From Fibre to Couture by Nicole Constantin: An Essay on “Copying”

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FFTC - NicolePublisher’s Note: Nicole is back and she is taking on one of the most controversial and unfortunately common topics out there! I’m thankful to Nicole for providing her viewpoint on this subject. Coming from a fashion design background, she brings an important perspective to us. Thank you so much, Nicole!

Nicole: This is not my favorite topic to be writing on, that’s for sure! It has taken me a really long time to even get around to finishing and editing this article, which I started months ago. Mostly, it’s just not fun to write about the negatives when there are so many more interesting and positive things to discuss. But, nevertheless, I can’t deny that this conversation comes up frequently, in the fiber community, and I have been affected by it, as many of us have. In seeing this phenomenon take place and seeing fiber colleagues have it affect them, I decided to go ahead and voice my opinion regarding the topic of ‘Copying’. This is a touchy, controversial topic and you may not agree with what I’m about to say…but please hear me out, dear reader.

Basically, I am from the genre which refers to this as ‘knocking off’. It isn’t as blatant as copying, and it can mean anything from ‘taking inspiration from’ to ‘making a cheaper version’ of some high-end couture. This is still not copying because something made cheaply can’t duplicate couture. ‘Knock-off’ can also mean that neither designer copied the other, but that one looks like the other, because that is the current popular aesthetic, or trend. And, let’s face it, two different people can each separately make something that comes out looking similar. It just happens. Especially with the way trends work. A trend, by nature, is a design element or a ‘look’ that becomes extremely popular, for a time.

On this topic of copying, it seems most people see it as black and white; however, I am here to discuss the grey area.

In the fashion world, there is less of a feeling of entitlement, or arrogance, and more of an ‘understanding’. People are not under the impression that they are doing something 100% completely their own or that wasn’t based on some pre-existing knowledge base.

In design school, we all realized that everything completely new had already been approached. That is understood in the fashion world. Literally anything that a person could come up with, some component of that could be traced to something that had already been done. Sure, we are all artists and designers, doing our own unique work, working with our original visions, but there was always a great nod to the body of knowledge that was already laid out for us; and there was an appreciation for that, because without it, it would be hard to progress.

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Reiko Usuda’s work featured at Yarnival 2012

Our work was really just building on an already laid out foundation. Nobody had to invent pants, we could just tweak them to make them fit better or fit our aesthetic tastes. What a great thing that was! We got to do the fun part! We got to design and be artistic, not completely re-engineer every time! In this context, ‘knock-off’ is not a dirty word all of the time. Instead, it is more of an accepted truth– that we are all, essentially, knocking off of the big, beautiful wealth of creativity and hopefully, progressing things.

 

The topic of ‘copying’ is one that most of us have come into contact with, at least once, in our work arena. Yes, even with this rather liberal perspective and philosophy, I have even felt the feeling that someone was ‘copying’ my unique style, look, or ideas, or just trying to follow my path as opposed to their own. And, within the fiber community I have witnessed the accusations amongst others. But, the first time the seriousness of the topic really hit home was when I received the following message in my inbox from a fantastically creative fiber friend (I am sharing with her permission and without using names):

(Anonymous Fiber friend) 9:52pm

Question for you mama! What do you do when you want to design something but don’t know how to construct it? For instance I want to make slippers with my handspun but have never made any! Trial and error? Is it ok to see how parts of garments are made with other patterns but adapt it to what you’re making? thx xoxox”

(Nicole Constantin) 1:19pm

{Here was my long drawn out response, which is the basis of this article. So, you don’t have to read it twice just see below.}

And here was my friend’s response to my philosophy:

(Anonymous fiber friend) 1:35pm

Thank you so much, that is so extremely helpful!! There’s so much tension around ‘copying’, and being so new to designing my own stuff, I feel like I’d get executed for even clicking on Ravelry.lol. It’s frustrating when you have an exact image in your head but are limited by technical skills. A LOT of experimenting comes into play I bet. So great to know your process, thanks for sharing.”

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Ruru Mori “branch spinning” at Yarnival 2012

My response to this friend was basically the following: As I stated earlier, there is almost nothing totally new left to do!!! We are all absorbing in inputs, every day, and putting out our own twist on things. It would be hard to be an ‘inventor’ every single day with every single thing we create. We are mostly just putting already existing things together in new and unique ways! (unless you are Ruru Mori and you invented ‘tree branch spinning!!!)

