a spencer dress

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It is a grey and murky day, but I thought I’d take the opportunity to show you my amazing Spencer dress!

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You’ll have probably seen that my Shetland friend, Ella, first scored one of these a few weeks ago in the Lerwick saleroom. She was then put in touch with Margaret Stuart, who originally designed these beautiful pieces in the 1970s and 1980s, and was able to buy a few more. Probably because I wouldn’t stop going on about it, Ella kindly allowed me to purchase one of her haul.

Mine is the same colourway as a Margaret Stuart dress held in the collections of the Shetland Museum.

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(Ella’s photo)

Although it was knitted over thirty years ago, the Jamieson and Smith shades that have been used in the dress are still immediately recognisable to me: FC14, 122, 1281, 141 (used in my Northmavine hap and hoody) and 125 (used in my Puffin Sweater). FC14 is one of those beautifully complex J&S shades (a deep blue with a slightly shimmering quality because of the way the yarn is composed of so many different colours) while shade 125 is one of my all-time J&S favourites (it is the exact colour of tinned tomato soup).

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The fabric of the dress is not dense at all, but really light and airy — the yarn has been worked at a much looser gauge than normal for, say, a Fairisle piece. As a consequence of the gauge, the dress has considerable drape and swing, but the lovely Shetland wool means that it is also soft and warm. The colourway lends the skirt a fabulous visual effect, and I love that the dress combines two traditional Shetland garments – a hap and a spencer – to create a piece which must have looked tremendously contemporary when it was made. It is a brilliant design.

The construction of the dress is also very interesting to me. The body and skirt appear to have been knit flat, in one piece to the armholes. Here you can see the side seam.

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The bodice has then been worked back and forth to the shoulders, and, though the sleeves have been picked up around the armholes, they too have been worked flat and seamed. The whole piece is worked over garter stitch, so I imagine the construction has been specifically designed to minimise purling. A one-piece garter-stitch spencer designed by Margaret Stuart appears in Madeleine Weston’s Classic British Knits – on this garment, the seam is worked up the centre, but the minimal-purl, one-piece construction appears very similar to that which has been used in my dress. But imagine the seamless fun that might be had working one of these pieces in the round using the no-purl garter stitch technique!

I am absolutely thrilled with my lovely new dress. Thankyou, Ella and thankyou Margaret for allowing me to acquire it! It will take pride of place in my growing collection of vintage Shetland knitwear!

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A comment on Ella’s blog from Margaret herself leads me to hope that she may, at some point, republish the pattern for this wonderful dress. I’m sure there are many of you out there who, like me, would love to knit one.

For those of you interested in kits
The shop will be updated at 12 noon GMT tomorrow (Sunday December 8th) with more stock of Toatie Hotties, and another new seasonal design!

Port o’ Leith

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Here is the third garment in my Edinburgh series – the Port o’ Leith gansey.

This garment has twisted stitches and cables, that are reminiscent of maritime nets and rigging. It also features a deep, cowl-like collar, which is great for warding off North sea winds.

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. . . but which is also detachable, for when the weather is warmer, or you wish to hail a passing vessel.

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When designing this ensemble I wanted to retain a simple shape, as best befits a cabled gansey. But I also think that traditional gansey-gussets can be somewhat unflattering on a women’s garment, creating far far too much fabric around the underarm and upper torso.

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(illustration by Felicity Ford)

So I’ve shaped the upper torso for a neater fit, following and adapting Elizabeth Zimmerman’s directions for a seamless saddle-shouldered sweater.

Centred double decreases add focus to the yoke . . .

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. . . and are echoed in the twisted stitches that feature on the collar and front panel.

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Creating a Wintery ensemble that has some fitted structure, but is also really cosy and easy to wear.

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I am modelling it here with 4 ins positive ease, wearing a vest and woolly baselayer underneath. . .

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. . . but the gansey could also be worn with zero or negative ease, and you’ll find instructions in the pattern for selecting the best size, and modifying the garment for a more tailored look.

