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Thelma Gunnarsdóttir’s Threads of Tranquillity

A journey of crafting fashion through crochet and knitting

Thelma Gunnarsdóttir grew up in Reykjavik and, while always drawn to creative things, didn’t consider a career as a fashion designer until her grandmother gave her a sewing machine on her 20th birthday. The gift sparked a newfound passion and direction, explored, to begin with, through YouTube tutorials. The experience of designing and making her own clothing proved transformative.

Gunnarsdóttir graduated from the Iceland University of the Arts with a Fashion Design BA in the summer of 2023. It was during her studies that she began to experiment with knitting. “Both of my grandmothers are avid knitters, and my mom knits occasionally too, but it wasn’t until [arriving at] my final project that I realised almost all of my projects had some element of knitwear incorporated, even if it was unconscious.”

Her graduate collection aims to be a visual representation of tranquillity, “extending and blurring the lines between body, space and garment”. To convey this feeling, Gunnarsdóttir chose crochet as her primary material, as she was drawn to the organic and flexible process by which it is made. Crochet starts from a single point and expands outward, allowing for changes in direction and growth. This method mirrors the concept Gunnarsdóttir aimed to give shape to in her work, one loop at a time, enabling an exploration of fashion that embodies a deep sense of calm.

When selecting colours for the collection, Gunnarsdóttir found inspiration in the 2018 science-fiction Annihilation by director Alex Garland. She was particularly taken with the film’s mysterious alternate dimension – “the Shimmer” – an eerie environment cloaked in surreal, prismatic colour fields. Drawing from this, the designer developed a palette that both mirrors and surpasses the colours of the natural world, helping to create an ethereal feeling of otherworldliness across the collection. “Truthfully, I didn’t consider the industry much,” she says, discussing the collection as a whole. “It was about allowing my creative freedom to flow, resulting in a blend of art and fashion design.”

“Without a job, I couldn’t obtain a visa, and without a visa, I couldn’t secure a job.”  – Thelma Gunnarsdóttir

Looking back at how she approached her studies, Gunnarsdóttir described an excess of pressure she’d put on herself to succeed. “I would tell myself to relax and remember to enjoy the process, but I’d start stressing about failing even before the project began,” she says. “This mindset isn’t good for creativity and wastes a lot of time because you end up doubting every decision. It’s a strange mix – pressure can push you forward, but stress holds you back.”

She also navigated significant challenges while job-hunting after graduating. “I had an exciting opportunity to secure a paid internship in London at a brand I’d been following for a while. There was even a high chance of being hired afterward. However, the situation took a disappointing turn because I didn’t have a work visa, and the company couldn’t support my visa application. It felt like a hopeless situation because without a job, I couldn’t obtain a visa, and without a visa, I couldn’t secure a job.”

“I would tell myself to relax and remember to enjoy the process, but I’d start stressing about failing even before the project began.” – Thelma Gunnarsdóttir

Fortunately, Gunnarsdóttir secured a position at Callon London under the mentorship of Jaimee McKenna, a designer she deeply admires. The experience allowed her to gain invaluable insights into brand management, learn how to use a knitting machine and translate patterns into knit graphs, and witness Jaimee’s creative process firsthand – although the costs of taking on an internship in London (with its soaring living costs) were challenging to sustain.

The designer is currently working from a studio in downtown Reykjavik. This dedicated space has been crucial for maintaining a creative flow.  For the past six months, she has also been collaborating with fellow Icelanding designers Lóa Yona Fenzy and Karítas Spano with a vision towards starting a brand; an idea sparked during an exchange program in Paris in 2022. Reflecting on how her studies prepared her for this new role, Gunnarsdóttir reflects: “Running your own brand involves much more than just designing clothes. You’re responsible for every aspect, from production to marketing. While this multifaceted role is intriguing, I feel that my education didn’t adequately prepare me for it. This isn’t entirely unexpected, but it does mean that I now need to seek additional education or experience related to the business side and marketing aspect of the industry.”

Alongside her work with Lóa and Karítas, Gunnarsdóttir is still pursuing her knitting.“There’s something about knitting and crocheting that constantly drives me forward. I have immense respect for the craft, which gives me the patience it requires. There are endless ideas for different patterns, stitches, and textures that I want to explore. When I’m working on one project, I get ideas for ten others. I have been selling my knits for a little while now and it is so rewarding seeing your design come to life through another person’s personal style.”

Looking ahead, Gunnarsdóttir plans to continue developing her own brand while knitting on the side. “As long as my passion drives me, I’ll keep pursuing it with everything I’ve got.”

Gunnarsdóttir is sharing her knitting journey and taking direct orders through her Instagram account @thelmucore.