Originally published in France, today’s picture book is amazingly creative in its approach to storytelling with knitting!
Alice Brière-Haquet is a former high school teacher and the author of many books, including Phalaina (Levine Querido), Nina (Charlesbridge), and Pocket Philosophy: Schopenhauer’s Porcupine (Oh! Editions). Her titles have received starred reviews from Booklist, Foreword, and Kirkus, and her book Phalaina was a starred inclusion on the Bank Street College of Education Best Books list. Alice lives in France. You can learn more about her at her website or follow her on Instagram.
THREAD BY THREAD takes a metaphor and runs with it, not only in text, but in illustrations as well. The reader sees a family of mice living in a knitted home that begins to unfurl. They must flee all they know to find a new home and the journey is treacherous. This truly hits home emotionally in so many ways I don’t want to spoil. It’s a marvel how well all the pieces, text and illustrations and translation, come together to really pack that punch in this story though. Trust me when I say that this is a story that you will want to study to see how it succeeds on so many levels.
Please note: I received a copy of this book from the publisher to review, but the opinions, as always, are my own.
Welcome Alice!
Me: Can you tell us a little bit about your writing journey? How has that brought you to writing this picture book?
Alice: I’ve always loved reading. Even as a child, my mother would scold me for reading too much, all the time, everywhere—even when there were people around (especially when there were people around: books make an excellent shield). So I studied literature, became a teacher, and then I wanted to try things from the other side: writing.
Me: I love the concept of this story. I don’t think I’ve seen an immigrant story told quite like this. What gave you the idea?
Alice: The situation of migrants is terrible, and above all, utterly unfair. There is nothing that justifies them being in their position and us in ours. And nothing guarantees that our own position is truly stable. That’s what I wanted to express with this house that unravels and is reknitted.
Me: The illustrations by Michela Eccli are incredible! I love how she used string with your knitting metaphor to illustrate the story! Did you have any art notes for her to work with? Did you imagine the characters as mice? Did you ask for the illustrations to be done in yarn?
Alice: Not at all—it was entirely her idea! I give my illustrators complete creative freedom, because a picture book is a work of art created by two people: each brings their own personality, their own vision of the world, etc. And I’ve never been disappointed, least of all with this project—the blend of photography and illustration is simply brilliant.
Me: Were there any illustration surprises for you? Any favorites?
Alice: I especially love the photography aspect for its originality and visual impact—it’s both incredibly realistic and deeply poetic.
Me: I’m always fascinated when I see an author who is also a teacher (like myself). How did you find time for writing around the job of teaching? What routines do you have in place that allow you to create regularly and successfully?
Alice: I set aside dedicated writing periods where I schedule nothing and don’t answer emails or phone calls—one week here and there throughout the year and a full month in the summer. For the rest, I do what everyone else does: I juggle!
Me: What is one thing that surprised you in writing this story?
Alice: How, in the end, it speaks to everyone about life’s uncertainties, not just the tragedy of refugees.
Me: True! I love that! Any advice for new picture book writers?
Alice: Write, write, write, and write some more! At the very beginning, an author told me: you need to write 10 projects for 1 to be published, and you need to publish 10 projects for 1 to be successful. It’s very true.
That is good advice. Thank you for stopping by my blog today Alice.
But wait dear readers, there’s more! I also interviewed the illustrator!
Michela Eccli is an Italian artist, illustrator, and author of children’s books. She created the art for this book with drawing, photography, and skeins of yarn. Thread by Thread is Michela’s English-language debut. You can learn more about her at her website or follow her on Instagram.
Welcome Michela!
Me: Can you share about your artistic journey? When did you start creating art? How did that bring you to where you are now as an author and illustrator of this book?
Michela: I have always been fascinated by the world of images. Since childhood, I have been drawn to visual storytelling, which led me to pursue artistic studies, first in high school and later at the Academy of Fine Arts in Milan. There, I focused my thesis on children’s publishing and the revolutionary impact of Bruno Munari. At the same time, I specialized in photography.
I attended courses with renowned illustrators and children’s book authors, and storytelling has been a passion of mine for as long as I can remember. Over the years, I have dedicated myself to continuous learning. What keeps my passion for picture books alive is reading them as pure works of art—discovering the layers of meaning and multiple interpretations that enrich the experience. This constant search for depth in visual narratives keeps me inspired and engaged with the work of other artists.
Me: I adore the concept of knitting and yarn unraveling telling this story. What gave you the idea to use yarn for the illustrations in this way?
