Kathy Knapp’s textile work is a maximalist feast, layered with hand beading, vintage jewelry, and stories stitched straight from the heart. Self-taught and fiercely intuitive, she lets fabric and embellishment lead the way, creating wearable and sculptural pieces that blur the line between fashion, memory, and art. Her process is deeply personal, unapologetically ornate, and guided by instinct rather than rules.
Can you tell us a little about where you grew up and what early memories of making or creating you have?
As a child, I learned basic sewing from my grandmother. As time went by, I found little time for it, instead preparing for and attending college and eventually post-graduate education.
What first drew you to art and design? Did something specific spark your interest?
After my professional career, an awakening interest in art and design just magically happened one day. For me, it has always been an intuitive impulse; even to this day, I let my designs create themselves.
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Did you attend art school? How did you pick up the skills for designing complex wearable and textile art?
Actually, I never attended art school. Essentially, I am self-taught, other than some basic classes at a few quilt shows. Early on it was mostly trial and (more than a few) errors! Before long, I began to put my own spin on my designs, featuring a lot of handwork utilizing unusual embellishments (more on this below!).
A wearable art piece celebrating the diversity of botanical life on earth. The title references James Cook’s 1770 landing in Australia and the collection of unique specimens by the crew’s botanists. Use of Aboriginal-themed textiles nods to the First Nations peoples of the continent. Recycled buttons, bracelet pieces, and a vintage brooch are embedded in the beaded floral motifs on the front and reverse.
What was the moment (or series of moments) when you thought: “I want to make quilts / wearable textile art seriously”?
After a few years, a very special lady who I will leave un-named suggested I really ought to enter competitions. Not knowing what to expect,
I entered a wearable art work at the Pacific International Quilt Exhibition. I was shocked when the work was awarded a third place! I guess that stimulated my competitive instinct! Since then, I have exhibited both nationally and internationally.
What kinds of art, design, fashion, or cultural history inspire you when you design a piece?
I have always enjoyed art, having visited several major museums as a child. I am especially interested in periods of art and fashions that feature ‘over the top’ embellishments, including ancient Egyptian, Byzantine, English Tudor, and Victorian era, as well as the works of Fabergé and elaborate Eastern European and Indian folk costumes.
This piece envisions an older Alice magically transported into a steampunk wonderland, with the suit and mad hatter fascinator replacing her traditional dress. The reverse features a Victorian-era cameo-like window. Embellishments employ gears and metallic bits to create the feminine floral motifs.
How do vintage materials, found objects, or repurposed pieces — like old jewelry or heirlooms — factor into your inspiration or designs?
Early on, I experimented with using both vintage trims and metallic beads typically used in jewelry making as a way to add strong accents with a 3D or bas-relief surface effect.
Later on, I began deconstructing bracelets and other jewelry, harvesting interesting buttons, closures, and bracelet pieces that could be sewn into the designs.
I also recycle scrap textiles, cutting them into small squares or other geometric shapes, and sewing them together using a raw-edge technique, creating essentially a new textile ‘look’; no two ever look the same.
Describe your creative space
It’s pretty ‘ad-hoc’.
I have a very small space for basic machine quilting, but otherwise tend to take over whatever flat space I can find for construction.
The majority of the time constructing my wearables or wall hangings is the hand beading steps, which I can do while watching old films, or listening to music.
A pillbox hat in tribute to my late mother, a choral director. Embellished with a vintage photo from her college graduation, her signature from an old card sent to me, and metallic embellishments deconstructed and recycled from her jewelry, including a G-clef on the reverse, and beaded yo-yos.
Are there any “secret weapons” — tools or materials you love that most people wouldn’t expect?
I have used jewelry and sometimes photographs from my late mother’s and grandmother’s collections to enhance some works, these being very personal and in tribute to them.
Examples include: “Dichotomy of Red” and “Love, Mom”. I also created tribute pieces for my very special deceased pets, “The Mourning Coat” and “In Loving Memories”.
