Emalie Lise Dam Christensen
“Throughout my studies, I found a particular interest in the evolution of craft, in particular knitting, and the relationship with emotional design theory as well as modern day technology. Influenced by the two separate, rapidly emerging trends of hand knitting as well as digital knitting technology, I wanted to explore how the two might relate. Having grown up amongst hand knitters while developing an interest in textile technology, my graduate project became an expression of my identity and how I personally experience and explore knitting.”
“I am a strong advocate for the benefits of wool and how well it fits in with ideas of sustainability, in particular in the UK, where many kinds of wool are on our doorstep and yet to be fully appreciated and utilised.”
Emalie Lise Dam Christensen
Trainee Shima Programmer at Barrie Knitwear
BA (Hons) Textile Design
Glasgow School of Art
Statement
“Throughout my studies, I found a particular interest in the evolution of craft, in particular knitting, and the relationship with emotional design theory as well as modern day technology. Influenced by the two separate, rapidly emerging trends of hand knitting as well as digital knitting technology, I wanted to explore how the two might relate. Having grown up amongst hand knitters while developing an interest in textile technology, my graduate project became an expression of my identity and how I personally experience and explore knitting.
Grounded in emotional design theory and traditional fishermen’s jumpers representing local identity, I created a collection exploring how the emotional value of hand knitting could be incorporated into a digitally knitted fabric. Accompanied by an extended critical journal exploring the relationship in detail, Strik:t aims to spark a conversation about the history of knitting and how we might combine the past and present to shape the future.
Following my graduate project, I have been working freelance within the hand knit community and am training as a Shima programmer, still keen to explore the relationship between the two polarities in knitting and how the one might benefit the other.”
Materials and Techniques
“I am a strong advocate for the benefits of wool and how well it fits in with ideas of sustainability, in particular in the UK, where many kinds of wool are on our doorstep and yet to be fully appreciated and utilised. For my collection, I worked with wool from a heritage supplier in Scotland and to explore the idea of contrast, fine cotton from an Italian mill. Keeping it simple and working with incorporated surface texture rather than novelty and textured yarns, the collection is entirely of natural origin with no use of plastic.
The samples are knitted on a Stoll multi gauge digital knit machine, and combine well-known hand knit textures and modern technology. Thanks to Hilary Jane Keyes, the process in translating hand knitted information into digital knit programming went smooth and aided the process of mutual inspiration between hand and digital knitting. “
Awards, Exhibitions and News
“Following my graduation, I took part in the creative Modual workshop hosted by UAL where I met likeminded, passionate designers. Keen to further explore my practise and share my passion for sustainability and knitting with people, I started freelancing and received incredibly helpful business support and mentoring from the Princes Trust in Scotland. Together with Remade Network based in Glasgow, I hosted a series of mending workshops and repaired textiles over lockdown for the people of Glasgow.
This April I moved to the Scottish Borders to train as a Shima Programmer with Barrie Knitwear, and I am very excited at the prospects of further exploring my personal interests and my passion for digital knitting in an industrial setting.”
Lockdown
“One of my lockdown highlights was seeing how fellow creatives made the most of a bad situation, being stuck at home. I loved following people who utilised what they already had around to explore new projects or unusual approaches to collaboration. I loved how fashion events were suddenly more accessible, an example being the Fashion Revolution week and Open Studios, where everyone could join in on seminars and creative workshops. On the other hand, I found it hard to keep myself motivated own my own and realised how reliant I was on a creative environment with likeminded people. I loved meeting up with fellow creatives when things opened back up and being able to physically see what people had been up to.”
