| Interview - Cathy Carron |
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| Written by Deborah Knight |
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Cathy Carron was taught how to knit by her Latvian grandmother when she was ten years old, so she's been knitting almost her entire life. We hope you enjoy learning about Cathy and her career.
Knitch: How did you get started as a knitter? Cathy: I was about 10 when I started. My Latvian grandmother taught me how to knit in the continental style, but then she had a stroke, becoming paralyzed on the left side, unable to teach me further. So I just knit for a while. Several years later, we helped a Slovenian family immigrate to the USA and the wife taught me to purl in the same manner as well. It took me a while to get the hang of it so, I made an entire sweater inadvertently twisting the purl stitches. But because I was consistent in doing so, the outcome didn’t look "wrong." That soon got sorted out as well. I guess I wasn’t exactly a "natural," but once learned I can hardly remember not having knitting needles in my hands.
Knitch: Did you study design at college? Cathy: Yes, I took one studio art course. But after college, I also took art courses and seminars whenever possible, including at the Smithsonian (Washington, DC), the Corcoran School of Art (Wash DC), The Art Students League (NY) and the Fogg Museum (Harvard). For about 30 years, I have collected art, especially prints. However, my degrees are in Economics (B.A. Smith College) and business (M.S. Sloan School, MIT) and I have a certificate in publishing (Stanford University Publishing Course).
Knitch: Your business and publishing experience are likely very helpful right now, but they're a long way from design. How did you end up developing patterns? Cathy: Becoming a designer was somewhat inadvertent. Of course, it was a dream of mine to have a pattern published one day! However, it was in researching an as yet unpublished work on wartime knitting that I fell into designing.
While shopping the knitting history manuscript around, I began knitting hats to fit my larger-than-average head size. I was making some pretty fun stuff and for some reason I just picked up the phone and called Classic Elite Yarns – a company I had long admired – and asked the design director at the time whether they bought hat patterns. She said no but would ask the then-owner, Pat Chew if she would be interested.
Several days later she called back and said that Pat wanted to see what I had. So I packed up my bins of hats and set off for Pat’s country house on the Connecticut shore. I ended up having the most amazing and unforgettable afternoon with Pat and her marketing and design directors. I presented my knitted work to them and also told them about my history research. Pat was very attentive and enthusiastic about both projects. Upon finishing my presentation, the ladies got up, marched to Pat’s garden, picked greens and tomatoes and proceeded to make the most delicious and beautiful salad which was presented to the table mounded high on an oval platter. It was served with a fresh loaf of bread and iced tea. The conversation was light, comfortable and collegial. It was wonderful sitting with fine, interesting women as if I had known them for ages. After lunch, Pat reiterated that Classic Elite did not publish books, but that she would help me find a publisher – and in short order, she did, hence the publication of Hip Knit Hats (Lark 2005). Pat also tried to get me in touch with a publisher for the war knitting history book but alas that has yet to see the light of day. Once Hip Knit Hats was out the gate, I haven’t stopped designing.
Knitch: Pat was an icon in the industry. How wonderful that she gave you your start! Cathy: She was an amazing lady. She was so vibrant and so involved in her business and life in general. She brimmed with energy and can-do spirit. So it was with great sadness that I learned of her death from cancer several years later. Although, I had met her only one other time after the first encounter, I felt as if a family member had died. It still makes me sad that she’s not around, as she was a very special person.
Knitch: She surely was. And a woman of substance and style. Which brings us back to you. How would you define your own style? Cathy: Minimalist with interest. Not boring, but hopefully chic! I am obsessed with seamless knitting and am continually exploring ways to push the medium.
Cathy: I've authored four books to date: Hip Knit Hats (Lark 2005), Knitting Sweater From the Top Down (Lark 2007), Hattitudes (Sixth & Spring, 2009), and Cowlgirls: The Neck’s Best Thing to Knit (Sixth & Spring, 2010).
My first two books were with Lark, the most successful of which has been Hip Knit Hats which is now in its 10th or 11th printing. It’s a primer on knitting hats from the top-down, a nifty way to make a hat that will surely fit when all is said and done.