The updated Victorian mourning coat was designed in tribute to my beloved pet, Cadbury, who recently deceased. The opulent look epitomizes his magnificent presence, and intelligence is embodied in the intricacy of the beading. Golden hues represent his shining fiber, while crystals emulate the sparkle of his eyes.
Do you tend to work on one piece at a time or multiple pieces in different stages?
I tend to multi-task, with several in-progress works underway at any given time. It can be a little boring working on just one piece continuously; this gives me a little break.
Do you sketch or plan every piece ahead of time, or do you let the piece evolve naturally as you work?
Truth be told, I’ve never sketched, as I can visualize the finished look I’m trying to achieve in my mind!
I typically start with only a vague idea of what I want to create, but let both the fabric and embellishments ‘speak to me’ as I proceed.
This retro swing style coat was created in tribute to my two loving pets who recently passed away. The bodice is adorned with a symmetric floral tribute for each, whereas the motif on the reverse depicts a memorial wreath.
Could you walk us step-by-step through a typical piece — from idea to selecting materials, designing, stitching, and embellishing?
I typically search and find fabrics I want to work with as the fabrics provide my inspiration, then try to figure out how best to use them as a wall hanging or wearable.
For a wearable, I determine roughly what look I want and the general design. Next, I determine what design elements look best on the side-fronts, back, bodice, sleeves, etc.). Each section is pieced and quilted, and hand embellishments are applied.
The prototype design is pinned on a dress form, and corrections are made if needed. Finally, the pieces are stitched together, and final trims and closures are added.
What part of the process do you enjoy the most? The most challenging?
I probably enjoy the initial creative thought and concept phase the best, where my energy is at its highest.
Counter-intuitively as the work nears completion, I sometimes get bored with the vast amount of hand-work and really wish it was done so I can move on something new! It always amazes me how long a piece really takes to complete!
A work meant to both mourn the lives we have lost, but also to convey a message of hope: this trial will surely end, and life always finds a way to begin anew. The design of the upper portion of the cape suggests a memorial garland affixed upon an appropriate somber black background. In contrast, the vibrant collage of fabrics on the lower portions is suggestive of the rebirth to come.
For wearable art pieces (or sculptural textile work), how do you balance practicality (wearability, durability) with aesthetics and creativity?
I clearly lean hard toward the aesthetics and creative aspects of many of my works.
The weight of the metallic embellishments does make them rather heavy. In my opinion, they are best viewed on a dress form and displayed as a work of art.
However, I have produced smaller jackets, boleros or capes that can be worn as accent pieces, which have done well in runway events. Basically, I enjoy creating art and have less interest in wearability.
A wall quilt comprised of nine cuff bracelets that simulate the traditional nine-patch quilt. Each bracelet can be removed (taken off the wall!) and worn for various occasions. Each bracelet has its own story to tell via the choice of fabrics and embellishments. I enjoyed having the permission to play in my own stash and designing nine new bracelet combinations. The header of the quilt simulates a small piece of framed art, coordinating with the jewelry pieces.
How do you stay motivated during periods of creative block or frustration?
Sometimes I keep at it longer than perhaps I should.
My educational background taught me to ‘muscle through’ roadblocks. At times, this is a mixed blessing, and I do need to take a step back, walk away, to try again another day. I wish I could stop brooding about it sometimes and focus on the fun pieces.
Upcycled bolero, evening bag, and fascinator fabricated with materials from a deconstructed gown. Inspired by memories of my youth with my mom. Old photos of her and me are featured on the evening bag. Vintage trim, yo-yos, mom’s button, and recycled jewelry complete the surface design.
When you work with repurposed or vintage materials (which may show age or wear), how do you approach integrity, restoration, or preservation in your pieces?
I generally haven’t attempted to resurrect vintage textiles, with the exception of vintage jewelry or trims, which don’t change very much with time.
