The Purl Magazine by mkategreene

VOL. 1 ISSUE 2 SPRING 2019

THE INTERVIEW ISSUE exclusive talks with Katie Jones, Annie Larson, Laerke Bagger, and more

INSIDE THIS ISSUE:

INTERVIEW

STUDIO VISIT

PATTERN

Talking Bjork & rainbow vomit with sustainable knitwear designer Katie Jones

Annie Larson of All Knitwear shows us around her studio & talks about her process

Katie Jonesâ&#x20AC;&#x2122; 80s-inspired Wooly Molly Hat

INTERVIEW

PATTERN

A quick chat with Danish designer Laerke Bagger

The exclusive Join-The-DotsScarf from Katie Jones

INTERVIEW

HANDMADE IN LONDON WITH LOVE Catching up with sustainable British knitwear designer Katie Jones. THE PURL

KATIE JONES is taking hand crafted knitwear and making it big, and bold. A self-professed “country

bumpkin”, at first glance you certainly wouldn’t know that the CSM graduate’s synonymous, luxury collection is primarily crafted from high quality luxury seconds that would otherwise be in a landfill. During her internships the designer was exposed to the vast amounts of waste that’s commonplace across all levels of fashion consumerism. The designer’s approach to sustainability combined with her candy coloured, nana-inspired knitwear has earned her a firm underground following which even stretches as far as China and Japan. With her SS16 collection soon to be stocked in Selfridges, things are looking very exciting for this young designer. Although the business is growing rapidly, Katie is determined to hold onto her handcrafted ethos and aesthetic. We caught up with Katie at her home to discuss eco-fashion, Bjork and rainbow vomit.

WHERE ARE YOU FROM AND WHERE DID YOU STUDY? I’m from a small village near Brighton, in West Sussex. I studied at Central Saint Martins for my BA in Fashion Knitwear, and my MA. I’ve always knitted since I was at school and I learnt from my mum. I was always drawn to textile stuff, but I think I’m a bit of a country bumpkin and I suppose it’s the slower pace of life, if you’re making everything by hand I think that’s how it translates more here.

it being pretty, it would have to have a point, rather than just adding to these clothes mountains of just discarded things. It would have to be really special for the person that gets it, and I love working on oneoffs for people because then they really treasure it, and I do a lot of bespoke orders so they are going to wear it and love it. But that it would also have to be made from materials that weren’t polluting. I find it really oxymoronic that you have really beautiful, expensive dresses but if they’re made out of stuff that has caused people harm I find it very bizarre. So it becomes very important to me in the design that you know where everything comes from.

HOW DID CENTRAL SAINT MARTINS INFLUENCE YOU AS A DESIGNER? It was super free, so you got to do whatever you really wanted which was really nice and really creative. I was really lucky because I could already knit, but I learnt how to use the knit machine which I didn’t know previously. The MA was really good but also really challenging, because the turnaround is not quick enough, compared to a womenswear student who can just sew something up, and if it’s going to take you a day to do a sleeve, it’s a bit different. Those were the challenges on the MA, but I learnt a lot. I think I grated quite a lot of tutors! A bit too much rainbow vomit.

SUSTAINABILITY IS VERY IMPORTANT TO YOU. HOW DO YOU TRANSLATE THAT IDEA INTO YOUR DESIGNS? For me it became really important that if I was going to make something new, especially if I was going to spend so many hours on it, that it wouldn’t be enough THE PURL

WHAT BOTHERS YOU MOST ABOUT FASHION?

IS YOUR WORK A PROTEST AGAINST THAT?

DO TRADITIONS HAVE A PLACE IN YOUR BRAND?

I don’t think people know what they’re buying. There should be a line when it comes to getting a bargain. Sometimes it’s not even that you have to buy more expensive clothes, it’s just that people buy a lot. It would be better to buy one pair of jeans that are expensive than buy four pairs of jeans that will wear out because they’re cheaply made. You just don’t need so much.

It’s not much like a protest because I don’t like to preach too much. I think fashion can do better. Sometimes when you’re a designer, it’s almost a double edged sword, fashion has been quite evil and wasteful… But I love making clothes. I think it’s more of a traditional approach, clothes used to take much longer to make and you wouldn’t have bought so many. It’s stepping back a little bit, because things don’t have to be so fast paced.

