Tammi launched Yarn & Whiskey in Brooklyn, sewing project bags from the African print fabrics she had spent years collecting. She left her career in Information Technology to make a leap: she enrolled at the Fashion Institute of Technology to earn her BFA in Textile & Surface Design. Today pieced that leave her studio carry her own digitally printed artwork, her product line has grown well past project bags into silk scarves, shirts, crossbody bags, and pouches. Her work pulls from New York City, the African Diaspora, Hip Hop, modern art, vintage clothing, and her travels. She is a maker in every direction: a knitter, a weaver, and a seamstress who turns her own fabric scraps into something new rather than letting anything go to waste. We're so glad to share her story with you. photo credit Clay Williams (@ultraclay on Instagram) Q. You started Yarn & Whiskey by transforming bold and vibrant African print fabrics into project bags while working in Information Technology; since then you've earned your BFA in Textile & Surface Design and your bags and apparel pieces showcase your original textile designs. What was the process like when you decided to be the one creating the prints, not just curating them? And now that your designs are available on everything from scarves to kaftans to non-project bags: what do you look forward to working on next? Going back to school for Textile & Surface Design was born out of a desire to have complete creative control over the canvas of my project bags. The process was completely unlocked for me during a semester at Heriot-Watt University in Scotland. I basically lived in the print lab, peppering the digital fabric technician with questions and diving deep into the chemistry of color fastness and printing methods. It bridged the gap between raw creativity and technical execution. Because I run an intentional, boutique studio, I have the luxury of testing designs and ensuring the print quality is impeccable before anything goes into production. As for what’s next—I am currently redesigning and sourcing for the return of my signature kaftans! They are the ultimate comfort outfit and the perfect dramatic canvas for my prints. I can't wait to bring them back to the shop. Q. Can you walk us through what it looks like to bring one of your textile designs to life from start to finish? We'd love to hear about the full arc: from the initial spark of an idea through research, painting, scanning, color decisions, and finally seeing the printed fabric in your hands for the first time. Are there stages in that process where the design surprises you and becomes something different from what you first imagined? My best work happens when I allow myself total freedom to play. My sketchbooks are a messy, beautiful playground of watercolor, gouache, inks, and random scraps of paper. While my time in design school often emphasized rigid trend reports, I quickly realized my strength lay in trusting my own intuitive vision over standard commercial forecasts. I do utilize trend research for color palettes -- because color is the emotional hook that draws a person in -- but the motifs and stories are entirely my own. When I receive my printed fabric yardage from my suppliers, there are rarely negative surprises. Because I am meticulous about color referencing and work with incredible partners, seeing the final fabric in my hands for the first time is just pure, rewarding validation. Q. When you worked with Toni Lipsey on a custom design for her TL YarnCrafts YarnHive, the process started with Toni's mood board whch lead to your own concept board and visual direction. Your Cozy Canines print worked differently: customers submitted pet photos, voted on the fabric color, and you transformed each animal with your signature styles. What do you look for in a collaboration, and how does working with someone else's vision (or inviting your customers into yours) change what you make? Collaborating is an incredible alchemy when the chemistry is right. Working with Toni Lipsey on the YarnHive design was a dream because she provided a clear emotional mood board, which allowed me the space to interpret it through my own visual lens. With Cozy Canines, the spark hit me in Rome, and inviting my community to submit their own dogs made it a deeply collective piece of art. For me, a successful collaboration requires two things: a resonant theme and mutual respect for medium boundaries. I look for partners who want an organic synergy, not a copyist. If I’m working with a yarn dyer, we need to be equally obsessive about color precision. If I'm working with a knitwear designer, the goal should be to create a cohesive collection where my textiles and their stitches complement each other, rather than trying to literally translate a graphic print into knit stitches. I am interested in creating a dialogue between two different crafts, creating something elevated that neither of us could have made alone.   What we love about Tammi's work is how much care sits behind every piece she makes, long before it reaches anyone's hands. If you want to see her prints for yourself, they're waiting at yarnandwhiskey.com, where the project bags that started it all now keep company with silk scarves and crossbody bags.  You'll find her on Instagram at @YarnAndWhiskey for behind the scenes looks at new fabric designs, mini elephants, and other joyful, colorful moments. Thank you, Tammi, for sharing your story with us.

In this month's Maker Spotlight, we chatted with Sweet Paprika Designs about Canadian wool sourcing, sisterly collaboration, and the classical music behind running a Montreal dye studio.

Meet Laura Nelkin, the knitwear designer and teacher behind Nelkin Designs (and her spicy alter ego, Lola). In this month's Maker Spotlight, Laura opens up about her creative process, the beaded jewelry line she's been building for years, and the Knit For Food Knitathon, the 12-hour fundraiser she founded that has now raised over $2.2 million for hunger relief.

