Over the past couple of days, quite a few of you have contacted me to ask about the black and white mitts that appeared in the header image at the top of this page. Well, this is my new design — the Ecclefechan Mitts! I was so happy with the photograph that I just couldn’t stop myself from popping it up there. I have to say that I’m extremely happy with the pattern, too.
This design has been several months in the making. I decided back in September that I wanted to work on a black and white mitt design, and since then there has been quite a bit of charting and swatching and knitting. The inspiration behind these mitts is, of course, the graphic, striking, and to my mind rather elegant two-colour gloves that were traditionally knitted in Dentdale and the Scottish Borders.
Like traditional Sanquhar gloves, my mitts are knitted at a relatively tight gauge to create a close, hard-wearing fabric. Jamieson and Smith Shetland Heritage – smooth, fine, worsted spun, and with a traditional feel – is the ideal yarn for this project, and knits up beautifully at a dense gauge. Like their forbears too, the Ecclefechan Mitts also feature a diced pattern that is knit up in high-contrast black and white.
There’s also some neat shaping to allow the mitts to fit closely around the hand and thumb.
Working a mitt rather than a five-fingered-glove not only makes this design a bit more contemporary and wearable, but means that the pattern is really simple to knit. In fact, the Ecclefechan Mitts could be knit by any colourwork beginner: frequent shade changes and no long stretches between stitches mean that it is easy to maintain a consistent tension.
I must point out that the fitted elegance of these mitts is thanks to Mel, who with her usual thorough test-knitting and feedback, prompted me to make several changes to my charts . . .
And why Ecclefechan? Well, Ecclefechan is the name of a small town in the Scottish Borders, well-known as the birthplace of one of my favourite nineteenth-century authors, Thomas Carlyle. It is also the birthplace of the Ecclefechan Tart, a delicious confection, which is one of my favourite things to bake (and eat).
When I was putting together the pattern for the Ecclefechan Mitts, I decided to pop in my Ecclefechan tart recipe, so that you can enjoy them too. There really are few treats nicer than an Ecclefechan tart and a cup of tea.
The Ecclefechan Mitts are now available both as a PDF download and a knitting kit. If you purchase the kit, you receive yarn, printed pattern, project bag, recipe, and, (because Eimear insisted), a sachet of tea to enjoy with your tarts.
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.
(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!
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:
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.
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!).
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.
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.
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.
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.
2013 has been a very interesting year. For us, its main event was undoubtedly leaving Edinburgh, and moving out West!
It would perhaps seem to be a massive change, moving from a busy city to a sleepy steading just off the West Highland Way. But I immediately felt at home, and the fact that this change did not seem radical at all, suggests to me how well our new surroundings suit us. I am certainly wading through much more mud and cow shit on my daily walks, and I fear my appearance has grown a wee bit more raggedy and bumpkin-like, but otherwise things go on as usual. With more space. Which is nice.
2013 was a year of new contacts and collaborations.
. . .with the BBC
. . .with Rowan
. . .with Juniper Moon Farm
. . . and, perhaps most excitingly for me, with Gawthorpe Textiles.
I have been exploring texture much more in my design work this year, and have really enjoyed using simple garment shapes to explore the potential of cables and lace.
But, as Autumn turned, I was bitten by the colourwork bug again, and now find myself once more on something of a colour kick.
And perhaps most importantly on a personal post-stroke level, during the latter part of this year, I can say that I have finally begun to feel reasonably “well” on a pretty-much consistent basis. There have been far fewer bouts of debilitating fatigue, and no weird neurological incidents. I spent 6 weeks engaged in the demanding physical task of redecorating our new home with no ill effects, and I can now plan on working a full day, walking Bruce, and performing any necessary household chores: a level of “normal” activity which was completely unimaginable in the years immediately following my stroke. Part of this sensation of wellness is perhaps that I have finally adapted to my post-stroke self, and have a much better awareness of my limits (for example, I still need 10 hours sleep to function normally), but it is also important to point out that, almost four years after the event, I am still seeing significant improvements in my gait and strength on my weak side, as demonstrated in this recent swants leap.
Thankyou all so much for stopping by, for reading and commenting, and for supporting my work in 2013.
Here’s to a grand new year for us all! Slainte and Happy Knitting!
The First Footing sock kits sold out much more quickly than expected yesterday – I spent several days packing up kits and felt confident I’d made plenty available… Anyway, because I’ve received numerous requests to publish the pattern individually, I’ve decided to do so, so that you can, if you wish, knit it up right away.