Yes, I mainly get influenced by traditional textiles. Fashion can be seen as a very commercial thing, but if you look back at a folk group or a tribe and you see how clothing or costume becomes this amazing embellished thing that is super important to them. And their fashion says more, it’s trying to be something. Folk dancers have these huge embellished folk gowns and all the time they have spent on it, it’s not this fast fashion thing. That’s

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what I’d like to think of my work – it’s not so trend led, it’s had time input.

WHAT DO YOU WANT PEOPLE TO FEEL WHEN THEY WEAR YOUR DESIGNS? I like to think my clothes are quite fun. But I like that they’re clothes that are meant to be worn, not evening dresses or anything like that. A big snuggly jumper, a bit of joy in it. I think customers like to know that I made it with my hands. You transfer some of the energy through the jumper, the joy you had making it. I want people to love the pieces, so they’re not disposable. I’d like it to be the kind of item that people keep in their wardrobe for the whole of their life.

“It would be better to buy one pair of jeans that are expensive than buy four pairs of jeans that will wear out because they’re cheaply made. You just don’t need so much.” HOW WOULD YOU DESCRIBE YOUR PERSONAL STYLE AND IS THIS REFLECTED IN YOUR DESIGNS? I think I just make things that I would want to wear. Some people don’t look like their brand. I think if I wasn’t designing this I’d want to do kidswear, it’s fun. You can put pom-poms on everything, they don’t mind! When you’re a kid you can wear every colour under the sun and then you grow up and have to become more muted in your colour palette.

ARE THERE ANY VISUAL ARTISTS/FILM DIRECTORS THAT INSPIRE YOU?

tribes, nomadic textile stuff. A photographer called Phyllis Galembo shoots this African, masquerade textile stuff. They’re crafting an outfit that means so much to them. It’s bright and colourful, which I love, but it’s got massive meaning. Also Grayson Perry, that mixing of tradition with the modern.

WHAT MEANING DO YOU THINK YOU’D LIKE TO EXPRESS IN YOUR WORK? That it would be treasurable. Because I do everything with knit and crochet, that it would be a celebration of handcraft. You should watch the documentary “True Cost” – I cried like a baby! But it made me really sad, and then made me really give a shit. For me, the cost isn’t even a huge issue – the problem is more not the price but the turnaround. People just buy too much stuff, because it’s so cheap. Apparently, if a t-shirt had 18 pence added to it, it would triple the worker’s pay. When it comes to luxury fashion, people argue that not everyone can afford that. But when it comes to 18p, who can’t afford that?

ARE YOU DOING MORE ENTRY LEVEL PIECES THIS TIME? Yes. A lot of our social media audience are really quite young, probably since it’s so pop-y. I hate that we don’t really have anything that targets this market, because of costs. But I don’t want to have just a t-shirt with my name on it, or a frill. I want even the entry level pieces to hold the brand ethos. Otherwise it becomes so derivative, so miles away from the brand, it kills me! It’s ensuring we get entry-level products that are still really cool and fit with everything.

IF YOU COULD DESIGN A BESPOKE KNIT PIECE FOR ANYONE, WHO WOULD IT BE? Bjork! I mean, I don’t think a big Aran jumper would work that well on stage, that’s more something she would wear during downtime. But I don’t think she would mind if I threw colour all over her, covered her in pom-poms!

I’m pretty obsessed with bad 80s films. I also love THE PURL

A NNIE LARSON’S CREATIVE SPACE

STUDIO VISIT

A peek inside her New York City Studio The popular categorization of knitting remains throughly in the camp of craft – hobby of the elderly and for a brief period in the mid aughts, Madonna. The idiosyncratic approach of Brooklyn based ANNIE LARSON demands a refreshing of this fusty image of knitwear. Her bright and exuberant designs are known collectively as ALL Knitwear, and feels just as much brand as it does art practice. We spoke with the designer about her processes, and equating knitting to playing music.