In the essay that accompanies the design, I write about Leith’s connections with the wool trade, and with Shetland knitting, and it is fitting that the garment is knitted in a great Shetland yarn – Jamieson and Smith Shetland chunky. Having done a lot of knitting with this yarn, I’d say that it is really more of an aran-weight than a chunky, creating a fabric that seems to have just the right amount of density at a gauge of 16 sts to 4 ins (on 5mm needles). I knit this sample in the natural ‘kirn mylk’ shade but the charcoal shade of this yarn is also particularly lovely, and I’ll hopefully show you another sample knitted up in this shade very shortly.

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This yarn is worsted spun, which means that, while it retains a lovely Shetland wooliness it is also very smooth, lending it a stitch definition that’s ideal for twisted stitches and cables.

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These photographs were taken down by Leith’s docks and shore at the Victoria Swing Bridge – which, when it was first constructed in 1874, was the largest swing bridge in Britain.

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We used to live a short walk from here. Though you’ll now find delicatesans and confectioners and michelin-starred restaurants next to the Port’s traditional maritime haunts, Leith somehow retains its character as the least pretentious of Edinburgh places.

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The pattern is now available digitally, via Ravelry, or in print from my MagCloud store
(I’m currently investigating ways of including a code with the print copy to enable you to store a PDF in your Rav library. This requires updating and altering all my print files – please bear with me – I’ll let you know when this is sorted and I can also issue those who’ve bought print copies of other patterns with download codes retrospectively, if necessary).

a woolly wednesday. . .

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As the weather grows more chilly, things are becoming very busy round here — in a good way. I have been knitting and designing and writing for weeks now, in advance of a few new Winter releases. In a few days I will be publishing the next design in my Edinburgh Series of garments (which you’ll see hinted at above), inspired by the industrial and maritime heritage of Leith. This design is cosy and wintery and woolly and I’m very happy with it – I hope you like it too.

Additionally, I’ve been working really hard on some new seasonal accessory designs. . .

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. . . which will soon be available as kits in my online shop. Colours of Shetland (now in its second edition) is finally back in stock (hurrah!) , and I’m looking forward to it being joined by Snawheid, and several other jolly kits over the next couple of weeks. I’m developing these kits as something of an experiment, so you must tell me if there are particular designs of mine that you’d like to see available and I’ll see what I can do.

I’m also rather happy about a couple of vintage knitwear finds . . .

This jumper (an ebay find) is destined to become a pair of SWANTS!

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. . . and if you have seen Ella’s blog recently, you’ll know why I am unbelievably excited by this:

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Ye gods! It is indeed one of Margaret Stuart’s beautiful Spencer dresses and it is now in my possession! Seriously, this is a completely amazing garment (that fits me too) and I am incredibly grateful to Ella for enabling its acquisition. More of this anon.

In the meantime, here are a few woolly links for you this Wovember Wednesday:
Needle and Spindle‘s lovely post about Pelle’s New Suit – a beautiful children’s story from 1912 that tells the story of a jumper.
Caroline Walshe thoughtfully documents the process of growing, preparing, spinning and knitting a shawl from the fleece of Jake, her Jacob wether. This is one of the most inspiring pieces about process that I’ve read in a long time.
Equally inspiring, but for different reasons, is Cecilia Hewitt’s piece about her unique and very beautiful handspun yarn. Cecilia’s sense of place and colour has something truly magical and profound about it – but her work is also refreshingly grounded in the ordinary and everyday. “An intriguing patch of colour in the hedge turned out to be a crisp packet.”
Finally, via 60 North TV and the Shetland Times, a short video about this year’s Shetland Wool Week. Highlights include Oliver Henry talking about his work grading fleeces, and brief clips of Hazel, Tom, Sarah and, of course, Felix singing the Shetland wool song!

