour in the rib would grab too much attention. -- Kaffe Fassett
Rowan Knitting &
Crochet Magazine No. 41
Kaffe's Work in Rowan Knitting & Crochet Magazine No 41
This season we take you on a voyage of discovery that captures the romantic and nostalgic sides of the British summertime, in Secret Garden and Promenade, and adds a hint of Moroccan spice with the designs and location in Medinas and Minarets as we travel through the Soukhs and bazaars looking for inspiration. This season we have used different photographers for each of our stories to bring you three very different looks to explore. In Recreation Lisa Richardson and Rachel Henderson show us how to rejuvenate jumpers that have been languishing at the back of your wardrobe or turn that high street bargain into a one-off look. In Lazy Days Marie Wallin and Sarah Hatton have created homeware pieces such as a garden table runner and tea light holders that will add a highlight to outdoor living. Finally we revisit a very popular technique, short row shaping, essential to create the asymmetric and flared looks in designs such as the beautiful skirt, Wisteria.
All skill levels are catered for in the easy to read patterns and charts, and the regular features and articles provide plenty of reading material too.
Kaffe's Designs at
Pine Cone Hill
Kaffe's Designs at Pine Cone Hill
Kaffe has recently introduced a collection of pieces for Pine Cone Hill.
View Kaffe's range at Pine Cone Hill
Kaffe's Designs at
Kaffe's Designs at Neiman Marcus
Kaffe Fassett designs continue to appear in the pages of the Neiman Marcus print Catalogs - this time 5 more beautiful pages in their December 2004 issue.
Blue and White Chair
by Kaffe Fassett
Blue and White Chair by Kaffe Fassett
Bath, England between January 18th and March 30th 2008. Kaffe is having an exhibition based on Blue and White in design showing knit, needlepoint, patchwork and mosaic pieces along with Candace Bahouth who has been making the most incredibly intricate mosaic high heeled shoes, just to name a few of her amazing pieces made especially for the show. There will also be some work by textile artist Carol Waller. The show will be held at the Victoria Galleries in the City Centre.
A Letter from Kaffe
Artist Journal - A Letter from Kaffe
First appeared as an article for the Knitting Guild
When I first started knitting back in the 70's, I scanned the world of decorative arts for inspiration. The one art form that gave me not only an approach to colour but also the exciting geometric forms to hang any colour scheme on was the patchwork quilt. I poured over books on old quilts I could get wind of. The American museum in Bath was one place that collected these inventive compositions of patterned fabric. As America is a country that really celebrates this craft, in my book 'Glorious Knitting' you will find stars, tumbling blocks and other classic patchwork layouts.
As I got more money, I would start collecting actual patchworks to use in my still-lifes. I would find myself studying their intricate play of pattern on pattern, making me hungry to buy even better examples.
Liza Prior Lucy, who used to be a rep for the Rowan Yarns Co. in America, often talked to me about getting into patchwork which she was just beginning to learn. As I was preoccupied with painting, knitting and needlepoint, I paid little heed to her pleas. One day out of exasperation she took several of my knit patterns and turned them into patchwork, sending me blocks through the post with the message "See, you already are a patchwork designer".
So one day I visited her Pennsylvania house and started designing my first quilt. A year later we had 30 quilts done and published our first book 'Glorious Patchwork'. I started designing my own fabrics and this led to me visiting the largest quilt market and festival in the world in Houston, Texas. This mecca for quilters led me to buying some really intense, old patchwork quilts which I was invited to show at the American Museum, where so much of my interest in quilts had started! The show featured about 10 of my collection of mostly small, intricately pieced quilts. (It's these postage stamps and octagonal shapes that fascinate and excite me. I've done many knits of little squares inspired by the postage stamp quilt.) I'll also be showing several of my own quilts and 3 coats and skirts done in patchwork for 'As You Like It', for the RSC. One of these coats is a great knitted diamond jacket done in hundreds of shades of pinks, blues, yellows and lavenders.
I was asked to design sets and costumes for Greg Doran's production at the RSC in 2000. We wanted the whole production to have the feel of a stump work box. Knitting, needlepoint and patchwork played a big part in creating the mood and texture.
If you have any interest in old textiles, I'm sure you will be as inspired as I am by the obsessive work in these stunning flights of fancy. One of my newest acquisitions, by the way, is an 1850 chintz losange quilt that was made in England. I bought it at the Houston Quilt festival and am happy to bring it home. It features a smoky blue background with insets of dusty pinks, browns and highlights of cobalt. I am still knitting and designing collections of knit wear for Rowan Books and the famous Peruvian Connection catalogue. My next Ebury book coming out next autumn is called ' Kaffe's Pattern Library', and contains 200 of the best knitting motifs I've designed for over the past 30 years. It won't have any garments patterns, but instead suggestions on how to combine these motifs to apply them to furniture, shawls, socks, coats, baby garments and any other use for which knitting is appropriate. -- Kaffe Fassett
Rowan Knitting &
Crochet Magazine No. 38
Rowan Knitting & Crochet Magazine No. 38
Alpaca Pinwheel Kimono
Kaffe's Fassett's Alpaca Pinwheel Kimono
Kaffe's Fassett's Alpaca Pinwheel Kimono at the Peruvian Connection
by Kaffe Fassett
Colourscape Chunky Ghost by Kaffe Fassett
Colourscape Chunky Ghost by Kaffe Fassett for Rowan
V & A Quilts
Kaffe Fassett's V & A Quilts
23 BEAUTIFUL PATCHWORKS INSPIRED BY THE VICTORIA AND ALBERT MUSEUM
Past meets present in this dazzling collection of new quilts from design genius, Kaffe Fassett. The Victoria and Albert Museum, London's world-famous decorative arts museum, has played a significant part in Kaffe Fassett's life as a designer. Not only has it provided the inspiration for this book, but he was the first living textile artist to have a one-man exhibition at the museum.
