Kate Davies Designs

a handmade wedding

outfits

Thankyou, all of you, for your lovely comments and congratulations!
I thought you might appreciate hearing a little more about the handmade elements of our wedding.

A few years ago, Tom decided to have a kilt made. His surname is Barr, and the tartan of that name is also associated with a popular Scottish soft-drinks brand. Now, Tom likes Irn Bru as much as the next man, but he does not look so great in orange, and all tartans are invented traditions anyway…so Tom invented his own tradition, picking a tartan that he liked, and which was associated with a place that was very special to both of us – Finlaggan on the Isle of Islay. Finlaggan was once the power base of the MacDonalds, and the tartan Tom chose is MacDonald of the Isles. We never imagined then that one day we should be married at Finlaggan!

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I knit Tom’s kilt hose, from our new wool (of which more soon). The yarn is sport weight, and I worked the hose at a relatively tight gauge, and bottom up, which not only suited the heart-shaped cable we chose, but also meant Tom could try them on as I knitted.

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This meant that I could double-check the calf shaping and length as I went, which I found very reassuring! The hose fit really well.

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Tom finished off his hose with the true highland flourish of a sgian dubh, which he borrowed from our lovely next door neighbours, Niall and Mairi.

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Bruce had to look his best as well, so he wore a collar in the same tartan.

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Bruce’s collar was made for us by Jan at Scottesque, who of course also designed and made my kilt (the purpose of this visit, back in May). I wanted my kilt long and dramatic, and Jan did a brilliant job, poofing out the bias-cut pieces with tulle and a taffeta underskirt.

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I am wearing a cardigan of my own design . . .

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. . . which features the same heart-shaped cable as Tom’s hose.

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The brooch I am wearing is an incredibly beautiful cairngorm – a family heirloom again kindly lent to us by Mairi. Cables and brooch together really were a perfect match!

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I also made my head piece – from a plastic headband and a beautiful piece of beaded trim I found on eBay. . .

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. . . and had lots of fun fashioning myself a bouquet of buttons.

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If you google “button bouquet” you can see how simple a process this is – you just need some floristry wire, a few bits of ribbon and trim, and a shed load of buttons.

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My top-tip is to use felt or lace flowers to create a wee button “sandwich” – the felt bits mean you can create more blooms with less buttons, and that the individual blooms themselves prove a little less heavy.

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One thing I loved about making my bouquet was that I could include buttons from my grandma, and my mum, or that were originally gifts to me from friends. Felix, Anne, Lara, and Nic – your buttons were all in my bouquet!

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Tom made our wedding cake.

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He used a Mary Berry recipe (which has now overtaken Jane Grigson as his favourite fruit cake), fed it liberally with sherry, and decorated it himself.

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I can confirm that it is a cake as delicious as it is lovely!

BUNTING

The fair-isle bunting with which we decked out our van was not hand-made – I bought it in Shetland – but it certainly did the job of creating a jolly and very knitterly wedding-wagon! I drove us to and from our wedding (Tom having had a beer beforehand) and very much enjoyed pootling down the Islay roads, listening to Ella and Louis, and waving at everyone we met. Later on, in the Port Charlotte hotel, I was recognised as “that bride driving a camper van”, an appellation which made me oddly happy.

Finally, I have to mention the outfits of our well-dressed best couple. Gordon looks very fine in his Anderson kilt, and a pair of John Anderson kilt hose, knitted for him by Mel. Mel is wearing a Scottesque midi-kilt in the “Highland granite” tartan. She also made herself a lovely lace-weight top, by adapting Gudrun’s beautiful Laar cardigan pattern into a jumper.

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Our wedding was small and intimate, and both of us very much enjoyed being able to make it a deeply personal occasion infused with our own meanings, and to focus on a few details which made it really feel like us. That said, I’m not sure I’d recommend the somewhat pressurised activity of designing and knitting a cardigan and a pair of kilt hose to a tight and somewhat important deadline . . .