Firth o’ Forth

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Ahoy from the Firth o’ Forth! This cardigan is the second in my series of my Edinburgh-inspired designs, and it is named after the important estuary that marks the city’s northern boundary.

The Firth was a major feature of the decade we spent in Edinburgh: we lived in sight of it – just up the road from the fishing village of Newhaven – and its mists and breezes very much defined our weather. I think that one of the great things (of the many great things) about Edinburgh is that it is a city with a shoreline: as well as hills, and closes, and castles it is a place of beaches and seabirds and Sunday strolling. We spent many happy weekends on foot around the Firth, and, from Cramond in the West through to North Berwick in the East, it is a stretch of coast I know very well indeed. I find the North-Easterly prospect of the Firth lends the light a very distinctive quality and, at all seasons of the year, it is a wonderful place to be.

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This design was inspired by the creature for which the Firth was once world-renowned: the oyster. Firth o’ Forth oysters were, in fact, Edinburgh’s original street food – and in the booklet I’ve produced to accompany the design, you can find out more about their history.

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This very oyster-y stitch pattern is one I’ve had a thing about for many years – it appears in Martha Waterman’s shawl book under the name of ‘Cocoon Stitch,’ and I knit myself this stole using it back in 2007. Like many of my favourite openwork patterns, it is a relatively simple stitch to memorise (‘action’ occurs only on two out of twelve rows) and yet its effect is quite dramatic. It creates a textured, structured fabric, yet, because of the yarnovers, it also feels wonderfully light and airy. I suppose some people may find it odd to create a cardigan inspired by a bivalve, but to me this is not odd at all.

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The yarn I used is Yomper laceweight – this is spun by John Arbon for Great British Yarns ‘Union’ range, and is a blend of 70% Falkland Islands Merino and 30% UK alpaca. It has an incredibly light and luxurious hand. While the majority-wool content gives it a pleasing spring and creamy-coloured undertones, the grey alpaca lends the yarn strength and smoothness and a mercurial silvery sheen. All I can say is that from the first moment I felt it in the skein I just wanted to wrap myself up in it.

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My thinking behind this design was to create a sort of cardigan-equivalent of a shawl or wrap . . .

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(schematic illustration by Felicity Ford)

. . . therefore the garment construction and shaping are relatively simple. The cardigan is worked back and forth, all in one piece to the underarms, then divided for fronts and back. A little shaping is worked around the neckline; the shoulders are joined and then sleeves are picked up and worked in the round down to the cuffs. There are no seams. Mel (who always has a knitterly trick to add to my designs) came up with the nifty idea of working the sleeves inside-out, which minimises purling.

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(Sleeve join. Very nifty.)

If you like knitting lace, you’ll enjoy making this garment.

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The fronts can be worn open . . .

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Or drawn about the body.

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And in all ways, this is a garment that is very easy-to-wear.

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There’s a perhaps surprising amount of ease factored into this garment: I’m modelling it here with 7 ins positive ease, and I don’t recommend making it with less than 4 ins ease.

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. . . because it is meant to be loose and drapey and cosy and shawl-like.

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These photographs were taken down by the Firth at Cramond on a very windy day.

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But I was surprisingly warm in my Fith o’ Forth cardigan.

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The design booklet includes a short essay (exploring the history of the Edinburgh oyster and the Firth), pattern, charts & schematics, photographic lookbook, and the best eighteenth-century poem about oysters you will ever read.

The design booklet is now available digitally via Ravelry, and in print from my Magcloud store.

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Happy knitting! x

sunshine on . . .

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Yesterday we had beautiful weather while we popped back to our old stomping grounds in North Edinburgh and Leith to take some photographs of two new sweater designs. I’ve been working on these patterns for a while now, and they form part of my Edinburgh series — garments inspired by my favourite places in the great city in which I lived for a decade.

Here’s the photographer:

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And here’s a wee hint of what was being photographed:

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I’m really excited to tell you all about these two designs and promise you’ll see more very soon!