Your aesthetic seems so singular even within the context of a cosmopolitain city like New York, yet you grew up in a small town in Wisconsin. Is there a particular source or influence you can point to (family/friends/environment/ internet etc)? I grew up in a really small town and there wasn’t much to do, so I started altering and making my own clothes out of boredom and experimented with different styles of dressing. Growing up in a rural area was culturally isolating—we were kind of in our own world, especially before the internet. But there were a lot of people around me being resourceful, inventive

HOW

DID

ALL

KNITWEAR

GET

STARTED? WHAT WERE YOU DOING BEFORE THAT? I started ALL Knitwear after working as a designer for Target, based in Minneapolis. I became interested in knitwear after designing men’s sweaters for Target and purchased my first knitting machine in 2009, just as I was about to leave my job. Over the next six months, I taught myself to use the machine and launched my first online shop in 2010. Knitting came into my life as I was trying to figure out how to make my designs real and presented itself as an incredible vehicle to develop ideas. THE PURL

and genuinely strange which was inspirational in a different way. Midwestern style is honest and slow, I think about that a lot in conjunction to my work.

Your work seems to be heavily influenced by graphic design and fine art–did you come to fashion design from another discipline? Or do you reject the silo-ing of disciplines? I studied apparel design in college and have been interested in fashion through every phase of my life. I haven’t practiced any other disciplines professionally, but I did study the piano for 12 years and considered going to college for piano performance before committing to design. There are a few strong similarities between my practice as a pianist and my practice as a knitwear designer, specifically the idea of mastering an instrument. I am influenced by art but not always aesthetically–sometimes it just changes my mood or raises questions to consider in my own practice which can be just as potent as the visual information.

as a full repeat. Once I have a pattern I want to work with, I make swatches to determine the layout and colorway. I make all of my design decisions based on a physical swatch, so there’s a lot of development that happens during this time. After I have a set design I want to use, I map it out by hand so I know how to repeat it and make a prototype so I can see the design as a full garment. Most ideas don’t make it to this phase. Once the prototype is made, I make adjustments and record the final pattern.

You’ve collaborated with a few fairly well known artists—can you speak to the process of developing knitwear as an artistic process or collaboration? I’ve worked on a few design collaborations and have also done some freelance work developing ideas for other companies. It’s definitely different to work with other people creatively, but that’s what makes it interesting. Collaborating is something I’d like to consider more in the future.

WHO/WHAT DO YOU FIND YOURSELF RETURNING TO FOR AESTHETIC INSPIRATION AND IDEAS? I love to look at vintage clothing on eBay and Etsy, mostly American sportswear from the 1980’s. Esprit, Guess, Liz Claiborne. I hunt for heather gray sweats from Norma Kamali. I really like the spirit of classic sportswear, there’s something very trustworthy about it, and it’s not cynical. Observing personal style in friends and strangers is also inspiring. I love to see how people do themselves, it offers perspective on basic pieces of clothing that are stylish because of personality, not because of fashion.

CAN YOU WALK US THROUGH THE PROCESS OF DESIGNING A PIECE? THE PATTERN, PRODUCTION, ETC. I generate patterns through a software program on my computer and upload them to my knitting machine. I usually try to design motifs that can be used in a few different ways–isolated as a stripe, or THE PURL

THE PURL

PATTERN

WOOLY MOLLY HAT Pattern by Katie Jones WHAT YOU WILL NEED:

KEY:

TENSION:

Pattern worked in rounds with both yarns piled up together. You can also add a strand of lurex yarn for added sparkle!

1x size 9mm hook 1x 200G WATG Crazy Sexy Wool (super chunky yarn) 1x DK color change yarn or scrappy DK ball 1x large sewing needle 1x scissors

Main hat circumference to measure 55-56 cm, adjust tension to size THE PURL

CH= chain DC= double crochet (single crochet US) SS= slip stitch ST= stitch

If a beanie hat is not your style then go back in time and feel like one of the brat pack! This on-trend mini brim winter hat is a quick make, suitable for beginners and will look fab teamed with your fave winter denim. Embrace your inner Molly Ringwald in this 80s inspired winter warmer!

ROW 16: CH1, *2DC in next ST, 1DC in the next 7 ST,* Repeat 5 times, 1DC in next 6 ST, SS join into beginning of row ROW 17: CH1, 1DC in each ST until last ST, SS join into beginning of row ROW 18: CH1, 1DC in each ST until last ST, SS join into beginning of row and fasten off Sew in your ends and use scraps to make a pompom if you want your hat to have a bobble.

FINISHED!

Put on and feel fabulous!

