For readers who may not yet be familiar with your work, can you share a little bit about your background? 

T: My name is Tina, my pronouns are she/her. I'm part of the Cantonese diaspora and a child of immigrants. I'm a knits designer and fiber artist currently based out of Metro Detroit, Michigan. I have a fashion design background and started my career as a knitwear specialist. I also have expertise in “3D” knitting machine programming, developing technical knit textiles for non-apparel applications.

What brought you to designing knitting patterns?

T: I started writing knitting patterns in 2017 when I moved from NYC to Michigan for my career. When I moved to Michigan, I did not have any friends here so I didn't really have a social life. I ended up spending a lot more time in online knitting spaces, mostly Instagram, where I found other knitters and later others who were interested in my designs as I was knitting, before I was writing patterns. At the time, I didn't quite know what pattern writing was. When I broke it down that it's basically a series of instructions or guidelines to knit something, it clicked for me. My patterns started with a few accessories that have expanded to garments and decorative pieces. I try to design patterns that are as size inclusive and gender neutral as possible to not exclude anyone from using my patterns to make their own clothes.

Detail of the garter stitch patterns in A Place In Time © chettaratphotography

Can you share about the development of this pattern? 

T: A Place In Time came out of my love for patchwork, which seems to be a common theme in my design work. I love mixing textures and colors. As a process knitter, the changing of colors and textures using simple techniques keeps it interesting but not too complicated.

With the beautiful colors that Peace Fleece Worsted comes in, I was inspired by the different color combinations I could make within one garment. For the design, I started with a silhouette I think I would wear with Peace Fleece yarn. I run hot so a cardigan as a coat was, for me, the perfect garment using this non-superwash worsted yarn that would keep me so warm outside.

Non-superwash definitely drapes differently than superwash. I have test knitters who used both and even a mixture of different types. Non-superwash can be lighter and stitches can "bloom" when blocked. Superwash yarn drapes heavier and pulls down more by gravity compared to non-superwash.

Swatching for gauge and color: Wild Mustard + Negotiation Grey;
Desert Tundra + Wooly Bear

Any tips for knitters planning to cast on?

As a designer, what drew you to working with Peace Fleece?

T: In my almost a decade of working with yarn companies, I find the most meaningful collaborations are those that I can develop a connection or relationship with. For me, it's about more than just the yarn. I connect to things on a more human level: small business, ethical labor practices, environmental impact, community-based. I try to work with those who strive towards these goals as part of their business and brand identity.

Peace Fleece is a yarn company that shares the impact they have beyond the yarn, working with Navajo Nation, investing in their growth in breeding and manufacturing quality wool. I'm also a supporter of locally sourced materials in hopes to bring back domestic manufacturing that honors labor and the environment.

Slip stitch garter swatches in Zarya Fog + Kalinka Malinka Blue,
Wild Mustard + Negotiation Grey, and Desert Tundra + Wooly Bear

As a maker, what are the most important factors in determining the materials you work with?

T: If I need to purchase new material, the most important factor for me is fiber content and yarn weight, outside of brand and price. Right now though, using up stash and scraps feels the most important to me to reduce waste. I, too, get wrapped up in the constant hype of buying the next yarn color, base or collection back when I first engaged in the online knitting spaces. I don't buy as much material anymore, unless a project specifies it. Otherwise, I would find projects that work with what I already have. There is plenty of patterns and projects out there already that can fit many needs. I've been making things for a long, long time so I have gotten familiar with what I do and do not like in terms of fiber content and yarn weights. I've made enough garments for myself too that I know what I will and will not wear more. And that will change again over time too.

In addition to knitting, what else do you enjoy exploring in your textiles practice?

T: Outside of designing knitting patterns, I'm also a fiber artist who uses hand knitting, machine knitting, crochet, weaving, sewing, embroidery, etc. to create art pieces. I've been in two art shows to date and will be in my third in March 2026. Fiber arts is a medium for me to express my multiple identities, experiences, and feelings, personal or political, to a larger audience. I love collaborating with artists of different mediums, like ceramics and paintings, across different subject matters. I'm always learning new skills for my own enjoyment and also to reimagine using that skill to express something inside me, outwardly. I'm currently trying to learn more about natural dyeing processes and techniques and hope to sew more in 2026. I'm constantly knitting, crocheting, and embroidering something in rotation daily, on my couch with my cats napping besides me.

What would you like to see more of in our fiber arts communities?

T: I would love to see more consumer knowledge around where our fiber comes from and how materials are made. I think it'll better inform makers of how their "hobby" might impact the planet and the people behind the materials they make with.

For example, the dyes used to make the colors, the process of sourcing the fibers, the amount of water and chemicals used to make synthetic yarns for those who are sensitive to protein-based fibers, the process of converting plant-based fibers to yarn, etc. I don't think there is a right or wrong yarn to use. I do think that consumers are the ones who can impact what is or is not made more of. If we demand less of the materials made poorly, inhumanely, and that are damaging to the planet, then we can influence more of what gets made and in more sustainable and ethical manners.

Back view of the patchwork-like stitch patterns in A Place In Time.
© chettaratphotography

Where can readers keep up with your work, writing, and new releases?

T: I'm most active on Instagram, @tina.say.makes, where I share a lot more about my imperfect creative life as a knitting pattern designer, fiber artist and product developer. I also share a lot of my experiences as an Asian American, mental health and try to advocate for diverse representation of Asian identity.

For only my knitting pattern designs, visit my website at tinatse.knits.com. I also have a Patreon that helps support yarn support for test knitters, helps run my website, provide free patterns to those who do not have financial accessibility, and tech editing services. On Patreon, I share more in depth look into my design process and my opinions, and teachings, on what is happening in the online fiber arts community.

We'll have a sample of A Place In Time on display at Rhinebeck later this Fall; here's a peek at the color palette we chose to knit our version of the sweater: Brownie, Mourning Dove, Chestnut, Glasnost Gold, Sheplova Mushroom, and Palomino (eagle eyes will note two of these colors are also used in Tina's original cardigan - Palomino and Mourning Dove - their neighboring shades leaning towards a more autumnal feel in this version). 

It was fun to test out different combinations, each with their own personality and mood. With 40 Peace Fleece colors to choose from, this cardigan project is a delightful exercise in exploring color, contrast, and texture.