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As well as the two Edinburgh-series designs, I’m full of woolly plans for this WOVEMBER. The French translation booklet to accompany Colours of Shetland will soon be available, as will the second edition of the book itself, which is currently being reprinted (so if you’d like a print copy of the book, I’ll soon have my online shop up and running again). As well as the book, the shop will also be stocked with other items, including kits for three new accessories which I’m busy working on right now. Moving house has also meant moving work – it has taken a while to get everything set up, but now everything is ticking away in my studio and stock room and I’m enjoying seeing it all develop.

In the meantime, here are links to two WOVEMBER posts from two of my favourite woolly Shetland folk: Take a look at Ella’s incredible Spencer Dress, and Sarah’s fabulous collection of Shetland knitwear. (Sarah, of course, is the editor of Shetland Textiles: 800 BC to the Present, of which more another time). Meanwhile, over on the WOVEMBER website, you’ll find lots of lovely things about growing wool this week, including this interview with Pam Hall about her Herdwicks and her farm. (Some of you may remember that I knitted this sweater, many, many moons ago, using wool from Pam’s sheep).

Layter – a celebration of sheep and wool

Layter_closeup

In case you haden’t noticed, today is the first of WOVEMBER! I thought I’d begin the month by showing you a garment that, like no other I can think of, truly celebrates the glorious variety of British sheep and wool. It was designed by my good friend and fellow WOVEMBERIST, Felicity Ford, AKA, Felix. This year, Felix was the patron of Shetland Wool Week, (and if you’ve not yet heard / seen her singing the “Shetland Wool Song” I suggest you pop over to YouTube right now!) Back in June 2009, Felix and I and several other woolly friends met up at Woolfest. It was a wonderful weekend for all of us, and I well recall how Felix, over a jolly pint or two at the Bitter End in Cockermouth, toasted the glory of British wool, and explained to us how she was going to create a garment celebrating the diversity of sheep, inspired by what she’d seen at the show. Layter was the result, and, over the past few years, this marvelous original garment has evolved several times. Its now available as two fabulously sheepy designs, for both adults and babies. I asked Felix to tell us more about the story of Layter.

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1. What does “Layter” mean?

“Layter” is a word from an old Cumbrian counting rhyme which shepherds used in the past for counting their sheep and it’s the number “seven”. The prototype of the design used wool from seven different breeds and since I found this wool in Cumbria at WOOLFEST, a title from that part of the world made sense. I love that when people ask me about “Layter” we end up talking about old shepherding traditions!

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2. I have a very clear recollection of your infectious excitement at Woolfest in June 2009, upon perusing the marvelous breed-specific yarns that were available at the Blacker Yarns stand. Am I right in thinking that this was the moment the design was born? Can you tell us about this moment and the garment’s inspiration?

The Blacker Yarns stand blew my mind! There were two deep containers full of balls of yarn from different sheep breeds. As I read the names on the ball bands and squished the yarns, I felt there was loads to discover about each one. I pulled out ball after ball and kept finding more names… Jacob, Border-Leicester, Manx Loaghtan, North Ronaldsay, Shetland, Teeswater… it was like a poem! Additionally, I watched a shearing demonstration and was really impressed by how the shearer got the fleece off the sheep all in one piece. I realised I really wanted to knit something which looked like that, so yes – the design was born in the wonderful sheepy celebration that is WOOLFEST!

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(shearing at Woolfest)


3. You then began knitting, and I remember first seeing (and admiring) the first incarnation of Layter just a few weeks after Woolfest. I know how you loved this garment and wore it loads. In many ways this design seems to epitomise your concept of ‘the slow wardrobe’! Can you tell us about how the original Layter has stood up to wearing since you made it?

