Woulda, Coulda, Shoulda . . . . .

Before i launch into my apology to crocheters, i want to acknowledge and thank fellow bloggers who have discussed the Knit and Crochet Heritage project on their blogs. Thanks to Susan Anderson of Itty Bitty Knits, Crochet Insider, Dora Ohrenstein, who also talked us up in a recent JimmyBeansWool blog post,  and TECH Knitter.  We are grateful for their thoughtful support, and their eloquent assistance in getting the word out.

The enterprise to to start a new “museum” – whatever that means in the twenty-first century –  is daunting.  Important, valuable objects and the stories they tell deserve the “museum” treatment. The Knit and Crochet Heritage Project is about making sure that the objects that we have created with our hands and the simple tools of sticks, hooks and string are so honored.

I know the title of this blog page is KnittingHeritageMuseum – and doesn’t mention its equally compelling and important sister art/craft: crochet.  Movers and shakers in the crochet world have frequently called me out and asked, “How could you make such an omission?”  I thought i would share my mea culpa with you readers, and ask your indulgence for a fresh start. I appreciate crocheters’ concern, and i agree that in a perfect world (I work hard – but am not perfect) I would have used crochet equally from the very beginning.

Initially I used just the word “knitting” in the titles and for setting up Facebook, mostly because “knitting and crocheting heritage museum” was such a mouthful.   Actually, my grandmother taught me to crochet before i learned to knit, and my crochet-only sister keeps me in line. My wedding dress and veil were trimmed with 8 yards of crocheted – not knitted – lace edging that I made.

Early on crocheters pointed out the error of my ways.  They made clear that I had erroneously chosen perceived brevity over inclusivity and that was a mistake.

Before I could change the name to “Knit and Crochet Heritage Museum” to be more inclusive, I  ran afoul of the Facebook rule that does not allow one to change the name of the Page once it has collected more than 100 “likes”.  Likewise – I got too far along with registration page and blog page to put “Knit and Crochet” in those titles.  Since then, I have edited the text in public spaces that would allow (or where i could figure out how to go back in and do it.)

The domain name i have secured for a proper web page is the KACHM.org  for Knit and Crochet Heritage Museum, – so, moving forward,  inclusiveness will be more visible. The current version of the logo  now says Knit and Crochet Heritage Museum- although it, like the Facebook name and  of this blog page are placeholders.

The good news is that the Symposium, November 8-10 in Madison, Wisconsin,  provides the opportunity for a fresh start – snappy new inclusive name for the project/initiative/museum that is the result of deliberation and consensus.  The more crocheters engage,  the more balance there will be.  Perhaps we will even come up with the a single word for knit and crochet  like we have “sibling” for brothers and sisters. In Japanese, there is only one word that translates roughly as “yarn play.”  Perhaps a new inclusive word like “yarning” or something better, will catch on. That would be a positive outcome.

One of the possibilities is to develop a “SWAT” team of skilled crocheters and knitters to work with willing curators to help update, clarify and enhance documentation. Getting labels straight in museum collections, so that crocheted objects aren’t misclassified as knitting, and vice versa, is a goal of this project; that will benefit both knitters and crocheters.

This initiative has a higher likelihood of success if crocheters, as well as knitters are  on board. Now is the time to direct our collective energies time and talents to advance both crochet and knitting. Symposium registration closes Oct. 26. I hope you can join us.

Are You On the Fence About Whether to Attend the Symposium?

The symposium, during which we will talk about whether there should be a knit and crochet heritage museum, what that might look like, and next steps to take, is bearing down on us. I wasn’t really thinking about its proximity to the 2012 presidential election only two days earlier when i selected the  dates of Nov. 8 -10. NO, I based it on when there was no home football game for UW’s Badgers.  That said, the election countdown clock applies to registering for the Symposium as well. For those who have decided to attend, but haven’t reserved your hotel yet (or registered), the block of rooms being held at the Lowell Center will be released this Saturday, Oct. 6.  This is the most convenient lodging to the Symposium, and you should reserve TODAY!

For those not sure you should attend, Becky Holmes, a technical writer, ardent knitter [Ravelry name, Vanillamilkshake], and so much more  . . . makes this persuasive argument:

I was curious about the knitting symposium but not sure whether or not I wanted to commit the time and money to attend the event. Having now met with Karen Kendrick-Hands, the driving force behind this event (and the museum itself), I am convinced that it will be an excellent use of my time and money. Karen is a zealous advocate for preserving knitted and crocheted items and ephemera such as patterns and she will win you over to the cause.