FOUNDATION

either chain 5, SS join, or Magic Loop ROW 1: CH1, 5DC, SS Join (6ST) ROW 2: CH1, DC in ST below, 2DC in each ST, SS join into beginning of row. (12 ST) ROW 3: CH1, 2DC in next ST, *1DC, 2DC in same ST* Repeat 4 more times, SS join into beginning of row (18ST) ROW 4: CH1, *2DC in next ST, 1DC in the next 2 ST* Repeat 5 more times, 1 DC, SS join into beginning of row (24 ST) ROW 5: CH1, *2DC in next ST, 1 DC in the next 3 ST, *Repeat 5 more times, I DC in next 2 ST, SS join into beginning of row (30 ST) ROW 6: CH1, *2DC in next ST, 1DC in the next 4 ST, *Repeat 5 more times, 1 DC in the next 3 ST, SS join into beginning of row (36 ST). ROW 7: CH1, 1DC into each ST till last ST, SS join into beginning of row ROWS 8-13: Repeat Row 7 ROW 14: CH1, *2DC in next ST, 1DC in the next 5 ST,* Repeat 5 times, 1DC in next 4 ST, SS join into beginning of row ROW 15: CH1, *2DC in next ST, 1DC in the next 6 ST,* Repeat 5 times, 1DC in next 5 ST, SS join into beginning of row

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INTERVIEW

HI LAERKE, HOW DOES WHERE YOU LIVE REFLECT YOUR STYLE?

GETTING COZY & COLORFUL Based in Copenhagen, knitwear designer LAERKE BAGGER shuns the usual Scandi muted palette for bold colours, bright beads and unique shapes to create jumpers that belong on a catwalk. Her knitwear is some of the most intricate and stunning slow fashion around. We caught up with the mum-of-one to find out how she combines a traditional aesthetic with fashion forward designs and how her love of knitting started with one simple scarf. THE PURL

I live in Copenhagen, which is such an incredibly stylish city. People take a lot of pride in how they dress and look, so just walking down the street is inspiring. The so-called ‘Scandi look’ tends to be a bit downplayed in colour, pattern and shape and my objective is to challenge that style. I’d love for the Scandinavians to wear more colour and be bolder in their choice of clothing. Don’t get me wrong, I enjoy the black and beige jumper as much as the next person, but I love colours and patterns so much, that my work sometimes feel like I’m running a one woman revolution in the name of humour and colour!

WHERE DO YOU FIND INSPIRATION? I have a huge collection of vintage knitting books and magazines that I use almost every day. I’ve been collecting them since I was a teenager – even before I knew I wanted to work as a knitwear

“Making to me means pushing boundaries. It means exploring opportunities and always being curious.”

designer. I’ve purchased most of the books in thrift stores and they are probably my most treasured items. I have the greatest respect for the tradition and history surrounding the craft and the knowledge you get from these books is overwhelming. They just don’t make books like that anymore.

YOU’VE WORKED WITH SOME OF THE BIGGEST NAMES IN FASHION – HOW DID IT FEEL TO GO IT ALONE? I was a wreck, but only for the first week. I’ve actually always worked alone, so I just needed to wrap my head around it. I’ll be honest though, I actually prefer working in a team. It’s just nicer to have someone

to ping pong ideas with and, in my experience, two minds work better than one.

WHAT DOES YOUR WORKSPACE LOOK LIKE? I have a lot of yarn, and I mean a LOT! So, naturally, I have to keep order in my workspace. Everything is colour coordinated in transparent boxes. The colours on display are a great inspiration to me and I often rearrange boxes to spot new potential. I share a studio with five other textile designers that specialise in other areas of textile design, such as printing and weaving. We all know each other really well, and it’s fantastic to have this great resource of knowledge, materials and inspiration surrounding me every day. THE PURL

WHAT DOES YOUR AVERAGE DAY LOOK LIKE? My average working day starts at 8am and ends at 4pm. I could easily work all day and night, but having a one-year-old daughter requires a lot of planning and focus. I’ve become a lot better at making a quick decision and staying on point in my design process. Some days I don’t do any knitting at all but instead focus on sketches, collages and research for new designs. I feel very privileged to have such a diverse work life.

WHERE DOES YOUR KNITTING COME FROM?

LOVE

I was a very creative and crafty child. My friends all enjoyed playing outside, while I preferred to draw, embroider, crochet and, of course, knit. My mom was a great inspiration. She makes these giant embroidered medieval tapestries that would take at least a year to finish. She taught me to knit when I was eight, and I kept it as a secret so my friends wouldn’t tease me, although no one did when they eventually found out what I spent my Sundays doing.

