Good morning! Here is today’s yoke from my new book – Bluebells. In the 1950s and 60s, there was a particularly popular style of sweater featuring a rather narrow circular yoke. In such garments, the sleeve and body shaping tended to be a little more neatly tailored than other circular yokes, and the colourwork motifs were placed high up on the neck, necklace style. I wanted to include one of these necklace-yoked sweaters in the collection, and this is what I came up with.
There’s really no need of much explanation for where I drew inspiration for the design.
One of my favourite wild flowers, bluebells transform the woods and glens with their luminous glow throughout the month of May and are one of the undoubted highlights of a Scottish spring.
Bluebell flowers seem particularly lovely to me when they flip upwards just before they turn to seed, and this is how I represented them in my chart.
Bluebells encircle the neck of this garment like a garland, and the floral motifs are echoed in colourwork bands at the hem and cuffs.
Jamieson and Smith shade FC37 really is the perfect bluebell blue, and the chart also features two of my all-time favourite greens – FC11 and FC24. The finished sweater is neat, simple, and easy to wear – even on a very breezy day like the one on which we took these photographs.
These photographs were taken in late summer, above the Blane Valley, a place which in the spring is awash with bluebells. I knit this sweater during bluebell season, and loved to see how bluebells took over the woodland and darker north-facing slopes of the valley, bringing them to life with their luminous glow.
Here is another yoke — this one’s name is self-explanatory — Foxglove.
One of the things I’ve really enjoyed about my first year of rural living has been the wildflowers that grow around my home. Just a few yards from my front door are a wide variety of environments from heathland, bog and lochside to deciduous woodland and roadside hedgerows. Walking through this landscape every day, I have found it fascinating to observe the wildflowers emerging, coming into bloom, taking over the landscape, and falling away to seed. Back in the spring, I began keeping a record of the wildflowers I spotted on my daily walks (mostly within a 4 mile radius of my home) by recording a photograph on Instagram. (If you are interested, you can find that series of pictures under the hashtag #todayswildflower). I found that the simple act of taking a photograph of a plant, and later looking it up in my reference guides meant that, by the end of the summer, I had learned a reasonable amount about local wildflower habitats, the time of their flowering, their relationship to other plant varieties and so on. I discovered some wonderful plants I’d never seen or noticed before – grass of Parnassus, scarlet pimpernell, butterwort. I also learned to look anew at flowers I thought I knew reasonably well – such as foxgloves.
I love their pink spires, their sheeny blooms, their downy leaves, their beautiful variegated interiors, the surprising deep beetroot purple of their stems. I knew I wanted to knit the foxgloves up into a yoke, and really enjoyed developing my chart for this design.
Foxglove is the only design in the collection to use three colours in one row. (I have a neat trick for this, borrowed from Elizabeth Zimmermann, which the pattern describes in full).
This yoke is in the Shetland style. It is knit in the round and steeked; the garment has some shaping after the arms are joined, and the yoke pattern itself is relatively shallow, and placed high up on the neck. That said, in my experience the necklines of many Shetland yokes have a tendency to ride rather too high – this one shouldn’t, and is intended to sit quite neatly at the throat.
As you can see, by the time I’d actually managed to knit my sample, summer was turning into autumn, and it was no longer foxglove season.
But we managed to take these photographs among some Rose Bay Willowherb which were going to seed, and which seemed to provide an appropriate local wildflower backdrop
The yarn I’ve used is, of course, Jamieson and Smith jumperweight – the perfect yarn for a Shetland-style yoke.
I have another yoke in this collection which was also inspired by a Scottish wildflower. More about that one tomorrow.
AHOY THERE! Today’s yoke is called Keith Moon (bear with me . . . )
I wanted to include a sixties-inspired, mod yoke in this collection: a sweater that would be really easy for even a beginner-knitter to create but which also had the potential to look really sleek and stylish. I love the simple boat-neck shape of many sixties jumpers and thought it would be fun to combine this with the straightforward construction of a seamless yoke.
