What a pleasure to talk to Kaffe Fassett last
week. Here are lots of pics of his work, and a few thoughts from Fassett, one of the most important textile designers of his time, that did not make it into the
paper.
On textile being a medium that gives the artist great colour control:
When I first started knitting lots of people were into Fair Isle - that
scattered colour into little tiny facets. I was so thrilled by all the colours sitting in the basket, and saw them as units, and I began to build those
geometric patterns into bigger patches of colour. I like pools of colour.
On everyday beautiful:
I remember knitting a hat for a little child. The father came to me
three or four times and said, "you have no idea the amount of beautiful
aesthetic information you put into that hat". He was living with it and
realizing how special it was.
On colour and contrast:
The other day there was amazing mist when I was in Mt Pleasant - a thick
mist on the just-turning autumn leaves. We were just tripping on it. I think my
appreciation for that kind of palette comes from antique textiles — old faded, dirty patchwork
– in which the colours have gradually become more harmonious and muted and less sharp.
Beautiful.


A young and handsome Kaffe Fassett with the (under-appreciated?)
60s fashion designer Bill Gibb
Chenille, lurex and pearls for Bill Gibb
Incredibly, Fassett had two clients paint over wall murals he'd been comissioned to do. "Never again," he vowed, after I invited him to come to my house and do one, with the promise it would stay forever. "I poured myself into those and to see someone come and just make it disappear..."
Sumptuous, subtle colours. Fassett points out that his colour pairing for quilts are always low contrast.
If this has you dying to learn more about his work, you'll want to know that Fassett tells his fascinating life story
in a beautifully written and illustrated autobiography, Dreaming in Colour (www.melaniefalickbooks.com. About $30 on Indigo.ca and Amazon.ca.)
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