WHAT ARE THE THREE THINGS YOU CAN’T LIVE WITHOUT? My sketchbooks, Scotch tape, and proper lighting in my studio. THE PURL

DO YOU HAVE A PROJECT THAT YOU’RE PROUDEST OF? My beaded jumpers. They are a combination of really hard work and a lot of experimenting with materials and colours. Every part in the process requires a lot of time. The beads are collected from vintage jewellery or bought in different Middle Eastern markets. Nothing about the colour, size or material of the bead is random and some of the jumpers have over 25,000 beads on them. The jumpers are all hand knitted by me and take about a month to make. It’s the very definition of slow fashion.

WHAT DOES MAKING MEAN TO YOU? Making to me means pushing boundaries. It means exploring opportunities and always being curious. It’s looking inward and reaching outward. It means never standing still and always moving forward. For more information on Laerke’s knitwear visit her website www.laerkebagger.com or follow her on Instagram (@laerkebagger).

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PATTERN

JOIN-THE-DOTS-SCARF Pattern by Katie Jones SIZE: 30CM Wide X 250CM Long STYLES:

1= 7 Colourway style / 2= 4 Colourway Style

TOOL KIT: 7mm Hook

Paintbox Wool Mix Chunky 100g or Simply Chunky 100g X 8 Balls (800gs) Style 1: 6 Colours & Black Pure Black X 2 balls each Dusty Lilac (A), Kingfisher Blue (B), Spearmint Green (C), Buttercup Yellow (D), Lipstick Pink (E), Tomato Red (F) X1 ball each Style 2: 4 Colours Candyfloss Pink (A), Tomato Red (B), Champaign White (C) Pure Black (D) X 2 balls each

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TENSION: 7mm Hook

Single Motif Square = 15CM X 15CM

KEY: UK Pattern CH = Chain

Sp = Space St = Stitch SS = Slip Stitch DC = Double Crochet TR= Treble RS = Right Side WS = Wrong Side *...* = Repeat instructions between

NOTE:

-Pattern designed by Katie Jones for personal use only and not to be copied or used commercially. -Remember to share your makes using #MIYKATIEJONES, #JOINTHEDOTS

DOT (Make pair) FOUNDATION LOOP: In Dot colour, CH4, SS into 1st chain to form loop ROUND 1: CH3, TR 11 into the central loop, SS join into the 3rd CH (12 Sts) ROUND 2: CH3, TR into same St, *2TR into each St* 11 times, SS join into 3rd CH (24 STs) ROUND 3: CH3, 2TR into same St, *TR into next St, 2TR into next St* 11 times, SS join into 3rd CH, Fasten Off (36 Sts)

SQUARE ROUND 4 (1ST SQUARE of pair): In square colour, Join in any St, CH4, (2DTR, 3CH, 3DTR) into same ST, *(miss 2, 3TR in same ST) twice, miss 2 (3DTR, 3CH, 3DTR) into same ST* repeat 3 times, *(miss 2, 3TR in same ST) twice, SS join into 4rd CH, Fasten Off

MOTIF PAIR JOIN ROUND 4 (2nd SQUARE of pair): In square colour, Join in any St, CH4, (2DTR, 3CH, 3DTR) into same ST, (miss 2, 3TR in same ST) twice, miss 2, (3DTR, 3CH, 3DTR) into same ST, (miss 2, 3TR in same ST) twice,(3DTR, CH, DC into any 3CH corner space of Motif 1, CH, 3DTR) into same ST, DC into gap between 3TR cluster of Motif 1, (miss 2, 3TR in same ST, DC into gap between 3TR cluster of Motif 1) twice, (3DTR, CH, DC into 3CH corner space of Motif 1, CH, 3DTR), (miss 2, 3TR in same ST) twice, SS join into 4rd CH, Fasten Off

MOTIFS STYLE 1: Make 6 pairs of Motifs, 1 Dot pair in each colour and Square edge round in Black. (Total 6) STYLE 2: Make 4 sets of pairs with Pink Dots and Red Squares (Motif A). Make 3 sets of pairs with Red Dots and Pink Squares (Motif B). (Total 7)