I had a lot of questions for Karen about this project: “What kind of museum do you envision?” “Will it be located here in Madison?” “What role is the Wisconsin Historical Society playing in the symposium and the museum?” “What role can local Madison knitters play in this project?”

It turns out that answering the first three questions is part of what we will do at the symposium. Museums in the 21^st century can take many forms, including digital only. A bricks and mortar building with exhibit space is another option. We will investigate these and other questions over the course of the event.

The last question, “What role can local Madison knitters play in this project” was what hooked me into signing up. This event has the support and participation of industry and museum experts, both local and national–if this project is going to work, it’s going to be these people who get it going, and I didn’t want to squander the chance to be an early supporter. When I thought about paying the $175 fee, I considered the fact that events like this can’t be organized for free, and if paying my fee helps the event come off, then it’s worth it. However, if you are interested in attending the event but don’t have the funds, Karen still needs volunteers to help with breakout sessions and registration; send her an e-mail message at knitheritagemuseum@gmail.com.

I hope to see you November 8-10 at the Wisconsin Historical Society. I’ll be wearing handknits.

Trisha Malcolm of Vogue Knitting and Jack Blumenthal of Lion Brand to Speak

I am so excited that Trisha Malcolm’s , VP and Editorial Director of Vogue Knitting, has accepted our invitation to speak at the Symposium, the panel is complete.

Trisha was one of the first yarn industry leaders to respond enthusiastically to the concept of a Knit and Crochet Heritage Museum, “It’s about time.  A brilliant idea.” If Trisha Malcolm believes that this project is vital to the future of knit and crochet, we can not fail.

Jack Blumenthal , VP of Lion Brand Yarn will join Trisha on the panel to discuss how our knit and crochet heritage empowers the future of our beloved  art/craft, and the industry that supports it. Jack knows the importance of preserving history. Lion Brand has been around since 1878 and is America’s oldest yarn brand. For us passionate practitioners, it is a great opportunity to ponder the continuum of interests in our community.

Just assembling the symposium has been a massive undertaking, and I know that much more work lies ahead. The Symposium is all about knowledge sharing, team building and a reality check to figure out the best place to begin.  It is an exciting time to envision a unique museum, getting off to the right start in the digital age, before we are blessed/burdened with objects that are simultaneously assets and liabilities.   Come help us to develop a twenty-first century institution to honor an ancient fiber art.

Be sure to visit our new static pages on the left-hand column of this blog page (a little technological empowerment is a dangerous thing in an amateur’s hand. Thanks Paul!). There is a new media release about the Symposium, as well as lots of new event details, including our classy brochure.

Oh Canada Part I – Bedazzled in Toronto

Italian Silk and Gilt Intarsia Jacket at the ROM

My quest to create a Knitting Heritage Museum kicked into high gear in June when I asked the Yarn Group of The National NeedleArts Association for a grant to cover symposium expenses. Much to my delight, the Yarn Group made a grant of $5000, $2000 more than I had requested. At the end of the meeting, Kathleen Kroeger of Bejeweled-Bedazzled  rushed up and invited me and Amy, City Knits’ manager, to visit Toronto to research how the Canadians treat their textile heritage.  Besides being an amazing hostess, she is the creator of glorious glass buttons, so light that they will work on even delicate hand knit sweaters.  I am  still digesting all the wondrous things that happened during our visit – both as a tourist and a researcher.

On Monday, we enjoyed a special tour of the Textile Collection of the Royal Ontario Museum  led by Mitzi Beale, long time volunteer with the ROM, and my traveling buddy from our life -changing 1996 Scandinavian Knitting Tour.

The Italian knit jacket was a breathtaking masterwork from the 1600‘s, knit of silk and silver gilt thread using the intarsia technique in an impossibly fine gauge.  We are still wondering about the drawer of knitted and crocheted bags and lace:  seven objects, but only six descriptions.  I guess that means another email to a curator, and another “crochet gets no respect” anecdote for the files. We were nourished in many ways by a delicious dinner hosted by our friend Norm.

Silk Oasis on the Silk Road: Bukhara - Exhibit at the Textile Museum of Canada

On Tuesday, we were gifted with an astounding mini-seminar at the Textile Museum of Canada/. Executive Director  Shauna McCabe arranged for us to spend an hour with three key curators. I still haven’t yet absorbed all the wisdom they offered. [I’ll summarize their advice in Part II.}Our hostess Kathleen was so generous: Bead store 101 for Amy at BeadFX, shrimp on the BarBee, swimming with silver globes under a silvery summer moon; bedazzling bra straps and creating jewelry at midnight, and soaking up personalized tours of the special byways that make Toronto such a wonderful city.