Slainte!

9

The Fine Art of Fair Isle Knitting

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You will have heard me mention distinguished Shetland designer, Hazel Tindall, many times on this blog. I first met Hazel three years ago, when I was lucky enough to take a workshop with her during Shetland Wool Week. Over the course of the class, Hazel shared her knitterly tips and techniques, talked us through some beautiful examples of her work, and showed us just how she went about designing Fair Isle allover garments. It was a memorable afternoon. I was bowled over by the extent of Hazel’s talent, and by her generosity. Both of these qualities are in evidence in Hazel’s much-anticipated new film in which she demonstrates the creation of a beautiful Fair Isle cardigan from start to finish.

Here’s the trailer:

Hazel’s film is a wonderful way to learn more about Shetland knitting, colourwork, and garment construction. The format is innovative and useable, with a cardigan pattern being designed specifically for this film as an accompanying download. The steps of the pattern and the chapters of the film are cross referenced, making the process very simple and straightforward for the knitter to follow. Hazel’s Shetland Star cardigan is designed using the rich, saturated shades of Uradale Farm’s Double Knitting, a Shetland yarn which has been organically raised and processed. It is a lumber of familiar Shetland construction, featuring vertically placed stars interspersed with dicing, which showcase Hazel’s characteristic use of colour. The pattern comes in 10 sizes (from 23 to 46 ins).

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The cardigan is knit in the round and steeked, and Hazel shows you from start to finish precisely how to construct and create it. You’ll learn how to swatch carefully, how to insert a pocket into colourwork, how to set up a sleeve and neckline, to cut a steek, to graft and finish the cardigan, and finally how to block a garment on a Shetland jumper board. If Shetland knitting methods are completely new to you, Hazel carefully introduces many objects and techniques that may be unfamiliar: long pins, knitting belt, wrapping string, and the use of cotton thread to create tension during knitting and to secure the fabric while blocking. All stages of the process are carefully illustrated – you really can learn at your own pace. And even if you are an experienced colourwork knitter, you will learn an awful lot from this film. I was both surprised and impressed by many of Hazel’s methods, and shall be immediately adopting her very nifty technique of picking up stitches around a steeked armhole or cardigan front opening. My one proviso is that, if you are a very beginner knitter, Hazel’s film may not be the best learning tool for you. But if you know the basics of stranded colourwork knitting, and want to discover more about this technique, then this film is a true gift. For who better to learn from than a Shetland designer with over 50 years experience, and the world’s fastest knitter to boot?

The DVD and download have been beautifully and professionally produced by Dave Donaldson and JJ Jamieson. Both sound and images are clear and sharp, but the film also has a wonderfully relaxed feel, enhanced throughout by the tones of Hazel’s lovely voice. I’ve already spent many happy hours knitting along with, and learning from, The Fine Art of Fair Isle Knitting, and imagine I’ll spend many more. In the final section, poet Stella Sutherland reads her wonderful piece The Allover, an insightful celebration of the “joy of creation” involved in knitting a Fair Isle garment, accompanied by beautiful images of the Shetland landscape. I can’t think of a more fitting conclusion to Hazel’s generous and inspiring film.

The Fine Art of Fair Isle Knitting is available on DVD or download directly from Hazel’s Website

Great Tapestry of Scotland 124-160

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Panel 140: Cumbernauld

Well, this is my final post on the Great Tapestry of Scotland! I have really enjoyed revisiting my photographs, and thinking more about the tapestry, and your comments have also provided much food for thought. These photographs are, of course only snippets, and you’ll find much more thorough information in the two books I mentioned in my first post about the project. But honestly, no books or photographs can reproduce the experience of seeing this incredible thing for yourself and, if you ever have the opportunity, I really recommend you do so!

