looking back

dumgoyne

2013 has been a very interesting year. For us, its main event was undoubtedly leaving Edinburgh, and moving out West!

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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.

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2013 was a year of new contacts and collaborations.

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(Peerie Flooers on Ann Cleeves’ Shetland)

. . .with the BBC

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(Nepal Wrap)

. . .with Rowan

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(Shepherd Hoody)

. . .with Juniper Moon Farm

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. . . 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.

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Catkin

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Braid Hills

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Port o’ Leith

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Firth o’Forth

But, as Autumn turned, I was bitten by the colourwork bug again, and now find myself once more on something of a colour kick.

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Tea Jenny

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First Footing

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Toatie Hottie

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.

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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!

wazznbruce

by demand

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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.

So You’ll now find the First Footing / Ceilidh Oidhche Challain pattern on Ravelry (digital) or MagCloud (print plus digital).

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

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).

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).

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 . . .

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Braid Hills

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So here is my new design! The Braid Hills Cardigan!

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This is the first in a series of designs celebrating my favourite Edinburgh places. Regular readers will know that I’ve mentioned The Braids on this site many times: the view of the city from here is spectacular, and the landscape is gorgeous for a ramble particularly in Spring when the air is heady with the smell of gorse and the sound of skylarks.

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The colourway I chose for my sample was inspired by gorse too – Blacker Swan DK. This is a deliciously squooshy light DK / sportweight merino, grown in the Falkland Islands and then processed in Cornwall by the Natural Fibre Company. It is airy and bouncy and, because it is worsted spun, it also has a really smooth hand. All of these characteristics means that when knit up the yarn has great definition, and shows off twisted-stitch cables superbly.

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I have recently been on a bit of a cable kick, and have been really inspired by Maria Erlbacher’s classic Überlieferte Strickmuster (available in English from Schoolhouse Press). Because the ‘action’ of these stitches occurs on every row, their look is, I think, particularly neat and sinuous. So pleasing.

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Many cables are worked as braids, and as I began swatching various twisted-stitch panels, I was strongly reminded of the braided structure of eighteenth-century laced stays and stomachers.

VAME.5091-1905

(Victoria and Albert Museum)

C.I.39.13.211

(Met Museum)

I thought there might be a way to use braided micro cables to lend structure and focus to a garment . . . without, of course, the attendant damage to one’s rib-cage involved in eighteenth-century corsetry.

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The neckline of eighteenth century garments above a laced bodice tends to be low and squarish, framing the the high bust . . .

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(Philip Mercier, portrait of Lousia Balfour, 1751)

. . . so this is how I structured my neckline too.

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Because of the low neckline, it is important that the cables and ribbing of the neckline sit across the high bust without undue stretching. So I recommend knitting this cardigan with a little positive ease to give a neat neckline – paerhaps 0.5 – 1 in. I am modelling the garment with around an inch of positive ease (31 in bust / 32 in garment). (The pattern includes a detailed sizing table and schematic to enable you to choose the size that’s right for you)

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The braided micro cables flow down into the ribbing at the neck and hem, and this intertwined patterning is also echoed on both cuffs . . .

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I am fond of these cuffs.

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Because this pattern is part of a series inspired by the city in which I’ve lived for the past decade, I have decided to add in a few Edinburgh extras – so the pattern booklet includes a short editorial feature exploring the history and geography of the Braid Hills, as well as a photographic lookbook. If you have a copy of Colours of Shetland, you’ll see that the way I have structured the booklet is very like one of my chapters in that book.

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This is a design I’m very pleased with for many reasons, and my cable kick is not quite over yet…

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So if you’d like to knit your own Braid Hills cardigan and / or read more about this lovely landscape and how it inspired my design, the booklet is now available!

You can purchase the digital edition of the Braid Hills booklet via Ravelry, or it is available in print (professionally produced in either the EU or US and delivered straight to your door) via Mag Cloud.

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Happy knitting!

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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