For the time being I won’t be releasing the Toatie Hottie pattern as a separate digital download – this is simply because the pattern is specifically designed to fit a certain size and shape of small hot-water bottle (having seen several from different suppliers, these differ more than you might imagine), so the pattern only makes sense if you have a particular kind of bottle in your possession . . . but there have also been requests for me to adapt the pattern for different sizes of bottle: I will explore this possibility in January, and if it works out, release a multi-sized separate pattern accordingly.
I’ve also had queries about the yarn I used to knit the First Footing socks – Jamieson and Smith Shetland Heritage. This lovely worsted-spun yarn is really very different from the woollen-spun Shetland yarns many of you will have encountered. While woollen-spun yarns are carded, airy, and snap easily when pulled, worsted-spun yarns are combed, making the fibres smoother and stronger. There’s less air in a worsted-spun yarn, and it does not snap when pulled. Jamieson and Smith Shetland Heritage is a top-quality worsted spun Shetland: soft, durable, and wonderfully smooth on the feet as well as in the hands. It has specifically been developed to be comparable to the strong, fine “wursit” yarns that were originally used to knit Fair Isle garments (see this post for discussion of one such garment). I think it makes an ideal yarn for a luxurious pair of socks: the only issue being that the yarn is not superwash, and your socks should be washed by hand.
The shop will be updated again with more stock next Sunday (15th) around 12 noon GMT. I’ll have more First Footing kits, and more Toatie Hotties, but this will be the last update before the festive season.
Right, I’m off to pack up your orders! See you soon x
It is time to launch the first of my seasonal kits in my online shop!
This design is called Toatie Hottie, and, as its name would suggest, it is a mini-hot water bottle cosy. (“Toatie” is Scots for “tiny” and is pronounced to rhyme with “hottie”).
The pattern starts with a Turkish cast on, and the body of the hot-water bottle cosy is knit in the round with some seasonal colourwork. Decreases then shape the neck, and ribbing and eyelets are added.
. . .an icord fastens through the eyelets at the neck and is finished off with two jolly pompoms.
The kit contains Jamieson and Smith Shetland Heritage yarn, in a choice of two colourways, indigo or madder. The kit also includes a mini-hot water bottle, in the relevant shade to match your chosen yarn colourway. I’ve also produced two sets of charts in the pattern to enable you to knit the cosy dark on light, or light on dark, depending on your preference.
As well as the yarn, bottle and printed pattern, the kit also includes a wee project bag to use while you are knitting up your Toatie Hottie.
I’ve really enjoyed working on these over the past few weeks from the designing, to the knitting, and even the sourcing of a whole lot of mini-hot water bottles! I hope you like it too — it is a fun and quick design to knit up, and the colourwork chart is one I’m particularly pleased with.
You’ll now find Toatie Hottie kits for sale in my online shop, together with kits for Snawheid (in four different colourways, with enough yarn to fashion yourself a cosy hat and a truly gigantic pompom).
If you are interested in a kit and find I’ve sold out over the next few days, please don’t worry: I’ve had to limit the stock to what I’m reasonably going to be able to process and pack on my own in one go. There are plenty of kits available and the shop will be updated with new stock (and a new design!) next week. I’ve put an update timeline in the right hand sidebar to let you know when this will happen.
So if you are interested in purchasing a kit for yourself or someone else, you’ll find my shop open for business now!
ETA: sold out for this week, but I’ll restock the shop and update it on 5th December.
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.
. . . but which is also detachable, for when the weather is warmer, or you wish to hail a passing vessel.
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.
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 . . .
. . . and are echoed in the twisted stitches that feature on the collar and front panel.
Creating a Wintery ensemble that has some fitted structure, but is also really cosy and easy to wear.
I am modelling it here with 4 ins positive ease, wearing a vest and woolly baselayer underneath. . .
. . . 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.
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.
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.
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.
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).
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. . .
. . . 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!
. . . and if you have seen Ella’s blog recently, you’ll know why I am unbelievably excited by this:
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!
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:
And here’s a wee hint of what was being photographed:
I’m really excited to tell you all about these two designs and promise you’ll see more very soon!
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).
Just popping in to mention that Foula Wool have completely sold out of their current stock of yarn, including all Tea Jenny kits. Magnus and Justyna are waiting for the return of the spun-up new clip from the mill, and if you’d like to reserve a yarn pack to knit your hat (or cosy), they are now taking orders in advance of the new delivery. You can contact Magnus here.
While I’m on the subject of contact details, I have to mention that my customer service email account has unfortunately been hacked. I’ve lost a lot of messages, and have finally had to reset the account. If you have been trying to contact me by email with a pattern query over the past few weeks, could I please ask that you re-send your message to my new address which is: info AT katedaviesdesigns.com. My apologies!