I do, however, sometimes use up-cycled clothing (such as a skirt) which I embellish to coordinate to complete a look featuring my jackets or coats.
Recently, I have taken some of my very early quilts and wearable art; deconstructed and re-fashioned them to make a fresh artwork. (“Remembrance and Reminiscence”).
Another example is a textile art Fabergé-like decorative egg made entirely from fabric and embellishments from a deconstructed evening gown. (“Egg-Traordinaire”)
This 3D work is a result of a revelation that occurred to me while deconstructing an earlier quilted and embellished jacket. I realized the materials from the work could be recycled to produce this heavily embellished decorative egg inspired by the art of Faberge. Displayed on a upcycled vintage stand.
How do you know when a piece is “done”? Do you ever struggle with letting go of a piece?
A work is done when I feel it meets the artistic aim of what I was attempting to achieve, and the quality of the work meets my (rather exacting) standards.
I do struggle with parting with some works, especially those that are personally meaningful – I probably will never let these go.
I receive the greatest fulfillment if I can inspire people who view my works. Generally, I don’t offer pieces for sale, except for a few works accepted in gallery exhibitions.
This structural and flowing ensemble is inspired by my anticipation at winter’s end of the emergence of purple crocus and hyacinths embedded within the deepening green canvas of grass. Swarovski crystals are used to suggest the refraction of the morning sun’s rays upon the dewy blooms.
How do you find balance between making for yourself (creative joy) and making for an audience (commissions, exhibitions)?
I have found that art calls that force certain color palettes, materials, or particular themes do not always end well for me. Instead, when I create in a way that is true to myself, I find the journey smooth and true with few roadblocks.
How do you hope people feel when they see or wear your work?
Hopefully, the viewer will be inspired by the story behind the piece and can relate to it visually.
I do tend to create works with an environmental theme, but have also produced some very personal works, such as the impact of Alzheimer’s disease suffered by my mother (“Dichotomy of Red”), and others relating to the empowerment of women.
This jacket reflects the mixed emotions of what the color red means to me. It expresses both love and anger over the loss of my mother to dementia. The predominant color red is symbolic of both emotions, whereas the more purple hues are indicative of the disease itself. Beaded floral vines on the front and reverse views are suggestive of the quickly growing amyloid plaques degrading her mind, while exaggerated/deflated sleeves represent the loss of her once powerful personality
Where can people see your work?
My works have been exhibited both in various museums or art galleries and quilt venues although the opportunities for wearable art in traditional quilt shows has greatly decreased in recent years.
I have a few pieces currently traveling in SAQA global exhibitions (“Gastronomy”, “Primal Forces – Wind”, and “Stitchpunk”).
Currently, two works are on display at venues associated with Fiber Art Now’s “ArtWear” exhibition (Visions Museum – San Diego), and at Wayne Art Center, PA (Living with Craft) through January 2026. One of my coats, “Gothic Beauty” is on permanent virtual display at the Craft in America Museum (LA).
A coat inspired by art of the Gothic Era, with a modern twist. The collar, side fronts, and side backs afford contrast through the use of cascading beaded vines and flowers that provide movement within the piece.
There are also a few selected items on the Surface Design Association’s website. Finally, I also have Facebook and Instagram pages under “kathyknapptextilearts”.
Rapid-Fire Fun:
Favorite material to work with right now?
I am very much into aboriginal fabrics as the colors and textures are such fun.
One tool you can’t live without?
My embroidery scissors, they are great for deconstructing!!
Most memorable “Whoa!” moment in your creative journey?
When my “Gothic Beauty” coat was juried into the Craft In America museum in LA, and I had to be the first one at the opening to give a talk, with my foot in a cast at the time!
Morning person or night owl when it comes to creating?
Definitely a night owl, watching old historical films that always inspire me! Especially those with historical costumes – I love looking at all the lace detail, especially in the sleeves.The more over the top, the better for me!! I am always on a quest for a head-turning look!!
Interview posted January 2026
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