The first incarnation of Layter was knit at quite a loose gauge, which makes it drapey, and quite long and robe like! The fabric has relaxed with time, and the whole garment feels very feminine to me. I love wearing it with a dress, and that I can really hug it around myself in the cold! I am genuinely impressed with how well the yarn has worn; it hasn’t pilled or shed, and the stitches remain well-defined. The fibres have softened after four years of wear, and the whole garment has developed a very slight and pleasing bloom. The sideways construction means it can stretch a little bit if I wear it every day for a couple of weeks, producing a mildly limp appearance, but when this happens, I simply bung it in my washing machine on a Wool cycle and give it a good block! Layter does indeed epitomise my concept of ‘The Slow Wardrobe'; it is a 100% WOOL garment that I cherish and will wear for years to come; the yarn it is made of is durable and well spun; and the whole process of making it has made me more aware of different breeds of sheep and the unique properties of their wool! However perhaps most importantly, it sparks conversations about wool and sheep everywhere it goes. Because it is quite big and has those crazy sleeves, it does attract attention, and every time I wear it, people ask questions, and seem enchanted by the notion that the stripes are all from different sheep breeds. Folk immediately connect it with what they have seen on Countryfile, or start telling me about their own connections with sheep, and men always seem to ask me if there is any Herdwick in it! The Slow Wardrobe is about making my own clothes, but it’s also about how we talk and think about fashion, and I love the conversations I get to have with strangers when I wear original Layter.

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4 After many of us badgering you for a pattern, you later (heh) re-designed and re-developed Layter for publication. How did the second incarnation of the design differ from the first? And what did you learn from the process of redesigning and re-knitting?

I was thinking about a garment that other people might really like to wear which could be paired with tailored trousers or a fitted shirt. To achieve a more flattering, figure-hugging garment, I re-knit Layter using exactly the same maths as in the original version, but at a much tighter gauge. The waist and hips are defined more dramatically and the rows of tight-knit garter stitch are very neat. The effect of this tidier, firmer fabric is a more formal garment, and something which is more like a jacket. In redesigning Layter I also abandoned the big puffy sleeves because I always felt they gave original Layter a slightly religious appearance which I find amusing, but which I wasn’t sure other knitters would enjoy!

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(Layters together)


5 How many British sheep breeds and fleece shades are represented in the new Layter? What was your process of selection? And did you have thoughts of including more?

The new Layter contains wool from several different sheep breeds – some of which are represented in multiple shades! The full list contains Southdown, Corriedale, Ryeland, Shetland, Jacob, Manx Loaghtan, North Ronaldsay, Hebridean and Pure Black Welsh Mountain DK knitting yarn… nine discrete breeds in total. Carrying on the theme of the old Cumbrian counting words, I called that version “Covera” which means nine. I would like to do a further version which incorporates Herdwick, Rough Fell, Swaledale, Romney, Wensleydale and Cotswold, because this would create more textural contrast and if I made a version with fifteen sheep breeds in it, the corresponding word from the counting rhyme is “Bumfit” which I think is brilliant. Who doesn’t want a garment that fits nicely around the bum? !

My process of selection involved lining up a lot of balls of Blacker Yarn, arranging them from dark through to light, and swatching to see which textures would work best together. The yarns used in the latest version are all fairly matt and hardwearing, and I got mildly obsessed with different shades of white while knitting it. The Corriedale almost looks bleached, while the Southdown is more ivory, and the Bluefaced Leicester is the softest of the bunch, and somehow mildly translucent! I played a bit with how to use these different whites through the sleeves and at the sides of the body.

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6. Tell us about how the garment is constructed. Was it fun to design?

Layter is knit vertically in 2 pieces from front to back over the shoulders. To finish, it is grafted together at the sides and centre back. Finally, a neckband is added, providing some shaping. I felt that constructing a garment sideways would allow me to make a vertically-striped garment for showing off my sheepy rainbow of Blacker Yarns, and decided on an open garment rather than a sweater because this would most closely resemble a fleece just taken off a sheep. I knit it in two halves so that I could maximise the yardage from all of my balls of Blacker Yarns by simply dividing them all in half and knitting one half of the garmemt at a time. Working this out was all fun, but the best part was actually getting on with making it. Those stripes go fast, and there is a feeling of being involved the knitterly equivalent of cheese tasting as you register the qualities of one sort of wool and anticipate the next! I fell in love with Manx ; it is matt, gingery, warm and soft, and reminds me of biscuits. I also love the feathery texture of Black Welsh Mountain and the sturdy, dense hand of Southdown…

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7. Layter has been an evolving project for four years now, and the latest stage in its evolution is Blayter (Baby-Layter) – an incredibly cute scaled-down version for infants and toddlers. Can you tell us about how this design developed out of your previous work on Layter?