Drawing inspiration from the textile treasures of the V&A, Kaffe Fassett and Liza Prior Lucy have created 23 gorgeous new patchwork designs. Each creation is a sympathetic interpretation of an historic source, using updated colour schemes and modern techniques. All the designs are easily accessible to today's quilters and each design has full instructions and easy-to-follow coloured piecing diagrams. All the basic techniques are covered including simple appliqué and quilting methods.
The patchworks fall into three categories;
Utility Quilts: Seven patchwork patterns, made up of large templates that are easy to stitch employing large, simple patch shapes cut from charming prints. Designs include Sarah's Gypsy Throw and Dark Floral Columns.
Traditional Quilts: Nine projects suitable for intermediate level quilters encompassing popular heritage patchwork formats reborn here in fresh, modern colour schemes. These patterns include the Lone Star Quilt and Wedding Snowball Quilt.
Showpiece Quilts: Seven patterns which incorporate appliqué techniques to create show-stopping designs. These quilts include the Folk Art Quilt and Sun and Moon Cushions.
Kaffe Fassett's V&A Quilts is lavishly illustrated throughout with location photography, close-ups, clear colour artworks and templates. Breathing new life into old masterpieces, Kaffe's new interpretations echo the magic of the originals but are perfectly suited to today's interiors.
"the main thrust of this book is to inspire quiltmakers to delve fearlessly into the sensual world of colour and pattern to create their own personal quilts" -- Kaffe Fassett
Notes to Editors:
The Festival Of Quilts:
* 10 new quilts from the book will be unveiled at The Festival Of Quilts, at the NEC from 18 – 21 August 2005.
* A brand new collection of Rowan fabrics designed by Kaffe will also be launched.
* Kaffe will be hosting a number of events at the Festival:
18 August – Gala Dinner sponsored by Rowan
19 August – Full day patchwork workshop, limited tickets are available for journalists
20 August - Morning lecture
* Information on The Festival Of Quilts is available at www.twistedthread.com
Liza Prior Lucy collaborated with Kaffe on his previous patchwork books and is a quilt, needlepoint and knitting designer of many years' experience. She lives in Pennsylvania.
Kaffe Fassett and Liza Prior Lucy are available for interview. For further information please contact:
Claire Bowles Publicity
Tel: +44 (0)1858 565800
Kaffe's Fabric Covered Fans
Kaffe's Fabric Covered Fans that will be used by the thousand on the V & A Museum's annual 25 foot Christmas tree. The tree goes up December 7, 2005
Design Museum in Sweden
Kaffe's Exhibition at the Design Museum in Sweden
Kaffe Fassett at the Design Museum, Gothenburg, Sweden September 18, 2003 to January 6, 2004
Along side the launch of Kaffe's Swedish edition of 'Passionate Patchwork' held at the Gutenberg International book fair, Sweden's Design Museum in Gutenberg opened its doors to one of the largest exhibitions of Kaffe's work to date. Over 160 objects displayed throughout the three floors of the museum. Patchwork, knitting, needle points, collage, rag rugs, fabrics, hand decorated ceramics, mosaic and paintings.
The two main galleries on the ground floor were broken up into colour sections moving from grey, blue, red stripes, yellow, greens and so on, climaxing in a four poster bed draped in Kaffe's August Rose fabric topped off with four magenta pink ostrich feathers against a panel of Kaffe's 'Rosimundi' Designers Guild furnishing fabric. On the second floor needlepoint tapestries and patchwork were used to add colour to the 17th century galleries. On the 3rd floor sat a huge copper laughing Buddha whom Kaffe crowned with a knitted hat he made especially and donated to the museum. One on the museum staff said every time they rounded the corner they were sure the Buddha was smiling a little wider!
The museum have now made as part of their permanent collection a copy of the Hat Box quilt (featured in the 17th C room), The Byzantine Lattice quilt (both quilts featured in 'Glorious Patchwork') and the Brocade Sweater (originally made for Rosalind in the RSC's Millennium production of 'As You Like It').
V & A
V & A 150th Anniversary
This year the V&A is celebrating the 150th Anniversary of its opening in South Kensington, London. Kaffe Fassett was one of 150 leading designers, architects, photographers, fashion designers and artists invited to contribute a page to an anniversary album.
View a slideshow of the contributions here
If you have trouble viewing the slideshow(s) on this page, please click here