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Detail of Panel 140: Cumbernauld

I can’t say I have a favourite panel, though I do love Fairisle (126) the Isbister Sisters (115) and the Hutton panel (74) but as I went through my photos this morning, I found myself thinking about how much I loved the Cumbernauld panel (140) and how it seemed to sum up for me what this project is all about.

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Detail of Panel 140: Cumbernauld

Like many panels, this one celebrates the texture of ordinary people’s lives, and the ordinary spaces in which they live them. Andrew Crummy’s design – with the new town’s familiar roads and architecture – is incredibly witty and creative, and just like his Pictish or his Georgian panels, the style of the design has shifted in an inventive fashion here to suit the moment it represents. Cumbernauld’s local reputation is not unambiguous, but in this panel the urban environment appears beautiful and utopian simply because it is an everyday space of homes, and folk, and families. My favourite scene from Gregory’s Girl is referenced in the top left, and perhaps one of the reasons I like this panel so much is that so much of what it represents seems familiar to me from my own childhood and youth. Finally, the stitching on the panel is absolutely exquisite, and because of this the whole piece absolutely sings. Last Sunday, I spent some time admiring this panel, and I then read the information board which told me that just two Cumbernauld women had worked on the stitching, Elizabeth Boulton and Helen Conley. Conley and Boulton had depicted themselves as children in their signature at the bottom right of the panel, in a scene that seemed to be taken from an old photograph of the pair. I was suddenly struck by the sheer power of the Great Tapestry project – that these two childhood friends were quite literally making history, and with their needles stitching themselves into the story of their home, their town, their nation. What a wonderful thing to do.

So, some final highlights.

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Panel 125: The General Strike stitched by June McEwan, Karen Philpot and Gil Tulloch in Pitlochry

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Panel 126: Fair Isle Love this panel inordinately.

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Panel 129: The Great Depression The lone figure of Chris Guthrie defines the 1930s

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Panel 130: Tenement Life I loved everything about this wonderfully vibrant celebration of Scotland’s tenement communities

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Panel 132: The Clydebank Blitz I found this panel deeply affecting

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Panel 134: D-Day, 1944 Bill Millin defiantly pipes through the Normandy landings

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Panel 143: Linwood and the Hillman Imp I was particularly pleased to see a yoked jumper, appropriately appearing here in its early 1960s heyday!

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Panel 148: The rise of the SNP It amused me that Irn Bru and Tunnocks Tea Cakes appeared in this panel as 1970s nationalist icons.

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Panel 149: Scotland at the Movies. Whisky Galore! “No son of mine will be eating human flesh.”

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Panel 152: Gaelic Resurgent stitched by Christine Haynes and Pauline Elwell

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Panel 154: Dolly the Sheep Tom’s favourite panel, for its inventive depiction of science in stitch.

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Panel 155: The Scottish Parliament reconvenes, 1999. Incredibly beautiful stitching on this panel

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Panels 156 and 157: Parliament of the Ancestors, Parliament for the Future An appropriately vast and varied tapestry of Scottish identities, from Joanna Baillie to Oor Wullie.

Thanks for bearing with me through this photographic tour! And if you’d like to see all of my posts about the Great Scottish Tapestry together, you can do so here.

Machrihanish

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I was very excited to have the opportunity to design the Machrihanish vest for Cross-Country Knitting, Volume One, and always enjoy knitting for Tom, who is its recipient and model. Tom often bemoans the general lack of shaping, and poor fit of men’s garments, so I like to knit him things that are well-fitting.

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Men’s knitted vest patterns rarely include shaping, but one of the things I knew I wanted to do with this design was to taper it to the waist. Shaping of any kind can be tricky when designing with Fairisle patterns, but the trick here is simply to work the ribbing and the first few inches of colourwork on a small needle, before going up a needle size for the upper torso. When blocked, this straightforward manoeuvre creates a difference between waist and chest of 3.5-4 ins, which means the vest fits neatly to the body, without excess fabric.

