Academic

Fashion Studies Journal

Folk Fashion for Fashion Folk
Rebecca Smith
Review of Folk Fashion: Understanding Homemade Clothes. 'Many of Amy’s conclusions lead the way to challenging the restrictive and prescriptive ways in which the fashion system dictates who we become with each seasonal collection produced. Folk Fashion offers us an alternative that may well point the way to creating sustainably both for individuals and for society-at-large.'

Craft Research

Don’t get comfortable: A review of ‘Knitting Nottingham’, Bonington Gallery, Nottingham Trent University, 6–28 November 2014
Vanessa Brown
'Another practitioner's work, Amy Twigger Holroyd's, addresses community and skill-sharing in the push towards more sustainable clothing. Her exhibits displayed the creative potential of re-knitting and 'stitch-hacking' to create familiar yet refreshingly novel garments from existing ones.'

Product Lifetimes and the Environment (PLATE) Conference proceedings

Crafting sustainable repairs: practice-based approaches to extending the life of clothes
Angharad McLaren & Shirley McLauchlan
This paper explores the barriers to mending, different perspectives on the reasons behind them, suggested solutions and contemporary approaches to overcoming them - including discussion of my 'metadesign' approach to developing and sharing reknitting techniques.

The Communication Review

When Your Seams Get Undone, Do You Learn to Sew or to Kill Monsters?
Radhika Gajjala
'New domesticity—which is a return to a lifestyle that centers domesticity “in the service of environmentalism, DIY culture, and personal fulfillment”—is taking shape in mostly Westernized DIY spaces. New domesticity exists in a neoliberal and digital DIY ontology that distinguishes itself from the domesticity of previous generations while also making claims to a “return.” This essay lays out some key issues that need to be taken into account regarding this emerging form of Wi-Fi gadget facilitated public engagement through domestic space while noting how the issue of unwaged labor resurfaces in the context of digital labor by women.'

Keep & Share: the first ten years

Self-published pamphlet
Amy Twigger Holroyd
In August 2014, to celebrate the ten year anniversary of Keep & Share, I produced a 16-page pamphlet in which I look back at the development and evolution of my work. The printed version of the pamphlet was produced in a limited edition of 100 copies. An interactive version is also available to download.

Birmingham City University

Knowledge Exchange in Design [film]
Knowledge Exchange in Design is an AHRC-funded project led by Birmingham Institute of Art and Design. The project brings together research students and early career researchers with partners from a range of organisations to work on a short, focused research project. The film profiles four projects, including my research residency at Birmingham Museum & Art Gallery.

Textile: The Journal of Cloth and Culture

Zen and the Abstract Machine of Knitting
Otto von Busch
'Comparing knitting to the protocols of software or the “Zen“ of the loops themselves may add a theoretical framework to help expose new dimensions of the underlying diagrams of knitting. With such an approach we may better understand the capacities with which to “hack“ the abstract machine of knitting, as we can see in the works of artists like Amy Twigger Holroyd and Rudiger Schlömer.'

Knitting: Fashion, Industry, Craft

Chapter 3: Knitting in the home from the eighteenth century to the present day
Sandy Black
'Amy Twigger Holroyd has developed a personal artistic practice she calls 'stitch hacking', i.e. subverting and customizing a commercially produced piece of plain or patterned knitwear. By carefully and laboriously reversing stitches she has reproduced the garment's label details including the logo in full textured detail. A subtle example of consumer customization and craftivism.'

Design Activism and Social Change conference

Activism at Work - Crafting an Alternative Business
Dr Karen Yair
'The idea of consumer as participant goes beyond materials selection for some makers, to become part of the making process itself. Amy Twigger Holroyd, for example, believes that the more active a consumer is in the making process, the greater the emotional bond with the object and the longer its probable life. Amy makes her own knitwear range, but also aims to transform her customers into makers themselves, initially working to patterns and eventually creating their own designs. Running courses in 'pattern blagging' and 'stitch hacking' as well as selling knitting kits, Amy encourages the active participation she sees as crucial to genuine ownership.'

Making Futures conference

Craft and the Creative Lifecycle: making in changing times
Dr Karen Yair
'A lower impact, ‘as and when’ approach to retailing is adopted by Amy Twigger Holroyd, whose company offers knitting workshops to summer music festivals. For Amy, this is part of an activist philosophy focused on creating maximum value and minimum waste from everything produced.'

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