Julie Crawford of Knitted Bliss started with a knitting blog in the early days of the internet -- before Ravelry even existed. Today she designs embroidery kits and stick-and-stitch patterns made specifically for knitted fabrics, and teaches workshops that make the whole thing feel joyful and achievable. We sat down with her to talk process, philosophy, and what keeps her grounded as a maker and small business owner.

Some of the best ideas start with a problem no one else is solving. When Andrea Lui, PT, DPT, OCS scrolled through knitting forums and saw makers being told to either push through the pain or put down their needles entirely, she knew there had to be a better way. A practicing physical therapist with a doctorate from MGH Institute of Health Professions and a board certification in orthopedic PT, Andrea brought her clinical training directly into the craft community, creating The Knitting PT: a home for quick, maker-specific movement guidance rooted in real anatomy and genuine love for the craft. Through short-form videos, virtual consults, courses, and her upcoming book Craft Without Pain (available for preorder now), Andrea has built something quietly radical -- a space where self-care and creativity aren't in competition, but deeply, practically intertwined. We're so glad she agreed to answer a few of our questions. Q. You’re a practicing physical therapist and a passionate knitter -- was there a specific moment (in clinic or at your own needles) that sparked The Knitting PT, and what did you most want makers to feel or understand from day one? The online community was the initial spark. I saw knitters posting online that they were experiencing pain in their arms or numbness in their hands and asking for advice. Much of the advice given was horrifically incorrect, ranging from "power through it" to "stop knitting." I believe in finding a middle ground with my patients -- still doing what you love but with modifications as your body heals. Q.  Your tips are quick, practical, and maker-specific: can you walk us through what happens behind the scenes from a common “ouch” (like tight shoulders or cranky wrists) to the final reel -- what do you look for, test, and simplify? I choose the topic for a post either from what I am seeing people comment about online, or from what my own body is feeling. I'm often thinking about how to optimize my movement when I'm knitting or crafting -- so these often spark the initial idea. From there, I choose an exercise or tip that addresses that topic, and I usually try to use something that is fresh, new, that I haven't touched on lately. When I film, I talk freely and then edit down based on time and what I want to emphasize. Q. In your consults, classes, and courses, how do you make movement and self-care feel accessible and inclusive for different bodies, abilities, and experience levels --and what small habit change do you find helps most people right away? The most important thing I tell my students is that any movement counts. It doesn't matter if it is a simple shoulder roll or a 45-minute workout -- movement is movement, and it's more important that we get moving rather than worry about if we are doing enough. Many people get hung up on the details and feel that if it's not a certain number of minutes, it doesn't count. It's much easier to build a positive habit step by step rather than leaping several feet forward. To make things inclusive, I often teach exercises that can be done sitting, and offer as many modifications as possible for all abilities. Q. When you’re not teaching wellness, what kind of knitting (colors, textures, techniques, or projects) is lighting you up right now—and how has your online community shaped what you create and share next? I have been loving bright colors and neutrals lately. I have many friends who spin or are yarn dyers, and it has inspired me to explore different wools outside of the typical merino. This year, I am also on a quest to figure out my perfect sock recipe and sock heel fit! Q. For makers who want to keep creating for years to come, are there any small habits, tools, or mindset shifts you’d recommend to support both creativity and well-being? The best recommendation I can give is to listen to your body. Your body knows when it needs a break, and taking those short breaks will go a long way to preventing discomfort from becoming a chronic situation. This goes for creativity too! I am guilty of not frogging projects when I've lost the passion for it, but it truly is a weight off my mind when I move forward and let my creative heart lead my needles and hands. We're so grateful to Andrea for taking the time -- and for the reminder that taking care of your body and loving your craft aren't at odds with each other. You can find Andrea's tutorials, courses, and virtual consult bookings at ptandrea.com, and follow along with her making and movement content on Instagram at @theknittingpt. Her book, Craft Without Pain: Injury Prevention and Self-Care for Knitters and Other Makers, will be published on June 16th, 2026, and is available for preorder now wherever books are sold. love, 

Aoibhe Ni (AY-vah NEE) is an Irish Tunisian crochet designer, teacher, and the creative force behind Yarn Towers. Known for her mythology-inspired Legendary Shawls and her pioneering "short hook" method, Aoibhe designs intricate lacework that requires nothing more than a standard crochet hook and a sense of adventure. In this Maker Spotlight, she shares how growing up in rural Ireland shaped her craft, what it's like to design without a mind's eye, and why there's no such thing as a mistake in crochet.