When I'm designing, I start with "research:" gathering ideas, inspiration, and making a list of colors and shapes we will need for each book. Normally I sketch first, then I make charts and swatches. But I can also work the other way around. I really like doing different color combinations: it adds to the value of the pattern; it's good to give knitters a choice [see Védís' rendition of the first prize-winning sweater below]. I also chose designs from other designers to be published in the Ístex handknitting books. Sometimes we have to change the colors or the shapes so that the designs may fit better into our theme. When a book is just published, I'm always very sensitive about people's reactions - no matter if the book contains my designs or not, because I am also the stylist and graphic designer. And as soon as I finish a book I'm always eager to start a new project - which is going to be the best ever!

How do you get a yoke to fit certain sizes?
That's where Gudridur Ásgeirsdóttir comes in. She calculates everything out until we feel we have achieved a good fit. It depends on the pattern, how many sizes you have, etc. Gudridur is highly skilled and it usually takes her only four hours to do a basic yoke pattern. Her accuracy is the secret behind the success of the Ístex patterns.

Does fashion influence your work?
You have to know what's going on and certainly you do get influenced a bit. And of course, fashion influences the colors people choose for their sweaters.

You've been working on a color line for children. How do you make your choices?
There's a lot of instinct in that. Of course, we subscribe to fashion forecasts, but you have to find the right colors that suit the texture of the yarn. And the colors have to work together. But often, my own son is my best color consultant!

One of the things I like about most Lopi sweaters is that they can be worn by men or women. Are sweaters submitted by men knitters?
In one contest there was a beautiful sweater submitted by a man. There are a few men knitters, but very few.

Where do you look for inspiration?
Everywhere! It's amazing, just driving from my home in Reykjavík to Mosfellsbær, one stretch of landscape is basalt black, the next chocolate brown. It's very annoying sometimes, because I can't look at anything without taking the colors out. I start thinking, 'This blue is a bit gray, this green a bit brownish‹I'm always doing this, I can't stop!

Tell us about your studio.
Natural light is very important to people in Iceland. I mostly sit in between a south and west window. I also have artificial daylight so I can work in the winter. And I can see the sea‹which is very important to me.

Are there people here you share your work with?
Yes, Gudridur and my family are very supportive. It seems you never get away from the wool business in Iceland‹but mostly you work with your own conviction.