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Though this vest is, in many ways, a classic garment, I think the waist shaping also makes it feel sharper and more contemporary. But if your shape is more rectangular than triangular, you can easily leave out the waist shaping when working the pattern for a looser, more casual fit. Whatever your body shape, you should knit it with a little positive ease to allow the wearing of layers underneath.

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Though I’ve followed standard sizing for men’s garments with this design, I’ve also tried to make the pattern straightforward and flexible enough to accommodate a variety of masculine body shapes. Because there is no ‘set’ place to divide for armholes, the main body of the pattern can be knit to whatever length is required to accommodate a shorter or longer torso. Equally, if the armhole depth is greater or less than that specified in the pattern, it can be increased or decreased as required. (A detailed sizing table and schematic is included in the pattern to help you achieve the fit that’s right for you). You also have the option of working the ribbing doubled around the armholes and hem for a firm and durable edge.

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The yarn I used for this design was Jamieson and Smith Shetland Heritage.

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This wonderful yarn was developed in consultation with the Shetland Museum and Archives, and is very close in handle, hue and character, to the yarns that were traditionally used to knit Fairisle garments in Shetland before the Second World War. It is a light fingering-weight – lighter than a standard 4 ply – and because it is worsted spun, feels much smoother than other “Shetland” yarns you may be used to. To give the garment its shaping, I worked the yarn at two different gauges of 8 and 9 sts to the inch, and at both gauges it gives a nice, light even fabric. Because of its unique characteristics, I would really recommend you use this yarn, but if substituting, please swatch carefully to ensure you achieve a fabric with which you are happy. You can find detailed information about shades and yardage here.

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The pattern is written to be knitted entirely in the round, with steeks worked at the armholes and neck.

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I personally love the speed and ease of working completely in the round, but if you are a determined purler, you could easily work the upper torso separately, back and forth.

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Tom is very happy with his vest.

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. . .and I am very pleased with the design!

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Now, about the name. We live in the West of Scotland, and Machrihanish is a village further West, on the picturesque Mull of Kintryre. Tom is a great admirer of the Fairisle knitwear Paul McCartney proudly sported after he moved to Scotland, but we felt that Mull of Kintyre might prove to be too much of an earworm to work as a pattern name . . . and Machrihanish is also one of our favourite locales from the UK shipping forecast. . . . so Machrihanish it is.

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We shot these photographs opposite Dumgoyne, a short walk from our house. The light and skies have been very dramatic here of late, and did not let us down that day. There is just something about the bright colours and high-contrast of a Fairisle vest that work perfectly with a highland landscape. Living out here often prompts me to think about colour and pattern . . . and these photographs of Tom make me want to get another bloke’s Fairisle design on the needles immediately!

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My Cross-Country comrade, Jen, has also been writing about her design for the Volume – the fabulous Bruton hoody – so if you’d like to read more about it just pop over to her blog. We have also set up a new website for the collaboration, where you can keep track of our Cross-Country design journey.

Cross Country Knitting Volume 1 is now available!

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Gawthorpe – pattern release!

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You may remember that, last Autumn, I spent a happy day visiting Gawthorpe Textile Collection with Debbie Bliss, Jane Ellison , Claire Montgomerie, and Emma Varnam

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We designers had been commissioned to produce designs inspired by items in the collection . . . we worked on them over the Winter . . . and today, our patterns were released!

The piece I chose as the basis of my design was an incredible coverlet embroidered by the collection’s founder, Rachel Kay Shuttleworth. Miss Rachel designed the coverlet in honour of the memory of her seventeenth-century ancestor, Richard “the Roundhead” Shuttleworth, and embroidered it during the the last years of her life at Gawthorpe.

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(If you are interested to read more about the history of the coverlet, and my inspiration, I have written about it here)

So this is what I came up with: meet the Richard the Roundhead Tam!

