Lindsey Millen: Creating Original Artwork - Class of 2028

Over the past couple of months, I have been developing my design for a Spelman College Cardigan. As a fiber artist and knitwear designer, it has always been important to me to use my craft in connection with parts of my identity and the cultural history that follows them. Last year, I explored this through my collection on lesbian gender identity (some pieces from this shown at the bottom of the post), and this year I intend to explore the culture and history of Black Womanhood, starting with that of our very own Spelman College. 

The color scheme I chose for this, of course, is dark blue, light blue, and white— the three colors most often associated with Spelman College. These colors appear on nearly all Spelman College paraphernalia and are said to represent commitment to excellence, elegance, and simplicity.

The other elements I incorporated for this piece are cables and patches. The cables I chose are several variations on the classic twist cable, symbolizing unity and sisterhood, which are both central to Spelman's mission. The back of the cardigan is covered uniformly with thick classic twists, representing the strong bonds that are forged in the Spelman sisterhood. The front panels feature these classic twists varied with diamond twists which, though they grow apart from each other, always come back and exchange. The sleeves feature another variation called the XO cable. In this cable, X's and O's weave in and out from each other, representing the different types of love and connection. These three cables together represent diversity of connection found here on Spelman's campus. Whether it is a friend, a sister, or a mentor, there is always community to be found here. 

The two patches are an "SC" patch for Spelman College and an "1881" patch for the year Spelman was founded. I was inspired to add patches to this piece by the fiber artworks of the Gullah Geechee. The Gullah Geechee are a culture of African Americans descended from those enslaved along the coastal regions of South Carolina, Georgia, and Florida. They are known for their contributions to craftwork through traditional basketweaving, wood carving, and quilt making. In their quilt making specifically, they developed an archival history of their lives and culture through artwork made from fabric and sewn-on patches. I would be remiss as a Black American craft maker not to acknowledge their impact on this art form. 

So far, I have only made and sewn on "SC" and "1881" patches; what other patches do you think belong on this sweater? What else is a part of our archival history? 

Please let me know! My additions to the collection are ongoing, and I would love for this to be something we can all share a part in. 

Lindsey Millen