This is the 10th in a series of blog posts featuring the fabulous sponsors of the 2018 Rhinebeck Trunk Show.
Ever since I discovered indie-dyed yarn, Viola has been one of the dyers whose yarns I have lusted after. Emily’s colors are lightly speckled, but not the eye-poppingly bright speckles that have become popular in recent years. They’re more like gelato, with subtle swirls that look good enough to eat.
While following Emily’s business over the years, through her work experience with UK-based mill John Arbon Textiles — which created a line of colors inspired by her — to her move to a studio in Mooresburg, Ontario, and development of bases, like her Mooresburg DK, it was my dream to have her vend at the Indie Untangled Rhinebeck Trunk Show. So I was thrilled when, earlier this year, Amy of Pom Pom Quarterly asked if Emily could have a booth to sell her yarns, which would be featured in Knits About Winter, a book of Emily’s designs that Pom Pom Press was publishing in the fall.
In advance of the premier of Knits About Winter at the New York Sheep & Wool Festival (you can preorder your copy from the Merritt Bookstore to pick up in their booth at the festival), I spoke to Emily about the book and her work as a dyer.
What inspires the designs in Knits About Winter?
Knits About Winter is entirely inspired by the winter landscape surrounding my home in Mooresburg, Ontario. I moved here at the beginning of a very cold and snowy winter a few years ago and was almost instantly captivated by the quiet magic of winters here. Winter can be cold and harsh but also mysterious and magical. My goal with each of the designs in Knits About Winter was to create patterns that would be warm and comfortable in the cold of winter, all the while remembering the colours, shapes and light of winter.
Did you come up with new colorways for the collection?
Yes! There are four new Viola colourways that are launching at the same time as the book. Each colourway is also inspired by Mooresburg winters past and present. I knew roughly what I wanted each colour to be, but did a lot of visual research and experimenting before I landed on the finished colourways. Visual research is one of the most fun jobs that I have, especially in winter, because it involved frequent snowshoeing adventures with my camera! Each colourway is inspired by a variety of different sights in my winter landscape. I decided to combine elements of texture, light, shape and, of course, colour that stood out to me and suited the palette I wanted to achieve.
Do you have a favorite pattern from the collection and, if so, why is it your favorite?
My answer to this question changes every day, so I suppose they’re all my favourites. My focus was to create designs that would be versatile and serviceable, yet beautiful. I also wanted to create pieces that would be easy to layer and wear together, so I think of these patterns as a knitted outfit rather than individual pieces. I can honestly say that I can’t wait to wear all of them, and am so pleased with their minimalistic beauty and wearability.
Tell me about how you got started dyeing yarn.
After working in a small knitting store in Toronto, I discovered the wonders of hand-dyed yarns. It didn’t take long before I was experimenting with dyes for myself, and just a little while longer before customers at the shop claimed skeins for themselves. The business grew quickly from there, along with my dyeing and business skills. I learned everything as I went along, through lots of trial and error and lots of making mistakes.
How did you decide on the name Viola?
That was an easy decision actually. Viola is the name of both of my grandmothers! Both women were seriously talented knitters and made my sister and I countless amazing outfits. One grandma is even known to have been able to knit whilst reading a book and snacking (I think apple slices were her favourite).
Do you have a favorite color or colors, and have they changed since you became a dyer?
That’s even trickier than choosing a favourite design from the book! I find that my colour preferences change reliably with the seasons, even more than they change through the years. Since I started dyeing yarn I have developed a more focused way of observing colours around me. Right now (and I think always) I know that I am drawn to complex, layered and hazy colours. I’ll always pause to inspect a colour under frost or water or behind mist. Reflections in puddles or the sky hidden by clouds. A bright colour might catch my eye, but it is usually the murky tones, textures and light around that colour that interest me. I also like to explore the balance between warm and cool in colours, and often prefer shades that land right in the middle.
That said, I do have some favourite starting points, they become more faded and subdued in the winter and a little more colourful towards the summer. All types of pink, copper, peach, beige, gold and olive are my go to shades, and I use these colours more often than you might think in all Viola colourways.
Is there a color that you would love to dye, but that is challenging to create?
This happens to me quite often, actually. The more layers of dye in a colourway, the easier it is to tip too far in one direction or another and become too hazy or simply transform into another colour altogether. Often I discover great new ideas when overdyeing colours that I’m not happy with, and that’s just what happened with a colour called Peat that I’ve been struggling with for months. I’ll get there, because it is a beautiful and moody colour (and I want to knit a sweater with it!) but often the first run of a colour is almost impossible to recreate for me.
Tell me about the decision to work for John Arbon. What were some of the best things you learned while there and how did it inform your dyeing?
About three years after I “accidentally” started Viola I was feeling overwhelmed by how quickly the business had grown. It was a fluke that John and Juliet had a job opening up exactly when I contacted them, and even more of a fluke that they took a chance on a Canadian girl they’d never spoken to before! I think it only took about a month or two from contacting them, to boarding the plane to England.
I loved working for John and Juliet as well as living in beautiful North Devon. I learned more that I could have ever hoped to about fibre, yarn construction and operating loud and dangerous fibre processing machinery. I think the most useful thing that I took away from my time at John Arbon Textiles was John and Juliet’s attitude, creativity and work ethic. I never slacked off at Viola, but would often struggle when a problem arose. Running a small business, this happens at least once a day. Watching John and Juliet navigate similar issues rationally and calmly taught me that there is no ready made solution and I have to figure it all out for myself. I still struggle with complicated problems and decisions, of course, but take comfort in the fact that I am in control of the journey as well as the outcome.
How has having a new studio space changed your business?
I have been working in the new studio space for just over two years. When we renovated the space I was optimistic that it would make my dyeing process more efficient and as of about three months ago, it finally did. My answer to this question two years ago would have been that the new space will allow me to dye more yarn and be more productive. While that would have been fantastic, I think my business gained something even more valuable – resiliency. Countless things have broken, gone wrong, fallen apart, frozen, blown up and been eaten by ants. Just at the moment that one problem was fixed, the next one materialized. Amidst it all, I simply had to keep going and deal with the issues as they arose. The new studio space as taught me that good things take time, and lots of patience. It’s working really well at the moment, but I am still braced for the next potential catastrophe.
So many indie dyers. One email.