Katerina Knight sows her seeds in February and March, and by November the flowers she harvested in July are dry enough to stitch. Working from Malvern, she embroiders plants that she grows and forages herself into textile pieces that can take up to 250 hours to complete.
A graduate of the Royal College of Art who left luxury fashion for a slower practice, she has now gathered her methods into Stitching with Nature, a book that pairs horticulture and textile work around lavender, cornflower, dahlia and statice. Katerina also writes for Selvedge, and today, on the release day of her new publication, we catch up with her to talk about the book and about what the plants have taught her.
Selvedge: Stitching with Nature brings horticulture and textile practice together, from sowing seeds to sewing stitches. How did the book take shape, and what did you most want readers to take from it?
Katerina Knight: This book developed very organically. Stitching with Nature actually began as a workshop three years ago, where I began sharing my process of how to use real petals and seeds as alternative hand embroidery embellishments. I was teaching small, intimate groups. For me, the practice of stitching with nature is incredibly healing and like a form of meditation, and through my workshops I was experiencing how others resonated with this too. The book felt like a natural next step. I wanted readers to be able to experience each and every stage, from sowing seeds to growing flowers, harvesting and drying, and finally stitching with these embellishments. Whether readers choose to practise the techniques or simply take inspiration from the process, I hope they might foster a deeper connection with the natural world.
S: You focus on four plants: lavender, cornflower, dahlia and statice. What guided that selection, and what does each one offer that the others don’t?
KK: Over the years I have experimented with many different plants, both those I have grown myself and those I have foraged. I have dried them out and explored their potential as plant embellishments. The four plants selected are staple plants that I grow each year now and know work successfully, but each year I am also expanding. There are so many varieties of dahlias, for example, and each offers a different sculptural form, colour, size etc.
S: You describe crafting as a way to calm the mind, and the book gives real weight to mental wellbeing. What would you say to a reader who has never embroidered or gardened and wants to begin?
KK: If you would like to have a go at growing your own plant embellishments, I would recommend approaching this in the way people advise growing vegetables: grow the things you like! Start with the flowers you find beautiful, those that you are drawn to for their colour or shape. Have a go at drying them out and experimenting with them using the hand embroidery techniques in the book. The joy of this process is that there really is no right or wrong way of doing things.
S: Your year follows the plants: sowing in February and March, harvesting in July and August, drying until November, then stitching through the winter. How does that calendar shape the way you plan your work and your life?
KK: The way I wrote this book naturally followed the seasons, I began writing in January as I was preparing to sow seeds, and then the writing followed the natural progression the book takes.
The way I wrote this book naturally followed the seasons. I began writing in January as I was preparing to sow seeds, and then the writing followed the natural progression the book takes. During the spring and summer months, especially when the evenings are longer, I yearn to be outside as much as possible, and there are abundant tasks in the garden. Then, as autumn moves into winter and we retreat inside, using the plant materials I have harvested and dried, I spend more time inside stitching. Working with these materials allows me to feel connected to the natural world all year round.
S: It’s sad to say, but your pieces will decay eventually, and you have spoken candidly about not knowing how long they will last. How do you talk to collectors, curators and audiences about impermanence?
KK: I have learnt that this is about connecting with people who share an open mind towards this. Yes, I cannot tell a curator or collector how long a piece will last, but I handle and look after each piece I make with great care, and they are all intact today. Through my Buddhist practice, I have learnt that impermanence and the temporality of life are not something to be fearful of but rather a reminder of the preciousness that exists in everything. The book and my photography are facets of the work in itself: they become an archive of ephemeral work.
S: You contribute to Selvedge as well as writing for other publications. How did you come to the magazine, and how does your work as a writer and editor feed your work as an artist, or the other way round?
KK: I began writing for Selvedge whilst I was studying at the Royal College of Art. Once I had finished my master's, I wrote to Polly expressing how much I loved Selvedge (there is really nothing else like it) and that, if there was a suitable opportunity, I would like to work for her. She took a chance on me. I knew nothing about journalism or editing really, as I am from a textile design background, but I did understand the vision of what she is creating. I am incredibly grateful for everything Polly and Selvedge have taught me. I always loved studying, and working at Selvedge feels like a constant journey of discovery and education in textiles.
S: You have exhibited at XTANT and Dutch Design Week, and lectured at Hereford College of Art. What is next for your practice, and are there new plants, techniques or projects you are keen to explore?
KK: Recently, I have been working on expanding my workshop series, introducing a new course, Threaded Petals, which reimagines traditional needle lace techniques. It has been a joy to bring the fine, patient work of needle lace together with the plant materials I love, and to see how the two can speak to one another. I am looking forward to sharing these workshops, and to seeing where other people's own experiments with petals and thread lead.
S: Thank you, Katerina. We are looking forward to finding out more within the pages of your new book.
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Further Information:
Stitching with Nature: Creating material magic with the natural world by Katerina Knight is published by Batsford Books. Available to purchase now.
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Image Credits:
All images courtesy of Katerina Knight.