You can do your own ‘take’ on something every day of the week and it will look ‘fresh’ and maybe even ‘new’…Yes! That is possible! But it will STILL be a ‘scarf’ (not new) or a ‘hat’ (also not new) or a sweater type garment of some kind (very old, actually) or a slipper (ancient idea). So, you see, to create something (like a sweater), which someone worked out the basic shapes and technical ideas to a long time ago, and call it your own design is wonderful, but then, when something even slightly similar or vaguely resembling ‘your’ sweater comes out and you cry “copy” doesn’t it seem kind of arrogant? Honestly, you didn’t invent ‘the sweater’ or ‘the shawl”, you didn’t invent the spinning of the yarn, and you definitely didn’t invent the knit stitch, the increase/decrease stitches, nor any of the technical knitting moves that got you your sweater. You just put all of those components together a bit differently but rarely is someone accused of copying any of those things.

Our skill sets have come from somewhere, someone, probably many people, in fact, working out the ideas and sharing them, long before us! If you use those skill sets to spin novelty yarn and to make one of the basic garment styles that are already out there (ie. Hat, mitts, scarf, cowl, etc.), then, you are in fact tapping into a big pool of knowledge that was developed long before any of us were even alive!

Bouquet, ca. 1875 Adolphe Monticelli (1824-1886)
“Bouquet, ca. 1875, Adolphe Monticelli (1824 – 1886)

I would like to illustrate this point with an experience that I recently had. I was fortunate enough to attend an exhibit, recently, at the Denver Art Museum, called, “Becoming van Gogh”. This huge body of work, spanning Vincent van Gogh’s entire career, from both public and private collections was brought together by the Denver Art Museum to give us, here in America, the chance to witness the progression this man took on his journey to becoming a master.

The very title of the exhibit demonstrates what I would like to emphasize was “Becoming Van Gogh” to refer to the journey of the artist’s career which, in order to “become himself” and to master his medium, he often “copied” other’s works as a tool for learning. An important point from the book, “Becoming van Gogh”, published by the Denver Art Museum I’d like to share is: “Shunning the academic and the avant-garde for much of his early career, the artist begins by methodically copying the exercises in a number of contemporary art manuals, intent on mastering the formal elements of technique and composition.” This is where he started in his home of Holland. Copying! Yes, Vincent van Gogh.

Later, upon moving to Paris, van Gogh, slowly began to be influenced by the modern, at-the-time, impressionists and set to ‘copying’ them directly. One of his first influences there was a painter by the name of Adophe Monticelli. His influence on van Gogh was mostly in he realm of color. He also influed van Gogh into not being as detailed, nor as descriptive as he had been in his Dutch period. During this time van Gogh was influenced by both classical and Neo-Impressionists in many techniques, but with his own twist, of course.

Next, van Gogh, and his friend Emile Bernard were both captivated by Japanese prints, and both set to trying to ‘copy’ them. Some of the works that were hanging in this exhibit were so far from anything we have come to know of Vincent van Gogh’s signature paintings, that I became confused at some points as to if they were really his work or not.

Bowl with Zinnias, 1886 Vincent van Gogh
Bowl with Zinnias, 1886
Vincent van Gogh

The evolution that occurred to eventually arrive to his signature style was a dramatic one. At some points, in the exhibit, there were displayed other artist’s work, hanging next to van Gogh’s for the sole purpose of showing how he had ‘copied’ the other artist’s techniques, and it was striking to see side-by-side. The lesson here is that even one of the most famous artists of the world, has been accused of copying, not in a bad way, but in a way that help him to master the techniques that eventually lead him to himself! Thus,‘Becoming van Gogh’. How horrible if van Gogh would never have become himself for fear of a fellow artist accusing him of ‘copying’.

I hope it doesn’t get confused that I am condoning the act of actually blatantly copying someone else’s idea and making it, and presenting it as though it was your own idea. That is not what I am doing at all. I don’t like it when people do that anymore than anyone does! I am not saying that stealing other’s ideas to use as your own is ok, at all.

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Ayako Nakata’s work on display at Yarnival 2012

My main problem with crying ‘copy’ is that it serves to stifle creativity for fear that something we make might look even remotely ‘similar’ to someone else’s something. Generally, the accuser didn’t ‘invent’ the item or technqiue, and they will cry ‘copy’! My other problem with this is people crying ‘copy’ without knowing anything about how the person came to that design and then publicly (usually via the internet) pointing the finger.

We ALL, and I mean ALL have something, even if it is small, to contribute to the human knowledge base! We are all important to the progress of our chosen craft. But, let’s not make ourselves too important, please. Just because you make something and hold it up as yours doesn’t mean that someone else can’t come up with something similar looking, completely on their own. There are revolutionaries in every field, yes, but, they are also simply building on what they were given, as well.