I am conscious that there are more modifications that could be made – more short rows; a side to side approach, eliminating the back seam – all modifications best understood through knitting practice rather than in the abstract! I felt a smaller version of the pattern would make it easier to test out these different ideas for this garment…a baby version was an obvious idea once I realised I wanted to continue tinkering with the construction, and playing around with colours organised into vertical stripes!

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8 Does Blayter use the same construction method as the adult garment?

The basic method of construction is exactly the same as for the adult Layter, but there are proportionately far fewer short rows because I didn’t want to create a lot of extra fabric to swathe a baby in. The neckband is also more gently shaped, and the sleeves are long enough to either come right down over the hands or to be rolled up out of the way. The gauge is quite tight, and again it is conceived of as a little jacket rather than a next-to-skin garment. The name – as you have probably gathered – is a conflation of “Baby” and “Blayter”, although I did think about calling it Yann, because I only used the wool of one sheep while designing it!

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9. What wool did you choose and why?

I chose to work with Shetland Supreme Jumper Weight from Jamieson & Smith because I enjoyed the soft hand of wool from the Shetland sheep breed when I was knitting Layter, and thought it would be gentle enough for a baby to wear. I also love the range of colours represented within the Shetland breed, and the Shetland Supreme palette offers the possibility to be quite subtle moving between greys, fawns, whites, creams… I started a high contrast version of Blayter which looked a bit like a mint humbug, but in the end was seduced by the subtle transitions possible between Shaela, Katmollet, Mooskit and Gaulmogot! Shetland Supreme has a lovely light hand, and even knit at quite a tight gauge, retains a soft halo and bounciness… it’s lovely for a baby jacket. I also wanted to find a way of fitting the sheepy ethos behind the original Layter to the aims of Shetland Wool Week, which – like WOOLFEST – is such a fantastic celebration of sheep and wool! What better way than by designing Blayter in a way that celebrates some of the lovely shades of wool found amongst Shetland sheep?

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10. What challenges did you find adapting the pattern for differently proportioned bodies?

There’s lots of conflicting information about sizing from different sources, and this made certain aspects of the design process a bit tricksome. To assist with these challenges, I enlisted the help of our amazing friend Liz, who as well as being a brilliant tech-knitter, is an experienced knitter of baby things, and has produced many tiny and gorgeous items for her two lucky nieces. Liz was a total star and test-knitted a beautiful version of the pattern in berry shades of Jamieson & Smith 2 ply. She also discussed baby sizes and proportions with me, and made great suggestions for the details we included on the sizing chart, because in her experience, babies range wildly in terms of size/age. I learnt loads from her during the process of adapting Layter to fit a baby.


11. Finally, what is your favourite sheep breed and why?

Ooh it’s a tricky one, that! Hard to pick just one as they are all so amazing, and all for such different reasons, but I have an enduring fondness for small, wild sheep like Shetlands, Manx Loaghtans, North Ronaldsays, Borerays… I am afraid I am terribly romantic about all these breeds. When I was in Shetland, Ollie showed everyone a hairy grey fleece which he described as “scadder” meaning that it’s very rough. I love that fleece, though, because it is what the Shetland sheep would grow if left to its own devices in order to survive in the wild. It has a thick mane down the middle which I imagine would give a ram a very proud aspect out on the hills! To me, scadder looks like land… like rocks, stones, earth, peat… On the other hand, who can argue with the lovely ginger-biscuit fleece of the Manx Loaghtan which is wild too, but surprisingly soft? Perhaps in the end though I have to say the Boreray is my favourite sheep, purely because it’s the most endangered breed, and the one we all need to love the most if we want to keep it going!

