A Love Story in Black & White: Wool Studio Vol. II
I love photography. The most rewarding part of my job is planning, overseeing, and receiving the final proofs from our photo shoots. Until now, only the editorial and graphic design staffers at Interweave could see the thousands of beautiful photos that never made into the print magazines and lookbooks. It’s a tragedy and it’s quite selfish of us to sit on beautiful photography.
This post is a first go at sharing some of that stunning photography from our latest Wool Studio Vol. II collection. This photography set is exceptional, and what I love most about it is the black-and-white photography included in our proofs. Our photographer, Nate, and I have an affinity for black-and-white photography, so for this shoot he sent through black-and-white photos for every project. I love black-and-white photos because they are emotive and expressive in ways that color photography is not. They are candid, raw, and unbiased—and in Wool Studio’s case, “unbiased” is what got me thinking about color bias.
I’ve always wanted to try a little experiment on social media: when a new magazine or collection is released, share both color and black-and-white shots of each project. Why? Because we are color-biased. And I’m the first to admit it. Lisa Shroyer constantly pokes fun of me for having “broken cones” in my eyes. She’s right; if you look through any of my titles—Interweave Knits, knit.wear, and Wool Studio—you won’t see bright colors or pastels. I can’t help it. I just don’t like them (not that there’s anything wrong with liking color—I’m the weirdo!). I prefer neutrals, richly saturated colors, and jewel tones. And luckily, the titles I edit allow me to snuggle comfortably within my color preference box.
Wool Studio is an interesting place to start this little experiment, because the collection is mostly neutrals peppered with subtle colors. But even so, there is still a difference in the black-and-white photos; even if the color variation is small, my perception of the garment shifts. Divorcing a sweater from color allows me to experience the garments in a new way, and I can see the sweater I would make for myself, in the color I desire just by flicking on a black-and-white filter.
I’m wondering if you all feel the same way. How does absence of color affect the way you see a project? Let me know!
Meghan Babin, Editor
Monterey Tee by Kate Gagnon Osborn.
Yarn by The Fibre Co. Luma, distributed by Kelbourne Woolens
Pismo Beach Pullover by Amanda Scheuzger.
Yarn Plymouth Yarn Linaza
Thousand Oaks Scarf by Grace Akhrem.
Yarn by Lana Grossa Alta Moda Cashmere 16, distributed by Trendsetter Yarn
Santa Cruz Wrap by Kephren Pritchett.
Yarn June Cashmere DK
Big Sur Pullover by Norah Gaughan.
Yarn Imperial Yarn Denali
Ojai Top by Andrea Babb.
Yarn by Be Sweet Skinny Wool, distributed by Mango Moon
Malibu Cowl by Susanna IC.
Yarn by Malabrigo Silky Merino
Topanga Canyon Cardigan by Veronik Avery.
Yarn by Jo Sharp Silkroad Aran Tweed, distributed by Kingfisher Yarn & Fibre
Avila Tee by Amanda Bell.
Yarn by Manos Del Uruguay, distributed by Fairmount Fibers
Carmel-by-the-Sea Pullover by Lana Jois.
Yarn by Sugar Bush Yarns Bold
Pebble Beach Ruana by Amy Gunderson.
Yarn by Fibra Natura Flax, distributed by Universal Yarn
Pacific Grove Tee by Sarah Solomon.
Yarn by Schoppel Wolle Cashmere Queen, distributed by Skacel
Wool Studio Vol. II – Make It Yours