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Spinning Circle at Yarnival 2012

I totally understand that a situation may have happened to you where you may be heavily into using this ‘certain type of yarn’ and ‘certain color palette’, and you turn it into this ‘certain type of hat style’ over and over again and that is your ‘signature look’ and then some other pesky fiber artist starts doing the same thing, in your ‘same combinations’, with some of your ‘same details’, just after you have come out with this new ‘look’. Yes, that person may be being a bit of a copier in the sense that maybe they saw something successful in what you were doing for your business and they made a strategic move to do something similar. That is unfortunate, and really, that person is only cheating themselves and their own creativity. Fiber2Counture NC-J Crew MineSome people are more focused on ‘business’ than on genuine artistry. There are people whom couldn’t care less about being a true artisan and really are just capitalizing on other people’s ideas. These are really just business people, and not really fiber artists at all.

There are also times when it may be apparent that another actual artist is following your path of artistry a little too closely, instead of staying true to their own. That person may be a little bit lost, maybe fumbling a little bit to find their own ‘voice’ artistically. We do all try different things on for size at some point. For me, it was traditional knitting, with commercial yarn and patterns. I did it for a while before discovering spinning and it got me to where I feel good now, artistically. It was part of my evolution, and I am still evolving as we all are, hopefully. Your aesthetic may just be a part of someone else’s evolution process. They may not even be intentionally copying you or trying to steal your business ideas. I think that this is the most common form of ‘copying’. It is just part of someone’s evolution process, and we should be flattered that our work influenced them!

Although I think that those cases of ‘intentional’ copying are somewhat rare, they do happen when an ambitious business-minded person comes along and sees something profitable in your work. I think that after profiting, they will move on to some new profitable idea and we will still be ourselves, moving onto our next artistic mood. Mostly, if they are not directly affecting me, I try to ignore it in hopes that it will go away when that person finds their way back to themselves and their own path. At least, when I have had that problem, I have addressed it with the person in a private manner and tried to get a feel for where they are coming from before I cried ‘copy!’ publicly. I start by trying to give the person the benefit of the doubt and start to look at the big picture of their creative path, life and work and in most cases, it turns out to have nothing to do with me. The bottom line is, I do my research instead of jumping to conclusions. My friend in the example above asked a great question, “What do you do when you want to design something but don’t know how to construct it?”

I, personally, do this in three ways…

1. Trial and Error/Complete Free-form: Ripping back a million times and learning on the job based on the toolbox of knitting, crochet, etc. skills that I have acquired over time. This is a whole new process for every design and even for every yarn. I don’t think I have ever completed a project of my own design that I didn’t have rip back a least once! And that is an easy day. There are hats that I have made that took 3-4 attempts to get right in terms of size, and amount cast on, working out decreasing, etc. The truth is that it is almost impossible to copy with the highly irregular/novelty yarns spin. I can’t even write down one of my own design’s patterns and use it exactly as I did before for a different yarn. Each yarn practically needs its own pattern reworking!

2. Using my Resources: Don’t re-figure out things that have already been figured out and are common knowledge. This is not copying but being creative, in itself! Using your resources and doing your research are two of the biggest components in successfully executing your creative ideas. We don’t re-invent the wheel every time or we would literally get nowhere. The entire concept of progress is based on a foundation of knowledge that is accessible to all to build from. A fashion designer doesn’t completely block out the previous history of design work that has been done on ‘pants’ when designing their own! There is even a term called a ‘sloper’ in the garment industry and it is the ‘basic’ shape pattern of a pant, dress, shirt bodice, etc. that you start with and make your design changes, too. This is not copying, it is smart. This is the first step in a design, acquiring a sloper as a point of reference. To use a basic sweater pattern as point of resource is not copying when you are making your own style changes to it. Using something that someone has already worked out, such as a knitting technique, or a basic lay-out, as a point of reference is not copying, it is saving time! That person most likely used something else that was already out there as a point of reference, too! This foundational work has already been done in almost every area of study in the world and it is what humanity has evolved and progressed from. Think about architecture, manufacturing, science, etc. — they all have their basic foundational principles at this point and the job of designers now is to improve upon the foundational work, make progress in the field, and put their own unique twist on the work.

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The author with her Yarnival 2012 entries. The Top Hat lives and serves as inspiration at the offices of Spinartiste.com

3. And, in most cases, I use a combination of both of those approaches:I definitely don’t make a habit of copying and couldn’t if I wanted to, because I don’t mean to sound arrogant, but my mind is full enough of my own ideas that I don’t have nearly the time in the day to even begin to execute them all. And yes, those ideas, are, admittedly based on other things I have seen, absorbed and learned that other people may have already contributed to the world and developed the technical skills for. I didn’t invent the ‘top hat’ for example, and yet there isn’t the inventor of that hat screaming down on me that I copied them! There is a pool of prototypes that no longer belong to anyone but belong to the world, to humanity, and we ALL draw from that.

This is a hard subject to cover and to offer one’s opinion in a sensitive way. I hope that I have explained my view well, and in way that is useful.