Over a year ago, I was thrilled to shift over to Sixth & Spring Publishing, the folks that bring you Vogue Knitting. Lark was located in North Carolina and my relationship was done remotely – I never met anyone on the staff!
Sixth & Spring is in New York City where I live and it was important for me to be able to work directly with its staff. It’s helpful to be able to drop in to discuss issues as they come up. Trisha Malcolm, the Publisher and Vice President, runs a tight ship over there and I marvel at her ability to hire one great person after another. She juggles lots of balls – the magazines, books and events, et cetera. She somehow manages to make it all to happen in good order.
In addition to my own books, I've contributed to several of Judith Durant’s, One Skein Wonders books, the recent Cascade book that Tanis Gray edited, and one of my designs also made the cover of the recent Joy of Sox. It’s always, always exciting to see one’s ideas in print.
Knitch: We find it exciting to see your ideas in print, too! Tell us about your design process. Do you have any particular goals when developing a design? Cathy: It all depends….for the most part I want to challenge myself. What haven’t I done before? A stitch? A shape? I am intrigued by new shaping more than anything else and there’s a fine line in doing that. I want to make something different but eminently wearable as well. That said, I am greatly inspired by any given yarn – yarn really talks. After I ponder on a new skein for awhile, a definite image comes to mind as to what that yarn should become as a garment. This can sometimes be problematic though, as I often used discontinued yarns as an inexpensive source with which to experiment. Subsequently, it can sometimes be tough to find a substitute to recreate the design.
Knitch: That's when a lot of us go to Yarndex.com. Many designers depend upon it for substitutions when yarns are discontinued. It seems you're more interested in the creative process than the marketing when you're developing a design. Cathy: Admittedly, knitting is my ‘art’, so I don’t think of who will knit the design eventually at all. I don’t aim to teach knitters anything in particular, either. I am interested solely in design, my thoughts and ideas.
I think my worst or least interesting designs have been tightly specified by an editor for a feature, or have been designs in which I have been asked to knock-off an idea of something being sold at retail. After having done this a few times, I now refuse to do any such work. It really deadens my creativity and enthusiasm.
I love conjuring ideas. For me it’s very invigorating, very stimulating.
Knitch: What's been most stimulating to knitters? Can you tell us which of your designs are most popular? Cathy: There are three designs that have been received particularly well.
The Gathered Cardigan shown in the Knit.1 - 2008 Spring Summer issue. It’s a simple top-down construction that flares out just after the bust line. It’s easy to do and looks good, young, and fun on anyone.
Photo left: Gathered Cardigan. Copyright Knit.1, 2008. All rights reserved; not to be reprinted.
The Scoop Pullover shown in Interweave Knits - Fall 2009 was very popular. This, too, is top-down construction with a twist: the neckline begins with the entire number of stitches for the front that would have eventually occurred had the yoke increases been done in the expected pattern. So only 6, instead of 8, increases are made on alternate rows. Add to that a horizontal ribbed pattern for the front stitches which allows the section to drape around the bust. It’s not only very easy and -- in a sense -p- obvious, but it’s intriguing at the same time. And to boot, it looks good on everyone and is fun to do. What more could one ask of a pattern?
Photo right: Scoop Pullover. Copyright Interweave Knits, Fall 2009. All rights reserved; not to be reprinted. Photographer: Kathryn Martin.
Another one that was well accepted is Ribby Slippers which appeared in Interweave Holiday Gifts 2008. Again, this is easy to do and works for most knitters. Simplicity and elegance at once.
Photo left: Ribby Slippers. Copyright Interweave Knits, Holiday Gifts 2008. All rights reserved; not to be reprinted. Photographer: Amanda Stevenson.
I have dozens of works that remain unpublished though, some of which I think are the most intriguing designs and constructions. In general, I think editors tend to be more conservative when selecting patterns to publish. The public loves traditional design – what’s not to like. However, given that I think the public is disinclined to embrace new ideas, at least initially. Just take a look around and see how people are dressed, there’s a herd mentality; most people are wary of appearing unique or of establishing a personal style. And this occurs no matter how many magazine editorials suggest seeking one’s own look. You can see the conservatism in how styles are "favorited" on Ravelry. The most conservative and typical shapes are usually the most favorited.
