Currently BBC4 is showing a series about the independent music business in the UK. The series traces how record labels like Factory, Rough Trade, Mute, 4AD, and Beggars Banquet made it possible for less mainstream bands to release records. Many of the bands turned out to be hugely influential and enduring (Joy Division, New Order, The Smiths, Depeche Mode, The Stone Roses, Suede, Franz Ferdinand, and Arctic Monkeys to name but a few!) and today UK indie labels continue to champion new music that would never be signed by major labels.

As someone working as an independent knitting designer, I recognised a lot of what was being covered in the documentaries - from small record labels operating out of a bedsit in Sheffield via creatives forming loose partnerships to dealing with complex distribution problems/solutions and worries over intellectual properties. I love many of the bands covered by the documentaries, but it was eye-opening to see how much of the amazing music was being created in an environment that was in many, many ways similar to how the indie knitting industry works.

Everything I do is created at my kitchen table. I have a small nook with a desktop computer (which needs replacing) and some bookshelves where I keep all my designing resources. I create my own layouts, my partner does my photography & art, I model my own designs, and everything passes through my hands. I deal with emails, accounts, wholesale, distribution, workshop dates, social media, marketing (which is always my sore spot), and obviously pattern designing & writing. I hire in technical editors to work on my patterns, but what you see is what you get and you get me.

And most indie designers work like that. Some have pooled resources, others have grown to the stage where they have one or two people on staff. But we are all just very, very small independent ventures.

Why be independent? Is it that much fun to do accounts at 11am on a Friday night? I think most people understand the allure of having full creative control - and yes, being able to decide what to design in which yarn is amazing - but the allure of intellectual property is even stronger. Quite simply, indies choose to own the right to their work.

I learned a hard lesson when I first started out: I handed over the rights to a pattern for a pittance and saw somebody else make a lot of money from it when I could barely cover rent. And that got me thinking. I still work with mainstream publications on occasion (and some of them are incredibly indie-friendly and lovely!) but time & experience has taught me to be wary of Big Besuited Companies offering me deals too good to be true.

Indies pay the price by having to do all the things - including all the tough things mainstream publishing would normally have done for us - but I maintain it is worth it.

So, clutching my gladioli, I began thinking about where indie knitting businesses are heading.

The BBC4 documentaries on UK indie record labels traced the trajectory from bedsit record labels with rough DIY graphics to bands like The Smiths appearing on prime time TV and finally a world where indie labels are regularly outselling the big record companies.

Knitting is not the music business (there's a big difference in gender make-up for one thing! It made me sad to see many female musicians simply disappear as indie music became bigger in the 1980s and 1990s) but maybe there are lessons to be learned there.

Here are some of the lessons I have gleaned from the documentaries:

• Surround yourself with people who understand and support your ethos.
• Don't try to follow the crowd but embrace what sets you apart.
• Take control of as much of your own operations as you possibly can.
• Choose your collaborators with care and imagination.
• "Indie"can become a very diluted term when Big Besuited Companies realise it is an untapped market - this will result in products that look, talk, and walk like indies but have big money and committees behind them.
• Digital marketplaces mean that everybody can sell their products (music, books, knitting patterns) so quality control is difficult. Indies still need gatekeepers (or "curators" as I believe the Pinterest generation calls it!)
• Don't believe the hype lest you want to turn into Morrissey!!

There isn't a right or wrong way of making it work  as a creative. Some people work best as part of a larger team with stylists, graphic artists, distribution centres, remote printing, and so forth. Then you have stubborn donkeys like me who enjoy having my fingers in every pie.

What about you as a knitter?

Some knitters love following a particular design house and yarn brand with big budgets and aspirational marketing; others find themselves more at ease at an indie show where they get to know the dyers and the designers. Some people prefer buying a magazine with glossy ads and a plethora of patterns; others like buying single patterns they have especially chosen for one particular yarn. And some prefer to just spin their own yarns and knit without a pattern.

The world is your oyster - you can to pick and choose as you like. And as an indie girl that really makes me happy.