MOTIF & STRIPE BLOCKS STYLE 1: Make 6 Blocks, using all Motif pairs STYLE 2: Make 5 Blocks, using 2 X Motif A, 3 X Motif B STEP 1 TOP ROW 1: On RS, DC Join in Colour A/Colour C in right top corner CH Sp of motif pair, CH2, TR2 into same CH Sp, (3TR into next cluster/CH sp gap) 9 times TOP ROW 2: Turn, CH3, 3TR into next cluster gap, (3TR into next cluster/CH sp gap) 8 times, TR into 2nd CH of 1st Row, Fasten Off TOP ROW 3: On RS, DC Join in Colour B/Colour D DC join in Sp between last TR and Cluster, CH2, TR2 into same Sp, (3TR into next cluster gap) 9 times TOP ROW 4: Turn, CH3, 3TR into next cluster gap, (3TR into next cluster/CH sp gap) 8 times, TR into 2nd

CH of 3rd Row, Fasten Off BOTTOM ROW 1: On RS, DC Join in Colour F/Colour D in right bottom corner CH Sp of motif pair, CH2, TR2 into same CH Sp, (3TR into next cluster/CH sp gap) 9 times BOTTOM ROW 2: Turn, CH3, 3TR into next cluster gap, (3TR into next cluster/CH sp gap) 8 times, TR into 2nd CH of 1st Row, Fasten Off BOTTOM ROW 3: On RS, DC Join in Colour E/Colour C DC join in Sp between last TR and Cluster, CH2, TR2 into same Sp, (3TR into next cluster gap) 9 times BOTTOM ROW 4: Turn, CH3, 3TR into next cluster gap, (3TR into next cluster/CH sp gap) 8 times, TR into 2nd CH of 3rd Row, Fasten Off BOTTOM ROW 5: On RS, DC Join in Colour D/Colour D DC join in Sp between last TR and Cluster, CH2, TR2 into same Sp, (3TR into next cluster gap) 9 times BOTTOM ROW 6: Turn, CH3, 3TR into next cluster gap, (3TR into next cluster/CH sp gap) 8 times, TR into 2nd CH of 3rd Row, Fasten Off STYLE 2: Make 2 more Blocks using Motif A but only add TOP ROWS. BOTTOM ROW 1: On RS, DC Join in Colour C in right bottom corner CH Sp of motif pair, CH2, TR2 into same CH Sp, (3TR into next cluster/CH sp gap) 9 times, Fasten Off

JOINING BLOCKS TO FORM SCARF STYLE 1 ORDER: Bottom – Top Motif A/ Motif B/ Motif C/ Motif D/ Motif E/ Motif F STYLE 2 ORDER: Bottom – Top Motif A/ Motif B/ Motif A/ Motif B/ Motif A/ Motif B/ Motif A Lay blocks out working from the bottom block up to join. BLOCK TOP ROW 5: On RS, DC Join in Colour C/ Colour C DC join in Sp between last TR and Cluster, CH2, TR2 into same Sp, (3TR into next cluster gap) 9 times JOIN ROW 6: Turn both block onto WS CH3, DC into Sp between TR and Cluster of above block, 3TR into next cluster gap, (DC into next cluster gap of above block, 3TR into next cluster gap) 8 times, DC into CH Sp of above block, TR into 2nd CH of 3rd Row, Fasten Off. Join all blocks together in scarf strip. STYLE 1: On first and last Blocks (Ends of scarf) continue stripe pattern and complete the full pattern (12 Rows) in colour order.

FINISHING Using reaming yarn add fringe to scarf ends. Cut 2530cm lengths and loop through cluster gaps. Sew in ends

THE PURL

Grandma never knit like this. Leather, rawhide, turkey feathers. You name it, it has probably been used to knit. There is a growing trend among knitters to CHALLENGE the traditional limits of the craft, which is what we celebrate at THE PURL. GET HOOKED on our exclusive interviews and sneak peeks into the world of the rising stars in the kitting industry. Combining the old and the new, these artists ELEVATE the art of knitting to the ranks of high fashion. From New York to London, avant-garde knitters take part in previously UNCHARTED territory of Fashion Week shows. Behind every knitter is a huge stash of yarn, so find some inspiration from the artists that inspire us. Create, innovate, and BREAK BOUNDARIES. Never stop testing the limits, and you may end up in our next issue! Happy Knitting!