Thanks so much, Felix!

If you’d like to celebrate WOVEMBER by knitting your own Layter, you’ll find the adult pattern here and the baby pattern here.

And be sure to follow the WOVEMBER blog this month, for sheepy stories, inspiring interviews, woolly giveaways and more!

Layter-sideways

three sweaters

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I thought I’d show you my three new sweaters! First up is this lovely Fairisle yoke (bought for £16 on eBay).

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This is a garment of a kind that is still being made in Shetland, and that you can find in Lerwick today in shops like The Spider’s Web. I think its a lovely example. The body has been knitted by machine, and the yoke inserted afterward by hand.

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The blending of the colours on the yoke is beautiful, and the hand-finishing is exemplary, particularly around the steeked opening for the back neck.

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The garment is in great condition and shows no signs of wear at all. I fully intend to wear it!

Next up is a sweater that – shock horror – I just knitted for myself.

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This garment is knitted in some wonderful yarn that I hand-dyed myself at a workshop at Lilith‘s studio four years ago – Bowmont Braf 4 ply. Words cannot express how much I love this yarn – it is springy and sheepy and robust . . . it has a deeply matt, slightly felted appearance, but retains a bouncy hand. Dyed up on it, colours appear soft and muted, as if already worn for a long time. Plus, the yardage is incredible. What’s not to like? Well, only the fact that its long-discontinued. (If anyone knows of a supplier of bowmont fibre please do let me know!). Lilith was very taken with the yarn as well, and our dyeing workshop was the beginning of our collaboration on the Fugue design, which she dyed up as a kit in her glorious Dreich and Lon Dubh colourways. Coincidentally, I know that Lilith is currently knitting an Ursula with her secret Bowmont Braf stash, and I can’t wait to see it.

Anyway, back to the knitting.

As a designer, I think its important to get one’s head around different garment-construction methods – I learned to design yoked sweaters by knitting yoked sweaters – and though I’m familiar with many different top-down sleeve constructions, I’d never tried Susie Myers’ contiguous method, which (essentially) allows you to produce a seamless, top-down, set-in sleeve without the need for picking up stitches around the armscye (which is my usual method). I read the contiguous ‘recipe’, browsed the contiguous threads on Ravelry, purchased a couple of Ankestrik‘s excellent patterns for informed reading, and decided to attempt the method by knitting a sleeve which was a combination of saddle and set-in. The idea was to familiarise myself with the contiguous method’s basic principles, while turning my precious stash of Bowmont Braf into a simple, loose fitting sweater that I could enjoy wearing everyday.

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I’m happy with the sleeve shaping . . .

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. . .and indeed with the sweater (though this photograph, snatched between rain showers probably doesn’t suggest it). As my stash of Bowmont Braf was limited, I weighed the remaining yarn and divided it in two before starting the sleeves. This is a pottering-about, dog-walking sweater that makes good use of my lovely Bowmont Braf, and has taught me a bit about a different way of constructing a sleeve top-down! I really like it.

Finally, this amazing find came into my possession for a mere £1.04 via eBay.

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It’s a beautiful hand-knit vintage Fairisle gansey in natural Shetland-sheep shades. From the way the yarn is spun, I’d say it was probably knitted post-war. The eBay listing described the garment as having been purchased many years ago in an ‘exclusive Edinburgh boutique’. I would speculate that this ’boutique’ was a shop that once stood in Morningside, whose owner sourced garments directly from Shetland knitters, and who has donated several items to the Shetland Museum. This is a really well-made sweater.

Like many such garments I’ve seen, inside the ends have simply been knotted and left to felt

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The gansey has clearly been worn a lot, but is still in great condition. The only area that needs repair is this one cuff.

