Edgy 1970er Häkeln Designers: Sharron Hedges

Sharron Hedges was another prolific crochet designer in the 1970s. She was a leader in the wearable art movement of that era and she continues to work in wearable art to this day, although where she’s really made her mark in recent years is in the development of stunning prints for use in wearable as well as paper goods and home decor items.

Sharron Hedges in Creative Crochet

I personally first saw Sharron’s work in my go-to 1970s crochet resource, Kreative Häkeln by Nicki Hitz Edson and Arlene Stimmel. This book is the ultimate resource on the group of New York designers who were all kind of working together in the early 1970s to break barriers in what crochet could be. Even in this early book, Hedges was making wonderful creations in the wearable art category. My personal favorite from this book is her Medieval Blouse, which is crocheted wool with a jersey lining:

What I love about this piece, besides the obvious great color and design, is the combination of those great warrior arms with the fitted, belly-baring 1970s shape of the body of the blouse. Julie Schafler Dale captured this in Art to Wear when she wrote, “While Sharron’s work is ephemeral and fluid, it is also demanding and firm.” There are several other examples of Hedges’ work in this book and I definitely recommend getting your hands on a copy to see them all but I can’t leave this section without mentioning one more specifically, and that’s her Cloud Coat:

I shared this coat for a few reasons. Erste, it has that same warrior strong but feminine shape that I love from Hedges. Zweite, I think the colors are great. Third, I think it’s an interesting piece because the book tells me that the clouds are brushed mohair while the rest is wool that was mostly dyed using natural vegetable dyes. Schließlich, I share this piece because, as you’ll see, Sharron really made a name for herself over time with her amazing crochet coats and this is an early example of one.

A Note on Stitch Names

I have to interrupt myself here to say that another one of the things that I love about these 1970s crochet books is that they share stitches that had different names then that what we call them today. Beispielsweise, there is a wool hat by Hedges in Creative Crochet that is made with “hazelnut stitch” und “shrimp stitch”. Meine Forschung sagt mir, dass das, was hieß Garnelen Stich damals ist das, was die meisten von uns jetzt nennen Krabbe Stich oder einfach umzukehren einzigen häkeln. Und es war härter, um herauszufinden, Haselnuss Stich aber ich landete finden Richtungen für sie in Del Feldman Häkeln: Entdeckung und Gestaltung und es scheint, dass es eine Veränderung auf dem Bommel Stitch.

Fun Fact: In Del Feldman Richtungen von der gerade erwähnten Buch, sie nicht verwenden den Begriff Garn über (I) sondern nutzt Wind runden Haken (WRH).

Sharron Hedges in Häkeln: Entdeckung und Gestaltung

Apropos, dass Del Feldman Buch, Sharron Hedges’ Arbeit macht einen Auftritt dort auch. Hier sehen wir diesen schönen gehäkelten Umhang und Kapuze, denen wir lernen aus dem Buch wurde mit Wolle gestrickt, von denen einige war handspun sowie Hand gefärbt. It does not say if it was dyed with vegetable dye like the Cloud Coat was.

Sharron Hedges in Art to Wear

Morpho, 1984, knit and crochet combo, Wolle

If Creative Crochet is my go-to resource for insight into 1970s crochet, dann Kunst zum Tragen is my go-to resource from the 1980s. Sharron Hedges is profiled in this great fiber arts book and this is where we really see her come into her own with those great crochet coats that I mentioned previously. There are several shown in the book in addition to what I’ll share here, but I chose these ones because I think they best demonstrate how her amazing creations came to life on the human form.

Christine’s Coat, 1983, crocheted wool

It is from this book that I learned a lot about Sharron as a person and an artist. Some of the things I learned:

• Sharron Hedges was working in welding but wanted a medium that would allow her more ease with personal expression. She found that in 1969 with crochet, which she was introduced to by Janet Lipkin, Jean Williams Cacicdeo and Marika Contompasis (who all have work in Art to Wear as well).
• Sharron enjoyed working with the interplay of two-dimension and three-dimension that crochet offers. Mit anderen Worten:, she liked creating a flat two-dimensional fabric with crochet then putting it on a person and seeing how it changed the work and then working back in the 2D to adapt to those changes.
• “Sharron’s most cherished muse is color itself … Color melts into color, texture is layered over texture in glimpses of magical worlds that vanish silently, reappear fleetingly, and hint at familiar images that evaporate just before recognition.” To create these unique images, which often derive from nature, Sharron thought carefully about the color of each stitch, where to change those colors and how to place different stitch colors next to one another to create the desired effect.
• Christine’s Coat (oben gezeigt) is the first work that really transitioned away from the nature-inspired imagery towards a more graphic print which is notable because prints are what Sharron ended up doing a lot of in the years to come.
• Durch 1984 when Hedges was working on Morpho, she was less concerned than before about the crafting of each stitch and more concerned about the layers of the work, weshalb sie in Stricken arbeiten wählte und dann häkeln zu eng mit der Arbeit stricken hinzufügen. Dies ist etwas, was wir sehen, anderen Designern aus der Zeit so gut,. Beispielsweise, Arlene Stimmel ging den Weg, wenn Sie einige kommerzielle Strickwaren und versuchen, etwas stricken Kunst zu tun, obwohl sie es letztlich nicht die Magie gibt, dass sie mit gehäkelten hatte und verließ sowohl hinter dem Ende.

Sharron Hedges Heute

Hier finden Sie Sharron heute durch ihre Website wo sie teilt ihre ursprüngliche Drucke auf Stoff, Papier, und Gegenstände für das Haus. Diese Seite ist auch fängt uns auf, was sie da getan um die Zeit, Art to Wear veröffentlicht wurde. Sie erklärt, dass sie, wie Stimmel, Übergang in Strick-Design und Produktion. Sie verbrachte einige Zeit in Asien arbeite aber schließlich zurück nach New York gezogen. Sie begann, um Drucke für eine Vielzahl von Branchen erstellen. Ihre jüngste Arbeit umfasst digital Siebdruck Seide und Leinen. Sharron auch eine Shop auf Etsy wo man sehen kann, was sie arbeiten derzeit an. Wir können sehen, dass sie immer noch nach Farbe seit ihrem Slogan inspiriert für ihre Etsy-Shop ist “Farbe ist ein Beweis für das Leben”. Sie arbeitet auch am schönen Druck der Arbeit und Textilien mit ihrer Tochter, Djuna da Silva, unter dem Namen Djuna Shay.

Puffer

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Tagged as: 1970'S häkeln, 1970s Designer, Crochet Design-, sharron Hecken