The universe is open for all of us to draw from providing us the tools and inspiration to create. Take what you need and go forth and create with it. Then, offer your own creativity in return. Don’t let the petty, nit-picking of finger-pointers distract, discourage, nor scare you. We all have a little something of our own to add to this craft without reinventing the wheel every time. That’s just too much pressure and takes the fun out of creating. Is a painter whom paints a tree ‘copying’ nature? And if another painter decides to paint their version of the same tree is that painter copying the other painter …and nature? Just because someone else has done gauntlet style arm warmers with ties up the sides doesn’t mean that you now can’t or that they own that design!Fiber2Counture NC- Little Girl

Be fearless in the knowing that you alone can do what you do in the way that you do it and the world wants and needs it. Obviously, I think that it goes without saying that any true artist is going to stay true to their own ideas and is not going to go around ripping off others’ visions, but please, you don’t have to be the very first to do something to proudly offer it to the world as your unique version.

 

 

 

 

 

19 thoughts on “From Fibre to Couture by Nicole Constantin: An Essay on “Copying””

  1. my little yarnival bestie! that yarn has since become the feature of an AMAZING hat! so proud to have her first yarn! xoxoxo awesome article mama.

  2. Beautifully written, thought-provoking essay. Thank you for exploring this topic with your insight. <3

  3. That was amazing mama!!! Definitely put everything in perspective.. I’ve been one to call out “copy” before so this was worded perfectly. 😉

  4. I was just reading the awesome book “Steal Like An Artist” last night – he dealt with some of these same issues! Copying to learn the how and why, but then moving on to creating your own, putting your experience/knowledge/creativity into it, until you are making that special “something” that only you can do.

  5. Thank you so much for this. So encouraging to us who fear being accused of copying and thus stifle our own creativity.

  6. This is so relevant 24/7! The flow of creativity is so constant and prolific, it would be difficult to assign a rigid rule to it. I just purchased some lockspun to use as a study guide as I pick up new skills. My intention is never to copy, just to learn and appreciate. I can recall some group crits in college where snark arose from claims of copying. Its a touchy subject for sure. Great article, thank you.

  7. Such a wise and articulate response. This type of thinking is a breath of fresh air for sure. I applaud you.

  8. RIGHT ON!

    When I was in college studying painting I became very put off by other artist and only mingled (I am in extreme introvert) with a few out of HUNDREDS, I was also ridiculed for pushing the boundaries of the assignments, but my work always stood out in the critiques and for that I started to see others trying things that I was doing — I Loved it because my hand was always my hand and unique to me (like everyone else no matter the technique); in that I felt as if there was a wave of creativity that pushed the classes further — you know, synergy.
    Agitation makes the pearl.

    In the fiber world I have found this dynamic to be extreme, I have been appalled at how snotty some folks are. I am mostly a doll/toy maker and not concerned with getting my handspun yarns out there except to small knitting circles for cheap.

    In the end I stay to myself, however, I feel there is plenty of room for everyone, even the those that are more competitive by nature.

    When I hear of the bicker wars it just makes me think that these folks are more delicate on the inside, the bigger the ego the more fragile the person.

  9. Written with passion, knowledge and a wiseness far beyond your years! Well done.

  10. What a great article! it is nice to be able to address a ‘negative’ topic in such a positive way 🙂

  11. Nicole,
    As always, you bring such thought and insight to the table. As already said by a lot of other readers, you have shared lovely perspective and insight. This topic has always been one that I somewhat am able to mentally avoid. I think that the number of people who show me wonder and appreciation for my work somehow helps to dissipate any worries over copying that I have. When I started teaching creative spinning almost 10 years ago…I would always sing the praises of my inspirations and their personal styles and then try to explain how I do things, differently. I always publicly thanked my main inspirations – Lexi Boeger, and Prudence Mapstone for catapulting me on a journey to learn. It was interesting to talk to Lexi and read how Prudence came to their journey in the same way that I did – through striving to feel that you want to be closer to the materials that you construct something with, or wanting the yarn to be the final piece. We all have to be conscious of the fact that we are all inspiring, and remember that with inspiration comes a final result – which is usually someone else’s amazing artful journey. That is the real gift we are all given in this community. I find it so funny when it happens by accident – for instance I had a great idea for a sock yarn theme and was really excited about it but didn’t have the chance to do much more than a sketch because I am in the midst of moving my studio to a new location. Then maybe a week later, another fibre friend posted the same yarn/idea on Ravelry and was selling the skein. I was in a total state of wonderment that overpowered my need to feel bummed. It’s nice to know we have this electric force surging through all of our brains which keeps us excited and ever challenged. Beautiful writing!

  12. Nicole, this is an excellent article and is true to the artistic spirit.
    Thanks so much!

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