My inspiration came from the tri-colour roundels with which British mods adorned their clothing and scooters:
. . . perhaps most famously sported by Keith Moon, The Who’s explosively talented drummer.
As you can see, I’ve taken the idea of the mod roundel as three decreasing rings of different colours, and applied this to the circular structure of the seamless yoke, swapping out the positions of the red and blue.
This is one of those sweaters where the finishing really makes a difference. The hems, belled cuffs, and boat-neck collar are all creating with facings of contrasting shades, which are neatly finished off with i-cord.
The yarn is Lett Lopi (yes, its my new favourite). I found it very interesting that a few tailored details could give a really sleek finish to a yarn that is sometimes regarded in a more, um, rustic context. How I love a facing!
I’ve styled my Keith Moon in a rather nautical fashion . .
. . . but I think this is a very versatile jumper with which a variety of different looks could be achieved – Mel has knitted a really striking sample in jade, black, and silver, and I also think Keith would look completely amazing worked in a single shade of charcoal or a lighter grey. As soon as I made my sweater, though, I felt that its red, blue and white would work particularly well in a maritime setting. . .
. . . so we went to Portnahaven, on the island of Islay, where, on a beautiful, calm, sunny Sunday, the colours of the sea and boats and sky and jolly paintwork really seemed to speak directly to those of Keith Moon!
The seals were singing out at sea while we shot these photographs around the village – it was a lovely morning.
I find that, if I block it correctly, I have no problem wearing Lett Lopi next to my skin, and here is my top tip to finish your jumper for maximum smoothness and softness: block it out in luke warm water with a solution of a good quality hair-conditioner for at least 30 minutes — I use one of the straightening kind, that is designed for human hair (though I do know someone who swears on the transformative effects of Mane and Tail – the original horse-to-human crossover.)
A few of you have been asking about the relationship between the print and digital versions of Yokes. Well, there are two basic options:
Option 1: Print + digital. If you purchase a print copy of the book, you will receive a complementary download code to enable you to access the digital version.
Option 2: Digital only: You can also choose to purchase the digital book separately, without a printed copy.
The book costs exactly the same for both options, and the digital-only version will be made available on Ravelry after the book has started to ship, on or just after November 17th.
Good morning! I’m extremely happy to announce that Yokes is now available for pre-order
. . . and while I’m at it, I thought I’d show you another design. This yoke is called Buchanan.
One of the many aspects of wearing yokes that I thought about while researching this book was the widespread practice, in the 1960s and ’70s particularly, of selecting a yoke to match your skirt or kilt. This was particularly common in Scotland of course, but it seems also to have been the case in Canada, and elsewhere. To this day, there is a particular shade in the Jamieson and Smith Jumper Weight palette that is known as “kilt green”, and you can still purchase yoke jumpers that match Blackwatch and other common tartans from some Shetland retailers. I confess I was prompted to reflect on this practice when I spotted the Morningside Maisie buses zipping around Edinburgh some years ago
Children’s author and illustrator, Aileen Paterson chose to draw her mischievious cat Maisie in this familiar and rather nostalgic outfit of yoked gansey and kilt, and its intriguing that, around the same time, Mairi Hedderwick chose a very similar outfit in which to dress her equally popular Scottish character, Katie Morag.
So I knew I wanted to use the colours of a kilt to design a matching yoke, but the question was, which tartan?
Just a couple of miles from my house are the South and Eastern shores of Loch Lomond, and these bonnie banks and braes are my favourite local places for a stroll. This beautiful stretch of land was granted to Absalom Buchanan in 1225, and so I chose the rich palette of the “ancient” Buchanan tartan as the starting point for this design.
I then got in touch with the lovely ladies at Scottesque, and asked them to make me a “midi-kilt”. (You can select your own tartan, and your kilt will be made to measure for an extremely reasonable sum). Rather than the familiar heavy pleated garment, the Scottesque midi kilt is composed of several fabric pieces, cut on the bias. I think it makes for a very feminine, flattering and striking skirt.
