As I trained as knitted fabric designer, I usually start to think about textures and structures before I think about colours of the fabric. I have two knitting machines in my studio on which I constantly experiment by knitting small samples of fabric, and a lot of old knitting pattern books (my favourites are from the 1930s and 1960s). I also have a big collection of books on traditional folk costumes, which give me inspiration and remind me of the timeless beauty of knitting.

95% of my materials come from Scotland and Italy, where you find the finest spinners in the world.

I constantly look at how people wear and coordinate accessories. Then I think about the colour, pattern, size and weight of my products. I am also fortunate in that I am constantly surrounded by young and fashion-conscious people, and the combination of their enthusiasm for what is new with my knowledge of traditional craft patterns and techniques informs my design process.

left)  tweed dog for my collection 2004-05 autumn/winter right)  doggy cushion on the floor at manufactory

I work with several U.K manufacturers and knitters to produce my work, and I love visiting them and looking at their knitting and weaving machinery. Occasionally, I find some scraps of fabric on the floors of their workshops which serves as inspiration for a future collection.

I show my collection at fashion trade shows in London (London Designers Exhibition) and Paris (Showroom Hortensia De Hutten) twice a year and find that these shows provide the best opportunity to meet fashion buyers from all over the world.