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Rachel’s coverlet combined her own Arts and Crafts aesthetic with her ancestor’s Tudor heritage, and I have tried to speak to this in my design with structured motifs that echo those of her embroidery. The colour scheme is the same teal-on-white that Rachel chose, with a pop of Lancastrian rose-red for the brim lining and button. The brim combines a turned hem with picots and corrugated ribbing, and those of you who have made my Scatness Tunic will recognise the technique used to create the button:

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They are very easy to make, and I will post a tutorial here over the next few days so that everyone can have a go.

From start to finish, this has been such a lovely design to produce. It was wonderful to visit Gawthorpe, to have access to its world-class collection of historic textiles, and to meet and work with the fabulously dedicated women who curate and care for it. The research involved in a project like this is meat and drink to me: it was fantastic to spend some time researching the history and context of Rachel Shuttleworth’s coverlet, and I particularly enjoyed finding out about Richard Shuttleworth’s role in the Civil War. Finally, as a Lancastrian myself, the design really does mean something to me, and I confess to feeling a modicum of local pride when I finally finished the knitting, and popped the red rose of Lancashire on the top of that tam.

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The pattern for the Richard The Roundhead Tam is now available to download here!

I am sure you will hear more from the other designers about their patterns in the coming days, but I thought I would give them a quick mention too.

Debbie has designed a beautiful needle case inspired by one of Gawthorpe’s ticking samplers (a genre of sampler I find particularly appealing. Those stripes!).

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Jane has designed a lovely hat and mitt set, inspired by historic swatches in the stitch and sample books held in Gawthorpe’s textile archives.

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Gawthorpe’s collections are particularly rich in lace, and Claire Montgomerie drew on this for her exceptionally pretty capelet, whose crocheted motifs echo those of several lace fragments.

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And Emma produced this wonderful cushion cover, inspired by what is surely one of the most moving items in Gawthorpe’s collection: a military quilt, stitched from uniform scraps by a convalescing solider.

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All proceeds from the sales of these designs will go to Gawthorpe, to help care for this important historic collection for future generations to enjoy and be inspired by. You’ll find the whole collection available to peruse over here on Ravelry.

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.

steeks and swants

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Anatolia by Marie Wallin

So, have you seen Rowan Magazine 54 yet? I finally got my hands on a copy yesterday and there are some wonderful designs in there. My two favourites are probably Anatolia by Marie Wallin – a beautifully luscious yoked sweater knit up in rich shades of Felted Tweed – and Sarah Hatton’s Melissa – a neat and eminently wearable wee gansey.

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Melissa by Sarah Hatton

As previously mentioned, I have a design in the Magazine for the first time (woohoo!) and Rowan have also kindly included a profile of me and my work in this issue.

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Me.

Additionally, I have written an editorial feature about knitting in the round and steeking, and produced a steeking how-to for this issue of the magazine. My tutorial includes instructions for crocheted and machine-sewn steeks, while my feature explores different technical aspects of chopping up your knitting, along with the history and etymology of the steek (did you know, for example that in Scots ‘to steek’ actually means to close or fasten, rather than to cut open?)

As part of my research for the feature, I had a chat with lovely Stephen West. I am a great admirer of Stephen’s approach to design, and really love his style, and I was blown away by the steeked sweater-pants that he began to make last year out of his Amsterdam thrift-shop finds.

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For the feature, Stephen sent me some fabulous images of a pair of SWANTS (Sweater-Pants) that he’d whipped up from a vintage Setesdal sweater, but as these didn’t make Rowan’s final selection for the magazine, I can (with his permission) show them to you here.

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For me, Stephen’s SWANTS really sum up the approach to steeking which I have tried to get across in the the feature – viz – to just go for it and have fun . . .

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I love the SWANTS!

If you’d like to have a go at steeking and refashioning your own pair of SWANTS, Stephen tells me that a tutorial or two will be forthcoming on his blog this Autumn. Thanks, Stephen!

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