Knitch: Yes, we understand what you're saying. Individuality is popular in theory, but we tend to want to conform in practice. We all want to be accepted, and similarity is generally more accepted than difference. But, having said that, we think you've got a lot of truly original designs in your newest book, Cowlgirls. Cathy: Cowlgirls emanated out of a Vogue Knitting feature last winter for which I made four cowls. Like hats, cowls are really great accessories that can really spice up and finish a look and are useful as well; also a great way to use stashed yarn.
The book was done quickly; I designed and knitted 40 pieces in 3 months. I didn’t "select" the designs, but rather I tried to present alternative, yet attractive, ways to achieve relatively the same form: a continuous piece of fabric that would be fun, fashionable, and yet relatively easy to make.
We also tried to use a variety of yarn types and textures. Vogue Knitting’s new yarn editor, Renee Lorion was a great assist here. We spent two afternoons matching up appropriate yarns for basic shapes that I wanted to explore. Usually, I make up what I originally propose to the yarn editor. However, there were a few instances, when I changed my mind once the yarn arrived. The yarn just talks to me in a way I don’t always expect. That can be fun, though. I just love changing my mind when another better idea pops into the picture.
Cathy: My wartime knitting history has stalled for the time being.
I began to do research on wartime knitting in the mid 1990’s. I started it in New York and then continued it in London when we moved there in late 1994. It was in London when I realized that it was more of a British story than American, in that the British controlled the world wool supply throughout the two world wars via an agreement with the Australians, the largest wool producer at the time.
I collected an immense amount of material so much so that when it came time to write, I decided to cover only the First World War as that was really the height of wartime knitting. More garments were knitted during that period than in the any other war -- mainly because women, for the most part, were restricted in their involvement in war-related activities and therefore sought to contribute to the war effort via hand knitting.
My research in London was all engrossing and led to a number of amazing experiences; I met the Queen Mother several times in her role as Patroness of Queen Mary’s Needlework Guild, spent an afternoon with several WWII former POWs who knit while interned at various German war prisons, and I interviewed numerous other people in the wool industries and who participated in various service agencies during the war. I also acquired a rather extensive collection of wartime knitting memorabilia: 900 letters from women who knitted during the wars, over 50 garments, dozens of patterns from six countries, knitting needles, yarn bags and equipment, posters and pins.
Knitch: So you must be the world authority on war time knitting! Where is the book now? Cathy: I spent two years writing the manuscript and then tried to get it published. Three American universities sent the manuscript to reviewers, but each seemed unwilling to bring it to market for one reason or another.
In several cases, people who were championing the work left their positions mid-stream. Political correctness also abounded; I wrote what I researched, yet the current women studies academics would have it that women were victims of the time, i.e. that they were forced to knit in order to participate in the war effort rather than knitted willingly.
I also intertwined the story of wool procurement with women’s knitting efforts which also seemed to baffle the academics; they didn’t know whether to have a woman’s studies reviewer or a military historian. In one case, they submitted it to both. The military historian said it was possibly groundbreaking research, whereas the woman’s studies professor quibbled with her perceived "victimization" of women who knitted, hence stopping approval for the manuscript.
The more commercial publishers told me the book would not have an audience; that it was a rather esoteric subject.
Knitch: Now you've got another book to write: about how difficult it is to get published if your research doesn't agree with revisionist history. Cathy: I was a bit tired and discouraged after that experience. Fortunately, it was at that point that my how-to book, Hip Knit Hats took off. But I do hope to get back to the war knitting story, perhaps soon, now that my daughters are more independent.
Knitch: Don't give up! You mentioned you were in London when you did a lot of your research. And we know you've been to Italy. Do you travel a lot? Cathy: Yes, I have traveled extensively, not just to the UK and Italy.
I look for signs of hand knitting everywhere. However, my own work is not influenced at all by my travel either in technique or in my designs. Most knitting one sees when traveling is actually grounded in local tradition and culture and is rarely innovative. Exceptions can be found in the UK, Australia and perhaps Italy. In fact, during a recent trip to Turkey, we observed local women doing traditional knitting but with low quality fiber. We saw no current, hand knitted garments in the stores, as we were told the Turks are importing inexpensive clothing from China as do many people do elsewhere.
