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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 smokey 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
The multitude of roses - painted, porcelain, beaded, dried and real - make
a luscious, romantic setting for this Brocade and Velvet Throw.
(from "Glorious Patchwork") |
