Once
a week I post interviews with interesting people about their insights
on their experience of working in the Knitting industry. I’ve noticed
that every one of these individuals makes their living in a slightly
different manner bringing their own unique presence to the Knitting
world.
You can find Megan here and here on Ravelry.
Where do you find inspiration?
Inspiration
is a funny thing for me, it tends to wander. Right now, I'm loving the
period wardrobe in Bletchley Circle, a post WW2 mystery TV series. I
don't know who designed the wardrobe, but the number of hand knits on
the show is astounding. I think there's an old-fashioned part of me that
likes sweaters to be a little vintage. The Arbois cardigan, for
example, was partly inspired by an illustration by E H Shepard. There's
something distinctly Christopher-Robinish about the collar.
And
I love browsing the web for the latest couture; the fashion industry is
fascinating to me. The pressure that fashion designers are under to
produce hundreds of fresh designs every season is baffling. I love
anything layered, tailored, vintage, or simplified.
Sometimes,
I look for inspiration in geometric patterns; I like the idea of using a
single visual element as simply as possible and turning it into a
piece.
How did you determine your size range?
Knitting
patterns tend to have a wide range, from, say, a 30 to a 60 inch bust. I
have mixed feeling about this range. I like the idea of all-inclusive
patterns, but I'm not sure it's always appropriate. Growing up, I sewed
much more than I knit. With sewing, you learn to tailor to fit yourself.
Commercial sewing patterns are designed to be altered, with
instructions and markings ("lengthen or shorten here", "place darts
here", etc) and the experienced seamstress (or seamster, if that's the
masculine version of the word) is always perfecting their fit. On the
other hand, we tend to treat knitting patterns more literally. There's
so much to think about—gauge, stitch counts, dimensions, yarn—that it's
easy to get to the end of a sweater after following it to the letter but
without having tried it on, only to discover that it doesn't fit! Or
maybe it fits, but doesn't flatter.
I size my
sweater patterns following the American publishing convention, to fit
about a 32 to 54 bust. But I think anyone knitting a sweater should
customize their patterns to flatter your shape. Measure something you
own that you love. Then use the written pattern as a foundation and work
it to fit.
Do you look at other designers' work or are you afraid that you will be influenced by their designs?
I
love looking at what other designers are doing! We're all
re-interpreting the same basic things: sweaters, scarves, shawls, hats. I
enjoy seeing how other designers are coming up with new combinations.
And when I have a sketch, I want to make sure that it hasn't already
been done. When everyone is using the same ingredients, it's inevitable
that coincidental repeats happen, but I avoid it if I can.
How do you feel about the so called controversy of "dumbing down" patterns for knitters?
Hmm, that's a tricky one.
Compare
today's patterns to patterns of 20 (or 30 or 50) years ago. Now,
they're written more plainly, with a lot more detail. Explanations are
provided for everything but the basics. The technical skill required is
often high, with short rows, provisional cast ons, complex lace and
cables, steeks… And knitters are producing incredible works. These are
no boxy hand knits; these are exquisitely crafted garments. I don't
think this would be happening without designers' putting a lot of work
into instruction and pattern support (whether through blogs, or KALs, or
discussion groups).
On the other hand, this
demand for instruction puts a lot of pressure on the independent
designer. A lot more time has to go into the pattern before and after
publishing, and testing gets more complex. And most designers are
working on tight budgets with small revenues. 20 years ago, if I didn't
understand something in a Rowan pattern for example, I didn't have the
option to email the designer for help.
Ideally,
I would like to see the technical and design aspects separated.
Technical instruction could go in blogs, books, workshops. And the
design could be left in the pattern. Remember what a revolution the
Kaffe Fassett designs were, and how successfully they attracted
knitters? That was all about visually exciting design; the technical
aspects were very simple.
I try to manage the
issue by putting tutorials in my blog. Then I can include a link to the
tutorial within the pattern. For example, I have a hat pattern in the
works that uses stranded colour knitting. Some of the testers felt that
the pattern should include information about colour dominance. But I
prefer to make this optional (I don't think colour dominance matters
unless you're very particular about the finished product) so I wrote an
article about it on my site.
How many sample/test knitters do you have working for you or do you do it all yourself?
I
have a couple of really great sample knitters who I use sometimes. It
depends on the project and the budget. And my mom has knit a few samples
for me, which is incredibly helpful. (She knit Cultivar, for example).
Ideally, I'd like to work with sample knitters on everything, but just
don't have the budget for that. Working with a sample knitter lets me do
things that I like the look of, but don't have the stamina for. I'm a
pretty lazy knitter, so need sample knitters to do the hard work for me.
Boiseau for example, has been really popular, but I would have lost
patience halfway through it! Luckily, I had a sample knitter for that
one.
I often turn to Ravelry for test knitters,
and have worked with many very helpful volunteers. They don't just test
the pattern, they get involved with the finer points and usability of
the pattern, like a focus group. It's great.
Did you do a formal business plan?
The
first year was really about finding out more about the audience.
Finding out what people are looking for (or not) and where the potential
revenue is. Now that the site is up and running, I have a loose plan
and projections for the different parts of the business. The business
runs on individual pattern sales, royalties, freelance commissions, ad
revenue, and notebook sales. And of course, it's hard to plan for
unexpected work, like being asked to write the Idiot's Guide! That was a
real bonus for me!
What impact has the Internet had on your business?
And
I've been a web developer/designer for about 15 years, so am very aware
of changes that have happened in the last decade. The idea of selling
virtual, digital goods, wouldn't be possible without the Internet. My
mom ran a small home business pre-internet, so I grew up with cottage
industry. The "cottage" in small crafts business probably doesn't exist
so much anymore, but a lot of other aspects are the same. And the
Internet allows the crafts person to reach a much bigger market than they
could through crafts fairs or traditional retail.
How long did it take for you to be able to support yourself?
Well, "support" is a relative term. I could probably support myself,
but not a mortgage and a family. I couldn't do this without another
income-earner in the family. But I can say I was making enough to
support myself in the third year.
(I still augment my knitting design business with graphic design, you can see some of my work here: www.megangoodacre.com)
What advice would you give someone who wants to pursue a career in knitting?
Career
in knitting? I won't sugarcoat it: there is little career to be made
from making things by hand, especially with something as time-consuming
as knitting. It's a cold truth that is better to face before starting.
There are exceptions of course, and there is some livelihood to be made,
but it's getting harder.
Career in design?
That's where the potential is. But if you're doing this for a living, or
a partial living, be prepared to be business-minded. Creativity and
craft are only part of the picture.
My advice:
Face the hard truths before, not after. It's such a
drag, I know, but ask yourself, how much do I want to get paid an hour.
Ask yourself, do I want (someday) to do this for a living? Then, take
those numbers, and do the math. How many patterns would you have to sell
every month to meet your goals? How many designs would you have to sell
to magazines every year?
Then, if you've done
the math and girded your loins, figure out what your niche will be. Or
as I like to say, figure out what your racket is. And then investigate.
You might think your niche will be classic knits for men. But you'll
find that there's not a big enough market there. Or, you might want to
write nothing but cardigan patterns. There's a big market there, but
lots of competition.
Once you've figured out
what you want to do, start building your aesthetic and your personal
brand. It's helpful to sit and write a 100 word description of the
designer you are (or want to be). It helps you to focus on what you're
all about.
And finally, don't go it alone if
you don't have to! Reach out to other people in the industry for advice,
yarn support, and freelance work! I couldn't have done the Idiot's
Guide without Knit Picks; they generously provided all the yarn for the
book.
http://www.tricksyknitter.com/store/knitting-patterns/ig-knitting/