I then discovered that several shades of Rowan kid classic provided a near-perfect match for the Buchanan tartan. This pleased me greatly as its a yarn of which I’m very fond – light and warm, and really hard wearing, with a lovely halo and handle. From that palette, I produced a chart.
This is not the way I generally work when designing, as I usually have some kind of precise visual image in mind. But limiting my imagination in one way (colour) seemed to really give it free rein in another . . . I happily played around with shades and motifs until I’d created a yoke design with which I was very happy. The end result has a curiously 1920s/30s modernist feel to me, and, when I look at it, I am put in mind of the bows of cruise liners and their art deco interiors.
Buchanan can be worn as a neat Spring tee, or can be popped on over layers as the weather cools.
We shot these photographs at the top of one of my favourite local landmarks – the Dumpling, and I have to say I love the way this whole outfit looks against the spectacular highland landscape.
Bruce had fun that day too.
I’ll continue telling you about the remaining designs in the collection over the coming days, and the pre-order link for the book is here.
I wanted to include a smart, simple cardigan in my yoke collection. Something in a single colour; that might provide a showcase for a beautiful hand-dyed yarn; a garment that would be easy to wear and straightforward to knit. That cardigan is Fintry.
Fintry is a pretty village a short drive away from my home. Though the village nestles against the north face of the rugged Campsie Fells, its direct environs have an unusually gentle feel, with verdant lanes, hedgerows and fields. There is good grazing and growing here, and Fintry’s distinctive pastoral feel provides a stark contrast to the generally rockier, boggier, woodier – much more Highland landscape – which immediately surrounds me. I find this contrast rather interesting. In summer, the landscape around Fintry is extraordinarily green and pleasingly textured – and its those features that I celebrate in this cardigan.
Fintry is knitted all in one piece, with moss (or seed) stitch button bands, cuffs and hems framing a garment of simple stockinette. These bands of texture are then echoed on the yoke, which is shaped with short rows.
Fintry makes simple and versatile use of the seamless yoke construction and the finishing is really quite minimal. Mel and I finished this sample with five buttons, snaps and ribbon facings, but you could add more buttons, or no buttons at all, just as you wish.
The ribbon facing, incidentally, came from a box of cakes from Betty’s. I had been saving it for years and knew I’d find a use for it.
The ribbon turned out to be a perfect match for the yarn, which is Old Maiden Aunt Corriedale Sport Weight. I love Lilith’s colour sense, her particular style of dyeing, and especially the interesting British yarn bases she uses to show off her skills. This Corriedale is a wonderful yarn, which takes the colour in a beautifully matt and saturated way. The tonal variations in the yarn are so subtle and pleasing, and really enhance the textural interest of the knitted fabric.
The colourway is Ghillie Dhu, but I think Fintry would work equally well in any of Lilith’s fabulous handpainted shades.
We shot these photographs at the courtyard cafe at Knockraich Farm in the village of Fintry itself.
At the cafe you can sample ice cream, yogurt, crowdie, and other dairy products made on the farm, as well as some delicious home baking.
You can also hang out with this very friendly farm cat.
If you’d like to know more about Fintry You can find more information here.
The shop will be open for pre-orders on Friday (7th), and we will begin shipping books in around ten days time.
Here is today’s yoke – Ásta Sóllilja. I began this design with the idea of using colour to create a transition from deep blue to silver grey around the edges of a jumper. I wanted the edges of the design to shimmer a wee bit, in such a way that they might seem to fuse or merge with a darker skirt or pair of jeans. I had fun playing with the Ístex lett lopi palette, and eventually came up with this:
After I’d established the chart for the edges of this design, I took a trip to Iceland. There I purchased this amazing book
This wonderful tome reproduces charts and patterns from the textile designs in the sjónabók manuscripts, which are held in the national museum of Iceland. It is a truly fabulous book, which blew me away, not only with the distinctive charts and patterns but with its fascinating analysis of the geometry and four-fold symmetry of Icelandic design. From many patterns in the book, I selected a single version of the hammer rose motif, and played with it, inverting and modifying it in such a manner that allowed me to feature it over the whole depth of a colourwork yoke.