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And as Mel said to me when taking these photos yesterday, “it fits like it was made for you.”

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I’ll take good care of it.

Pteridomania

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I’m working on my Gawthorpe design. Here’s what I’ve been thinking about.

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Charles Sillem Lidderdale, The Fern Gatherer (1877)

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Fern-decorated Mauchlinware

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Wardian Case

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Jane Hoodless “Pteridomania Contained” (©Jane Hoodless, 2012)

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Victorian Fern-fashion

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Gucci, A/W 2013

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For more, see Sarah Whittingham, Fern Fever: The Story of Pteridomania (2012)

um, a tea cosy?

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For reasons completely unfathomable to me, knitters have been contacting me asking me to provide instructions to modify the Tea Jenny hat pattern into a Tea Cosy. I am frankly at a loss to understand exactly why one would prefer put teapots on a teapot rather than a human heid, but what can I say: your wish is my command. These modification instructions are based on the assumption that your teapot is large and round (like a head) and the proportions are based on the generously-sized 4-6 cup teapots in my own possession. The Tea Cosy is the same basic shape as the hat with the addition of an i-cord carry loop and steeked openings for the spout and handle, similar to those that are used on my Sheep Carousel pattern. These free instructions have been written as a good-will gesture for your knitterly assistance only: that is, they are, (as yet) completely untested. Anyone who has already bought the Tea Jenny pattern can now download the separate PDF for the Tea Jenny Tea Cosy as an additional extra via their Ravelry libraries, or can download the modification instructions for free by clicking this link
Note: you’ll have to have your copy of the Tea Jenny pattern to hand for the instructions to make any sort of sense.

Happy knitting!

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Tea Jenny

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So, no prizes for guessing exactly what I was reminded of when, some months ago, I first opened the package containing seven tasty balls of Magnus and Justyna’s Foula Wool . . .

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TEA!

Maybe I was feeling particularly parched or something, but it really did occur to me just how tea-like the familiar Shetland shades of Mioget, Fawn, and Moorit are — to my mind, Shetland sheep are really never coffee-hued — their particular brown has red and pink tones underlying it . . . just like a Nice Cup of TEA.

Tea is a big deal in Shetland, and indeed further south here in Scotland, and I have given this hat the fine Scots moniker of Tea Jenny, which, if you were wondering, is how you refer to someone who likes to drink an awful lot of tea . . .

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. . .someone like me . . .

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Jolly teapots dance around the body of the hat . . .

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While the crown is a swirling, kaleidoscopic homage to the theraputic wonders of my favourite beverage.

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I am put in mind of the immortal words of Father Ted’s Mrs Doyle

“The playful splash of the tea
As it hits the bottom of the cup
The thrill of adding the milk
And watching it settle for a moment,
Before it filters slowly down
To the bottom of the cup
Changing the colour from dark brown to…
A lighter brown
Perching an optional jaffa cake on the saucer,
Like a proud soldier, standing to attention
Beside a giant… cup of tea”

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Foula Wool is a DK-weight yarn, so knit up, this makes for quite a substantial hat worked at 22 sts to 4 inches.

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The finished hat has a wee bit of slouch in it, and its important to swatch carefully and wash and block your swatch before knitting (I’ve found that Foula Wool blooms and grows quite a bit)

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The hat uses each of the seven shades of Foula Wool, and Magnus has told me that he is now creating yarn packs with the exact quantities of each shade that you’ll need to knit the hat. These will be available on the Foula Wool website from early next week (when Magnus has returned to Foula from the Shetland mainland). You’ll have to purchase the pattern from me, either digitally (via Ravelry) or in print (via MagCloud). If you want to knit the hat and are in Shetland for wool week now, you can put your name down for a yarn pack with Magnus at the maker’s mart in Lerwick tomorrow.

In the meantime, the Tea Jenny pattern is available to download from Ravelry!

Now, put the kettle on . . .

slouchs

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