Amy Twigger Holroyd is interested in sustainable knitwear, amateur activities that happen in the home such as repairing and actively seeks out ways to support amateur and small scale activities.
Like me she is keen to understand PEOPLES LIVED EXPERIENCE of these activities. will read her PhD Thesis which is about Amateur Fashion Making. I appreciate her methods of articulating this work and the distinct vehicles she is using to do this i.e. design-led, knitted garments.
She has a book coming out in 2017, called Folk Fashion it seems like it will be worth reading:
‘In Folk Fashion: Understanding Homemade Clothes, Amy Twigger Holroyd explores the vibrant world of amateur creativity and unpicks the contemporary experience of making and mending clothes for ourselves to wear.
A dynamic resurgence in sewing and knitting has emerged in the last decade, supported by the connective power of the internet. Today, many people are making and mending their own garments at home, and deriving great pleasure from this creative process. However, making clothes is not a consistently positive experience: conversations with makers reveal many stories of homemade garments languishing at the back of the wardrobe. Twigger Holroyd draws on theories of fashion, culture and craft to help makers understand their mixed experiences of wearing homemade clothes in a society dominated by shop-bought garments.
Many folk fashion makers are motivated by concerns about the environmental and social impacts of mass-produced clothing, and see that creating their own clothes can lead to a slower and more satisfying experience of fashion. However, the relationship between amateur making and sustainability is more complex than it may first appear. Using an unexpected metaphor of fashion as common land and incorporating a focus on individual well-being, the book critically examines the potential contribution of domestic activity to a sustainable fashion system.
Taking an inclusive approach, Folk Fashion looks at the making and remaking of both individual garments and the wardrobe as a whole. Twigger Holroyd combines her own experience as a designer and knitter with first-hand accounts from a diverse range of folk fashion makers to provide an array of perspectives on this fascinating, yet under-examined, area of contemporary fashion culture. Examining both mainstream and emerging practices, she not only develops an understanding of what is happening now, but also suggests ways that folk fashion might continue to flourish, diversify and evolve in the future.’