Studio Tour: Good Night, Day
Over the past few years I've watched Tara-Lynn Morrison's knitwear collection grow and evolve. Good Night, Day is a true labour of love and Tara-Lynn is involved in every stage of the creative process from sourcing the wool to styling her lookbooks. I caught up with her at her studio while she was finishing up pieces for her Fall 2013 Lookbook photo shoot. If you haven't yet seen it, it features our stunner of a gal pal Kate Campbell and was shot by Arden Wray. I love seeing creative work spaces that lend to the creative process of different artisans. Tara-Lynn's work space is combined with her living space, so she finds herself surrounded by her boyfriends art and their collection of books and plants. During the colder months she knits amongst a lot of cozy pillows. But with spring on the horizon Tara-Lynn is eager to take her work outdoors and on the go.
You recently introduced patterns and now DIY kits. How has your vision for Good Night Day evolved over the years?
Good Night, Day is such a personal investment, I am deeply involved and always feel personally driven to try and keep up with all my ideas and inspirations. It has undoubtedly been enormous amounts of work and I continue evolving to get ahead of myself and work on new experiments.
You source specific fair trade wool. What is it about the wools that you use for your knitwear that you love so much?
The wool has as much emphasis as the design of the item itself. Most of the wool, like my hand knit pieces is also handcrafted, made in small batches. Using this wool has such a positive effect on the individuals involved in making it. There is so much care that goes into the whole process and I now wouldn't ever imagine using wool that isn't as valued.
Some favour machine knitting, but you are largely a hand knitter. Why do you prefer this technique?
It is crazy when you consider that I actually knit every single stitch of a sweater or a toque, it is highly personal and I think this makes the item more valuable on a human level. Although I would never stop hand knitting my items, I would jump at the opportunity to machine knit on a small scale perhaps using a table knitting machine. I could experiment even more with what I make and how much more I could do without exhausting myself, while remaining just as involved in the creative and personal process.
Do you think knitting's image has changed recently?
I am really optimistic that the perception of knitting that I once had is definitively changing. In the past perhaps, just through my own personal experiences I felt it was overtly fuzzy and crafty. The knitting community felt rigid and unwelcoming if you weren't already a expert with a high level of advanced skills. I think there is much more room for everyone.
How do you see knitwear's place in fashion developing in the future?
I don't feel I have the right to tackle this question, but I do hope that knitwear continues to be modern and uses materials and techniques that are sustainable.
Let's talk about your new collection. What inspired the color palette?
I was especially drawn to colours this time that were intense, bold, and a tad darker. Some of the colours together remind me specifically of photos I've seen of various nebulas in space.
What is your favourite piece you have made in this new collection?
I have to say I have been long wanting to add a cardigan to the collection and a knitted dress, I can't believe I finally have both. So it's a toss up between either of those pieces, but I must say I'm really smitten with the cardigan in the midnight, teal, orange, grey combination. It's the colour that literally translates photos of the corina nebula in particular. Even in the photoshoot I paired it with the Strathcona Stockings called space echo.