INSIGHT X KNITTA PLEASE

Our Head Menswear Designer, Robbie catches up with artist and Insight friend Knitta Please on yarn bombing, travel, clothing collaborations and future plans. Read on:

1.Your latest yarn bomb's definitely stand out globally, especially the ones you just did in Sydney, your signature style is unmistakable. What is 'Yarn Bombing'?

Yarn bombing has come to define the act of putting knitting outside where it doesn't traditionally belong. There's also definitely a piece to it of guerrilla movement and unsanctioned action under the cover of anonymity. In my own work, I still see myself rooted in this history, but I've moved away from this undercover act of yarn bombing in the past couple years.

2. As the pioneer of bringing the craft of knitting to the streets and off nanna's couch, did you ever think  'that's it...... I'm going to put all my energy into this and drop everything'?

Absolutely, I reached a point where I did actually drop everything else in my life to make this art happen. But it hasn't always been like this. I remember the disbelief from my family - it was like, what? You want to do what? But then the commissions kept coming, and Tina Fey mentioned us on Saturday Night Live, and the broader audience convinced the skeptics. I'm still at it full time, and I love my day-to-day.

3. How much can you pre-plan your installations? Do you mock to-scale versions in your studio or do you sketch them up? What is your process?

Everything is meticulously planned. Occasionally I'll start with a concept that will eventually find its location, but 99% of the time the installation is inspired by a space. Site visits are mandatory, and I'm obsessive about getting accurate measurements of anything and everything. I have two assistants who I bounce ideas around with and then sketch or use photoshop to create a visual mock up of the space. The color palette is also an important piece of the puzzle. Only after all of this do we start knitting.

4.You have worked on some big installations; the bus in Mexico, our Insight campaign, Art and About steps in Sydney and many more. Did you work on all of these on the solo, or have you now a small army of 'yarn bombers'?

On the Mexico City bus, for example, I had of team of four or five people who would come help every day. There's no way you could do this alone, on a one- (wo)man team. It would take a month. I have two full-time assistants who travel with me, and then for large-scale projects, we enlist the help of locals or friends of friends. My brother always joins the team when we're in New York. I've also led several projects that have been man-powered by volunteers. It's a blast to work with such a broad range of people on every different project. The energy stays high with fresh blood.

5. We met in Bali whilst working on your incredible installations for our Untitled Campaign back in 2010. I was there concepting the new men's Spring collection when we discussed our possible collaboration. What made you want to re-work your style of knitting art onto garments?

My work, in many ways, has been about (dazed and) confused knitting - about taking this craft and warping it into places where it's unexpected and fresh and new. To me, "knitting" surf shorts falls into this category. There's a vintage edge to the graphic treatment of the fabric that reminds you of your grandma's living room, and this memory wouldn't normally come up out there on the surf. So that's what drew me to the project, the possibility of surprise.

6.From Sydney via Texas and back again, late night Skype sessions made this collab possible. Did you ever think you would co-create making clothes like this?

I always hoped I would. Before Knitta really took off, I owned a shop in Houston, and I have always tinkered with the idea of designing a clothing line. Fashion has always drawn me in, because of the endless possibilities of texture and color that you carry around with you. Art and fashion have had their relationship struggles in the past, but it seems they have finally settled into a harmonious relationship with each other. We are seeing more and more micro collections/limited editions done by artists for certain brands. It works really well. 

7. I personally had so much fun re-working your crazy yarn set ups, mashing them together to make new interpretations of your work for people to wear, were you stoked with the outcome?

I am thrilled with the results of my collaboration with Insight on this collection. It has been so much fun to be part of the entire design process and now see the final result - my concept now in my hands. It has been unreal. And I am not ready to close the chapter. The response I have gotten from people who have seen the collection is they want more..... and there is more to do...we haven't even touched upon bikinis!

8.What's your favourite piece?

Favourite piece in the collection or body of work? 

In the collection....All the board shorts are spectacular. I love this new treatment that produces hi res imagery on fabric. In Bali, you showed me a sample where you took an image of ripped up cut off denim shorts and made board shorts out of it. That effect was really cool....and got my brain juices flowing. We could be as creative as we wanted. 

From my body of work......Choosing a favorite piece is like choosing a favorite child. I can't do it - I have too many favorites. Last month, I did an installation at the Standard in LA that was new for me. I've been really inspired by that old-school string art fad of the 70's, so I did a large-scale piece riffing on that idea. It was 60 feet by 8 feet, and nearly two dimensional. It was fun playing with a different form. Also  I am still very attached to the Insight Untitled campaign - doing the statue with the  knitted gun ranks up there in my life experiences. 

9. I hear Austin, Texas is the hub for music in America, I only ever hear radical things about the place, like it's buzzing all the time. How does it compare to your recent trip to Sydney and has Texas embraced "Knitta Please"?

Austin is a very unique place. It's this giant creative hub with so much inspired music and art being generated and shared all the time. But it's also got this great small town vibe, so the scene is really casual and laid back. Everyone knows everyone, in this small-town Texas sort of way. So yes, Austin has been incredibly embracing of Knitta. I only moved here from Houston in 2008, and then the public voted me Best Public Art in 2010. I have felt honored to have so much support in this city that is already swimming with talent. It's very much my home now. 

In Sydney......I have't met a mean Aussie...yet. I feel like you have this same sense of pride about your town. It kinda glows on people the way it does in Austin. Sure, we could both list all the current topics of how our cities are being ruined by urbanization or development. But with all the usual urban challenges these are good places to be with good people and good vibes.... I do wish there was a way to get a cheesy mite roll in Texas. I crave those!

10. Next dream job / installation, or what monument would you love to bomb that you haven't yet?

This changes a bit with my experiences. Last year, I worked with an incredible team of stop motion film animators in Buenos Aires for a commercial I co directed. I was smitten by the entire process. There are parts of it that could only entertain a prisoner in solitary confinement, but the outcome is what keeps me running for more. So now I have few more film projects on the table..... I am working on a music video where I will be making crocheted worms that are thriving off of a decomposing body and other rather subversive film ideas. 

As far as installations, I have had this dream for a while of covering a windmill sitting on top of a cliff on the Pacific coast - maybe California. Logistically, I need to do some research on windmill design, but I'm going to make it happen some day. I still want to cover an airplane and am looking for the an airline to work with.