Michela: My mother was a knitter, and I spent my childhood surrounded by colorful yarns. This world of textures and materials has always been part of my visual language.
This particular story was born during a difficult time in my life. I was facing a health issue and awaiting surgery that would remove my uterus. That part of my body had been a place of life, a safe and nurturing space, much like a home. And so, the image of a house made of yarn—warm, soft, and welcoming, yet unraveling—took shape in my mind.
Art has always been a form of self-therapy for me. Many times, I have created images to find the courage to face personal challenges. I am grateful that what started as a painful and deeply personal experience transformed into a story with a hopeful and uplifting ending.
Me: I’m so sorry to hear of your challenges, but wow. That’s an amazing way to work through it. Did you have art notes for any of the text? Or did you create the visual story to go along with text all on your own? Did you always imagine the characters as mice? Was the heartbreak of the child losing its doll your idea or the author’s?
Michela: There were no initial art notes. The project actually began with my images—I created the visual story first, and then Alice [the author] beautifully crafted her text around them.
From the very beginning, I imagined the characters as a family of mice. The heartbreaking moment when the little mouse loses its stuffed rabbit was also my idea. Alice gave me great freedom to experiment and explore the emotions I wanted to convey.
For this book, I used a mixed technique combining photography and pencil drawings, all composed digitally. I chose a minimalist style—photographs set against a white background, accompanied by essential pencil drawings—to immerse the reader in the story in the most direct way possible.
I deliberately chose a minimalist style to keep the reader focused on the expressiveness and gestures of the characters, allowing them to fully engage with their emotions. By stripping away unnecessary details, I aimed to create a sense of intimacy and empathy between the reader and the characters.
The photographic images were carefully designed to evoke softness and warmth, reinforcing the texture of the yarn and the theme of protection. Drawing from my experience as a photography and film language teacher, I also incorporated cinematic storytelling techniques. For example, the first three pages follow a sequence plane, showing the unraveling of the yarn house.
I also played creatively with the book’s physical structure. I used the central fold of the pages in a deliberate way—placing the knitting needle along the fold, as if it were caught in the seam of the book. I repeated this technique in the scene with the pulley and ladder, positioning the ladder’s base exactly at the book’s central fold. These choices allowed me to transform the physical limitations of the book format into creative opportunities.
Me: You have illustrated several books now. What media do you typically use to illustrate? Are you a traditional or a digital artist? Or do you use a blend of both?
Michela: I have published only three books so far, the last two using a combination of photography and drawing. I work with both traditional and digital techniques, depending on the project.
Me: You are also an educator (like myself). How did you find time for creating art around the job of teaching? What routines do you have in place that allow you to create regularly and successfully?
Michela: I have a very demanding schedule! In addition to teaching, I try to carry on my personal artistic research beyond the world of publishing. And of course, there are my book projects—I have developed many, though only a few have been published.
Because I have so little free time, I prioritize making and creating over submitting projects to publishers. Unlike full-time illustrators, my creative process takes longer, but I embrace a slow and steady approach. I work little by little, without rushing or stressing myself.
It often takes me years to complete a picture book, but the key is to keep moving forward, even in small steps. I take advantage of every free moment, especially during school breaks. I even sacrifice travel to dedicate time to my projects. It is a trade-off, but one I gladly make because I cannot live without creating.
Me: What is one thing that surprised you in illustrating this story?
Michela: I was surprised by how clearly the images were already formed in my mind when I first sketched the storyboard. Even when I moved characters around or restructured the composition, I kept coming back to my original vision—it was the most powerful and emotionally compelling.
Me: Any advice for aspiring picture book illustrators?
Michela: Just create! Even if you don’t have a proper workspace, find a way to make it happen. When my children were little, I didn’t have a dedicated studio, so I set up a tiny table in the bathroom. It was the only place where I could leave my materials undisturbed.
For me, art is deeply intertwined with life. During difficult times, immersing myself in creativity has helped me overcome obstacles. Art has a magical way of lifting us out of our problems and offering a moment of lightness and joy.
Keep going, even if you’re not young anymore—there’s no deadline for creativity. Take small steps, even if it’s just once a week. Keep learning, and most importantly, keep the fire of passion alive, sharing it with others along the way.
That is great advice. Thank you for stopping by my blog today Michela.
But wait, dear readers. There’s more! Alice and Michela have agreed to giveaway one copy of this book to a lucky winner. US and Candian entrants only. You can enter the rafflecopter here. Good luck!