(If you would like to learn more about this motif and its history in Iceland, see Hélène Magnússon’s important book Icelandic Knitting: Using Rose Patterns)
While I was working on this design, I was also reading Halldór Laxness’s dry and incisive Icelandic novel Independent People (1954). Laxness’s account of an Icelandic valley and its human and animal inhabitants had a profound effect on me. I found myself thinking about the book for several weeks afterwards, musing particularly on its relationship with another important twentieth-century account of rural life on the cusp of modernity – Lewis Grassic Gibbon’s Sunset Song (1932). There are many thematic comparisons to draw between these two novels, particularly as regards their representation of gender, sexuality and ideas of women’s independence (I would really rather like to write about this one day). The story of Laxness’s female protagonist – Ásta Sóllilja – in the end pans out rather differently from that of Gibbon’s Chris Guthrie, and the determination, imagination, and arrested potential of the Icelandic character was cause of much reflection. So I named this design after her.
Designing this jumper really made me fall in love with Icelandic wool: wind and weatherproof, light and warm, in such a beautiful range of colours. The finished yoke is a cosy, easy to wear garment, and is one of those jumpers that I find myself wanting to just throw on and head outside.
Equally well suited to an Icelandic glacial valley, or a breezy Hebridean beach.
PS In very exciting news, it looks as if the book is actually going to print today, so I will shortly be able to activate the shop for pre-orders.
Here is another yoke – Frost at Midnight.
One of the things I’ve become interested in recently is the idea of the yoke as jewellery. Knitted yokes not only behave in much the same way as a necklace – decorating the shoulders, framing the face – but they have a close relationship with beaded necklaces as well.
Photograph courtesy of Greenland.com
This is a Greenlandic beaded collar, or nuilarmiut. Knitted yokes and nuilarmiut have an intriguingly reciprocal relationship which I have spent some time researching. You can read more about this in one of the introductory chapters of my book.
Frost at Midnight in no way aspires to the beautiful graphic complexity of the nuilarmiut, but it does use beads to transform the knitted yoke into an elegant necklace.
Frost at Midnight is knitted in Scrumptious laceweight – a silk / merino blend from my friends at Fyberspates. The yarn has a beautiful sheen and drape, but is also really strong and durable. Its the ideal yarn for beading, as well as for creating a luxurious little cardi. Knit at 7 sts to the inch, most sizes can create this garment with just two skeins of Scrumptious, making it a surprisingly economical garment.
The beading, of course, is quite involved, but the rest of the knitting in this cardigan is very straightforward, with some neat finishing details, like these turned picot facings.
Mel is modelling Frost at Midnight with slight negative ease, but because the yarn drapes so beautifully it can also be made with a few inches of positive ease as well. (Detailed information about sizing, fit, and ease accompanies all of the patterns in the book)
Finally, the name. The shimmering beaded trees that surround this yoke seem to be captured in frost on a cold winter’s night, and Frost at Midnight is the title of one of my favourite poems by S.T. Coleridge. Coleridge’s poem is addressed to his son, who sleeps quietly in his cradle next to the reflective poet. It ends with these marvellous lines:
Therefore all seasons shall be sweet to thee,
Whether the summer clothe the general earth
With greenness, or the redbreast sit and sing
Betwixt the tufts of snow on the bare branch
Of mossy apple-tree, while the nigh thatch
Smokes in the sun-thaw; whether the eave-drops fall
Heard only in the trances of the blast,
Or if the secret ministry of frost
Shall hang them up in silent icicles,
Quietly shining to the quiet Moon.