Today, we are excited to present the Rideau Cowl by world-renowned knitwear designer, Fiona Ellis, who was born in England and now resides in Canada. It’s been a joy to work with Fiona and an honor to include this amazing pattern in our 2021 Fall/Winter Collection! For those of you who haven’t had the pleasure of meeting and knowing Fiona, we are pleased to introduce her through this Designer Spotlight.
How and when did you decide to design patterns?
I received a BA in Fashion Knitwear design at University in the UK. After graduation, I started designing for ready-to-wear fashion houses in London and New York. Through this avenue I met Trisha Malcom, long-time editor of Vogue Knitting magazine, in New York. She encouraged me to transfer my design skills towards the hand knitter (rather than mass-production) and Vogue Knitting was first to publish my designs in this arena.
What was the inspiration behind your Rideau cowl for Plucky’s 2021 Fall Collection?
The very first assignment we were sent when studying knitwear design at university was to design “interesting stripes”. This proved to be much more of a challenge than we first anticipated. And it sucked me in, so much so that I have returned to the idea over and over. For me the stripes not only have to be attractive but also fun and engaging to knit. For the Rideau, I came up with a long sequence that is repeated three times, with the colour placements changing each repeat so that the sequence is not immediately obvious at first glance. Finishing details are important to me so I layered on some understated techniques to give the cowl a polished, elegant, understated look while being a fun “just one more row” project to knit.
How did you come up with the name for this fabulous cowl?
I worked on this project on a road trip (in pre-pandemic times) to Ottawa, Canada, which is on the Rideau canal system. Skating on the canal in the winter is a very popular thing to do and some type of cozy neckwear is a must, which inspired this name.
When did you first learn to knit and who taught you?
Like many knitters I learned as a child, at around 5 years old. The story goes that one afternoon my Mother fell asleep and I decided to “help” her with the Fair Isle yoke sweater she had on her needles. I woke her saying, “Look Mummy, I’m knitting.” I was quickly shipped off to my Gran so that she could teach me the skills to actually help rather than just make a tangled mess.
As you were learning to knit, what was your biggest challenge?
I am perpetually curious and never take “rules” at face value, I am constantly asking – why? So, learning to walk before I could run was my biggest challenge. Full of ideas, I always wanted to move onto the next skill rather than taking time to keep practicing. Fortunately, I was surrounded by good stitchers (Mum & Gran), who kept me practicing but didn’t try to stifle my creativity.
What are your sources of creative inspiration?
I know many artists and designers say this, but I literally do find inspiration everywhere.
- In nature; the colour combinations in flowers, texture of tree bark, patterns found in ripples in sand after the retreat of the tide.
- In architecture; the elegant columns of gothic cathedrals, ornate Art Nouveau building facades, even the lines found in a grate on the street.
- In music & dance; the shape and lines created by the human body as it moves, the way a break in music adds interest and punctuation.
- In trips to museums and learning from history, most often this is other textile forms; Paisleys and drawn-thread work have been past favourites.
- I also find springboards in other media; food styling and photography, the overall mood created in a film, a phrase or an idea in a novel.
And, of course, exploring a knitting technique (such as stripes), where I tend to work in “series”.
How would you describe your design aesthetic?
This is tricky to answer because I think it can be hard to know or see your own work. But I will say that I prefer clean lines rather than fussy eclectic looks. I like patterning to be interesting and capture the imagination, nothing too obvious but also not confusing for the eye to follow.
Details and finishing are super-important to me, continuing the pattern into a neckline or repeating a design element for collars and cuffs for example. In mass produced garments, the edges, necklines, etc., are often worked just to stop the piece from unravelling, but I believe that a hand knit garment is a couture piece and we should consider every element and stitch, this extends all the way from cast-on to bind off.
What influences your color choices and pairings?
I love dreaming up combinations that have something unexpected about them. Adding a “pop” colour can enliven every palette, even if they are subtle and understated. I grew up with Monty Python…so I love the phrase “and now for something COMPLETELY different” – a tiny shot of lime green or hot orange or maybe shocking pink when least expected.
What do you enjoy doing when you’re not knitting and designing?
Having practiced for many years, I have recently trained as a yoga instructor and I love being able to guide others through their own practice. I am a big fan of movies and so I watch a lot of them. I enjoy “arty” and non-English language films mostly. I also love to sew, and I dabble with quilting. The piecing aspect is what most appeals to me (working with colour, shape and patterning), rather than the quilting, so I have a lot of tops and very few finished quilts. I have always taken some kind of dance class since I was around eight or nine years old, periodically switching up what style to focus on, and one of my favourites is belly dancing. Ooh and I love to cook (and eat), so during the pandemic I dreamt up menus that allowed us to “travel” to different parts of the world each weekend without leaving our kitchen.