 

On Wednesday, after a shopping spree at Romni Wools, Toronto's mecca for knitters,  we visited charming Cambridge, and fiber genius Kathy Fisher.

Hostess Kathleen Kroeger, Mitzi Beale and Kathy Fisher

She shared amazing insights about the modern chemistry of medieval plant dyeing, an introduction to Viking whirling spindles. I am in awe of her sheer energy and intellectual pursuits. Who knew that black walnut husks yield less dye if they have grown near the road in vehicular pollution, than trees grown in the cleaner air of the woods?

Wednesday evening Amy and I saw Camelot at the Stratford Festival was sublime, from the opening hawk flight (yes, a real hawk!), through the love songs with cunning lyrics, to the despicably evil Mordred who preyed on the human frailties of King, Queen and Knight, locked in a love triangle — all enhanced by the tour de force of costuming expertise.

Granny Square Jacket from the Stratford Festival Archives

Still the highlight of our Stratford visit was a tour of costumes, and props (Amy is a gifted designer, whether sewing or knitting), followed by our lunch with Stratford’s Archives Director, Dr. Francesca Marini. Though busy with founding a museum for the Stratford Festival,  she found time to share a very special costume from her archives with us: a bright green granny square suit, crocheted from fabric strips, as well as great advice for a start-up museum, which I’ll save for another day.

How wonderful to have so many new friends “up north.” I can’t thank you all enough. Can’t wait to return.

• Up Coming Topics:  
  • Oh Canada! Part II – Museum Start-up Advice
  • Building the Board;
  • Selecting a Symposium Date;
  • What makes me think that I am the one to start up this Museum???

The World Needs a Knitting Museum

As an addicted knitter and crocheter, lover of textiles and enthusiastic visitor of museums, I have frequently attempted to combine my passions.  Repeated disappointments have long caused some serious musing:

Why are knitting and crochet so often treated like the illegitimate stepchild, the crossed-eyed cousin concealed in the attic?  As I have plunged into the world of Museums, I am learning there are very legitimate reasons: lack of resources, backlog of objects waiting for processing, different criteria for cataloguing, costume vs textiles expert . . . .

But the gnawing question was: Can this be addressed and resolved somehow?
My answer:  The World Needs a Knitting Museum!
I am planning to use this blog to focus on the process of creating an entity to collect, preserve, document and share our knitting and crochet heritage, and record my journey of exploration.  I hope to gather the talents of fellow travelers along the way. I hope you will engage with me in this conversation and process.

I visited a museum focused on the history of the city in which it was located.  The name and location are irrelevant to the experience.  My husband and I had a special opportunity to get behind the scenes ( lucky us!)  With little notice, we dropped by for a mini tour.

We met with a staffer long involved with exhibits there, and during the conversation, I mentioned my interest in establishing a Knitting Museum.  She paused, pondered, and replied definitively “Well there aren’t any Knitting Museums,” as though there never could be either.  Bemused, I responded:  “My point exactly!”

We actually got to see the Costume Department. The development coordinator,  had forgotten to give our guide advance warning when we made our visit plans.  Our guide apologized for not having prepared, and gamely offered to find a couple of knitted pieces in the collection to share with me on short notice.  We followed her down to the basement; – though the development coordinator had worked for the Museum for six months, he had never been down to the Costume Department.

Our guide searched through several drawers, and then triumphantly pulled out her favorite, red wool scarf: fringed, with a reindeer and the name “Robbie” cross stitched on the surface – “P L A N   A H E ad” style.  It was quite charming.  Poignantly, however, it wasn’t knitted.  It was made using another technique called “Tunisian Crochet” – a crochet technique, performed with an extra long crochet hook.  Those who don’t indulge in either knitting or crocheting would not be vexed by this.  To fans of either one, there is a crucial distinction, and I was both disappointed and triumphant:  the encounter proved my case that knitting just wasn’t getting the respect I believe it deserves.

Our guide was a great sport about it.  She had, after all, accommodated my request to look at “knitted” items without any prep time, and she had acknowledged that, though her mother was an ardent knitter (of dishcloths), that she didn’t know anything about it.   I had a hook and yarn with me, so as we talked, I worked up a swatch in Tunisian Crochet to demonstrate how it differed from knitting.  The guide and I will try again, on another visit with much better advance warning.

I share this account of my visit, because it so perfectly illustrates what motivates my yearning for knitting and crochet to have a place of their own.  The experience has left me with a big smile, to be handed such a perfect example of what knitters experience when they try to interact with textile collections. For me, it underscores the need to change the way knitting is collected, documented and shared  with the public.

Has anyone else experienced this?  I look forward to your input on the need for a Knitting Heritage Museum.