Knitch: If not travel or tradition, what influences your design? Cathy: I am influenced more by modern art and architecture and fashion here in New York!
Knitch: So you've got the perfect husband. And your daughter is a lovely model for your designs. Is she planning to go into modeling as a career? Cathy: Ah, yes... "Lovely Lydia" as we refer to her! Lydia graduated from high school this year and has deferred her acceptance to Smith College to model professionally. She’s been with NEXT Model Management since the age of 14. She didn’t model during her senior year because of the heavy work load. However, she did scoot up to Maine for a weekend this past Spring to model for the launch of Pam Allen’s new yarn business, Quince & Co. Now, having finished high school, Lydia’s off to Tokyo this Fall and then Sydney and more. As for the long run, she does intend to enroll in college and hopes to continue in the fashion in some way, probably as a stylist or maybe even in photography.
Knitch: That's fantastic! Good for Lydia. Do you have any advice you can give to aspiring designers? Cathy: Don’t get so caught up in the rules of a trade or technique, so much so that your creativity is stifled. In fact, break the rules. Explore. Test. Push the envelope.
Explore all the crafts and arts. But then make a choice and focus on a technique that feels right for you and work that until you have wrung out all your ideas. After years of learning, practicing, and loving to sew, knit, crochet, and quilt, I made a conscious decision at one point to focus my efforts on knitting only. I felt that to be really good at any one thing, I had to focus my energies, my resources - especially time and money.
Also, beware of "over" designing. If you have taken an art course, at some point the teacher tells you to keep working on a picture until you have perhaps gone too far, too much color, too much going on, too much of something. They do that so you can experience what it means to exceed what is necessary to complete a work, so that you can pull back or know when to stop the next time you attempt a picture. The same happens in any art form, knitting included.
Yes, Virginia, there can be too many elements, too many ruffles or too much color, or too much of too many things. Play with proportion. Do push the limits of a design so that you can experience a disaster and know when to stop! At the same time, don’t be boring. Consider the all the elements that go into a design: texture, color, surface design...and determine an optimal balance, so that in the end, you have created something with interest and perhaps a frisson of excitement, even if in just a small detail.
Knitch: That's great advice for designers. What about knitters? What do you foresee for fashion in the future? Cathy: Gosh, I feel honored that you would even ask me that question -- as if I knew! I’ll take a wishful-thinking stab, though.
I think minimalism will be bigger than ever but in more exciting ways. I can’t imagine that romanticism – ruffles, lace, et cetera – will vanish, but I’d like to think consumers will veer toward more sophisticated, but wearable, styles and shapes.
Knitch: Those are interesting ideas. There's little doubt that globalization and energy conservation are here to stay. It will be interesting to see how they affect fashion in general and knitting in particular. Before we close, is there anything else you’d like to tell us about yourself? Cathy: I love to garden! As a child, I sat alongside my Latvian grandmother, the one who taught me to knit, as she worked in the garden. Never did I think I would ever garden at all, yet when Spring rolls around, I am down in the dirt until the first frost arrives in the Autumn.
Knitch: Knitting and gardening seem to be a natural pair. Both are an act of creation. When our brains are functioning at a million miles an hour, we want to make things with our hands.
Many thanks to Cathy Carron for spending so much time with us, and for very graciously providing Knitch Magazine readers with a free pattern for her Hidden Treasures Cowl. We hope that her book about war time knitting is one day published. Perhaps there is a Knitch reader out there with a little influence...
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One of the most popular new knitting books this season is Cowlgirls: The Neck's Best Thing to Knit. We were so excited by this collection of cowl patterns that we sought out its author to learn more about her and her approach to design.
Knitch: You mentioned earlier that you've been working on a book about war time knitting. Tell us about it.
I disagreed. And still disagree.
Knitch: So for fashion, you admire the Italians. Outside of knitting, whom do you admire most? 
Two major influences come to mind: Our shrinking world and the greater interaction with other cultures will introduce new shapes, symbols and materials. And, secondly, the conservation of materials and innovation and creation of new materials in an energy-challenged world will present new ideas for fibers.Did you enjoy this feature? Make sure you never miss an issue of Knitch Magazine. To receive alerts for upcoming issues:
