It has been an incredibly busy week here! As you might imagine, the imminent arrival of Buachaille means we have a lot to do, and I am hard at work creating a small collection of designs to accompany the yarn’s release (only a few weeks to go!) Then my friend and colleague, Jen, came to stay with us for a few days – together Jen and I are currently developing several rather exciting projects . . . one is a book which will appear next Spring, and another is a new volume of Cross-Country Knitting. Above is a sneak peak at the latter’s content, of which more very soon.
Jen and I got lots of work done, laughed a lot, and had time for a hearty post-photoshoot dinner at the Bridge of Orchy hotel. It was lovely to see her.
Meanwhile, In the Loop 4 was happening down the road in Glasgow (one year I will make it to this event, which always features a fantastic line-up of speakers and some important research). This year, the conference was hosted by my friends at the Knitting in the Round project (who you’ll remember I’ve mentioned before). I was really honoured when they asked me to provide some samples for the fashion show which closed the conference!
Jade Halbert selected three of my designs, and I styled them with the original garments I’d used when photographing Yokes. I genuinely love styling – visualising a look is often the starting point of the design process for me – and I really appreciated the thoughtful way that Jade styled the models to suit the work of each designer in the show.
The lovely model wearing Buchanan even had her hair in braids!
I loved the soft and subtle palette of the beautiful garments shown by Jade Starmore , and was blown away by their styling with these stunning leather skirts (also the work of Jade)
The show featured well-established names of Scottish knitwear design such as ERIBÉ
. . . and Di Gilpin
. . . alongside the work of emerging contemporary designers like Laura Muir
It was lovely to see the work of some of my friends and comrades in hand-knit design, like Gudrun Johnston . . .
I also came away feeling inspired by the work of designers I’d never previously encountered. This cashmere dress by Stephanie Laird was truly gorgeous.
And I loved the fresh take on colourwork in Hilary Grant’s bold machine-knit accessories
Thankyou, Lynn, Marina, Jade, and the whole team at Knitting in the Round and In the Loop 4 for inviting me to be part of this fantastic event! Thanks too to Tom, who took the great catwalk photos in this post.
We are getting very excited here, as we are anticipating a large woolly delivery, and it will soon be time to announce the launch of our new yarn. I thought it was time to tell you a little more about it.
(my favourite sheep, from Colours of Shetland)
I am a great advocate for using local materials, and nowhere more so than where wool is concerned. Sheep, and the human work around them, are an incredibly important part of the structure and character of the British landscape and I find it very sad that so many yarns made and sold in Britain in general, – and Scotland in particular – are not raised here, from our native sheep. With some notable exceptions, much of the wool described as “Scottish” has little or nothing at all to do with the many sheep raised in this landscape by hard-working farmers and crofters. So I wanted to create a yarn that was truly raised in Scotland – a yarn that was part of the work of this landscape – but I also wanted to make a yarn that defied long-standing assumptions about what Scottish wool was or could be. I am so tired of hearing that British and / or Scottish wool is coarse or scratchy. Scottish sheep produce wonderful, wearable fibres that, when properly sorted and graded, spin up into truly beautiful yarns. Over the years I have knit with many such yarns from small local wool producers. You might describe these yarns as lofty or springy or smooth or soft – you might describe them as interesting – but you would never describe them as coarse. I wanted my wool to reflect the characteristics of the interesting sheepy yarns I loved and admired. My yarn would be woolly and springy and durable – speaking of this land, and of the animals that grew it – but it would also be smooth and light and soft enough to wear next to the skin. These were my requirements, and, after many months of development and hard work, I am very happy to say, that this is what we’ve got in the finished product!
Selecting the finest fibres of some distinctive Scottish sheep breeds, we’ve created a completely unique yarn that you won’t find anywhere else. The yarn blends wool fibre that hails from as far north as you can travel in Scotland, and from as far south, too.
The yarn is called Buachaille. The first thing you are going to want to know is how to pronounce it.
Am Buchaille (the herdsman), is the Gaelic name associated with two mountains – Buachaille Etive Mòr, (great herdsman of Glen Etive), and Buachaille Etive Beag (little herdsman of Glen Etive). These mountains are well known to anyone who has followed the West Highland Way, or who likes Scottish mountain walking, and I’d go so far to say that Buachaille Etive Mor is among the most familiar and iconic of all Scottish munros.
These are mountains for which Tom and I hold an affection of long-standing. They are rugged and rocky and elemental . . . yet they are also breathtakingly elegant and sublime. They are somehow what one pictures when one conjures up the idea of a Scottish highland mountain. This – and their relative accessibility – explains why they are so frequently photographed. I think you’ll immediately be able to see the relationship between familiar images of Buachaille Etive Mòr, and Beag . . .
and the logo we designed for the yarn!
Suggested by this one word – Buachaille – are a series of connections between humans, animals, and landscapes – all of the things, in other words, that we wanted the yarn to capture and express.
As you can see from the tag, Buachaille has been “raised in Scotland” and “made in Yorkshire.” As well as being grown by a host of Scottish sheep and farmers, and designed by us, Buachaille has involved lots of hard work from the best folk we know in the UK wool industry – these folk are in Yorkshire. Its important to me that the wool for Buachaille originated in Scotland, and its equally important that several skilled Yorkshire processors and manufacturers have been responsible for making it into yarn. As time goes on, I will tell you much more about the different processes involved in making Buachaille. . .
If you would like to be the first to know about our plans for the yarn, when it launches, and when you can get your hands on it, I have set up a newsletter. So if you’d like further information about Buachaille, please sign up here.
We had a wonderful day.
We walked across the fields and over the causeway to Eilean Mor
Lucy played “Ho Ro, My Nut Brown Maiden”
Mel read this short piece by Yeats:
Had I the heavens’ embroidered cloths,
Enwrought with golden and silver light,
The blue and the dim and the dark cloths
Of night and light and the half-light,
I would spread the cloths under your feet:
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams.
We made our vows, exchanged our rings, and were married here.
The ceremony was solemn and joyful and deeply moving.
Bruce looked on.
We toasted each other from a quaich given to us by my parents, with a Gaelic blessing.
Mìle fàilte dhuit le d’bhréid,
Fad do ré gun robh thu slàn.
Móran làithean dhuit is sìth,
Le d’mhaitheas is le d’nì bhi fàs.
(A thousand welcomes to you with your marriage kerchief,
may you be healthy all your days.
May you be blessed with long life and peace,
may you grow old with goodness and with riches.)
We are very happy
Thankyou, Mel and Gordon, for sharing our day with us.
Thankyou, Lynn and everyone at the Finlaggan trust for allowing us to marry in this wonderful spot.
Thankyou, Lucy, for piping so beautifully.
Thankyou Sharon, for being such a warm and wonderful registrar. We couldn’t have asked for anyone better to celebrate our marriage.
Thankyou, Isle of Islay. Our favourite place.
Thankyou, all of you, for being there with us in spirit.
Love from Kate and Tom (and Bruce, of course) x
You may remember that last year, my friend and colleague, Jen and I, worked together to produce a pair of designs, which we published as Cross-Country Knitting Volume 1. Volume 1 focused on blokes’ knits, and for Volume 2 we challenged each other to re-design and re-size one of our favourite patterns for kids. I designed Wee Bluebells – a cardiganised version of one of my favourite adult sweaters from my Yokes book, featuring pretty colourwork motifs around the hem and neckline.
. . . and Jen designed Wee Bruton, an unbelievably cute miniaturisation of her Bruton Hoody.
Our aim was to create a pair of really classic patterns – the kind of children’s garments that we could imagine our grandmas knitting for us when we ourselves were small, and which we could imagine ourselves knitting for the wee ones in our lives for years to come.
Together, the designs have an undeniably nostalgic feel, but they are also eminently knittable and wearable.
Wee Bluebells is knit up in 5 shades of Jamieson and Smith 2 ply jumper weight. A quick and simple knit, it is worked completely in the round and then steeked up the middle to create the front opening.
If you have never worked a steek before, this (being small) would be a great project to try out the technique – which really is surprisingly straightforward. (You can read more about steeks by following the links from this page)
Wee Bruton uses Excelana 4 ply, is worked back and forth, features a pair of sturdy pockets, some nifty hood shaping, and fastens neatly with a zip.
Together, these are two easy-to wear cardis that are ideal for romping about in!
Sofia you have met before from the Wowligan photographs, and Toby is Fergus’s son.
We really wanted to show these garments being worn outdoors, by kids in a “natural” rather than a studio environment. It is notoriously difficult to photograph knitwear on little kids and Fergus has done a completely amazing job. Thankyou Fergus! And thankyou Toby and Sofia! We absolutely love these photographs!
In each Cross-Country Knitting booklet, we like to invite someone to write a short essay that speaks to that volume’s theme. For Volume 2, our friend Rachel Atkinson has written a lovely piece exploring the significance of childhood handknits. Jen and Rachel and I all appear in the essay, in knitwear made for us by the women of our family.
Both patterns come in 7 sizes, covering ages 1 to 12. Designing, and thinking about designing, these garments has been such a lovely project for Jen and I, particularly as we revisited our memories of our own childhood knits. We hope you enjoy knitting these patterns, and that they become the source of knitterly memories of your own!
Cross-Country Knitting, Volume 2, is available digitally via Ravelry, or in print via MagCloud.
You can also see more detail of the project, and each pattern, over on the Cross-Country Knitting website.
A little under a decade ago, shortly after rediscovering knitting, I bought a kit to knit Hanne Falkenberg’s Promenade.
Promenade is a beautiful garter-stitch wrap, which comes in several glorious shades of Shetland wool. The wrap’s colour combinations are intriguing (and inspiring). It is a simple but nifty design, and I greatly admired it (as I did – and indeed still do admire – many of Hanne Falkenberg’s other patterns). I knit a little of the back portion, and then set the wrap aside to work on other projects.
Around this time, I was suddenly gripped by knitting’s vast potential. I wanted to learn about different techniques, about colourwork and lace. I read Elizabeth Zimmermann and Mary Thomas. I knit up different technical swatches. I wanted to create things for myself. I began to experiment making up my own scarves and hats, and later, my own jumpers. Though I read other people’s patterns carefully as I learned about technique, I knit from them increasingly rarely. Promenade languished unfinished in a bag in my yarn stash.
I often looked at Promenade regretfully. I really wanted to make and wear it, but, as I began to design things for myself, it was never a priority.
A short while ago, my friend Mel spotted Promenade in its bag and took it away. It came back, finished, as my birthday present. It is completely beautiful and I love it!
Thanks so much, Mel! x
You can find more information about Promenade here.
Hooray! Hooray! Wowligan is here today!
Apparently owl cardigans are much easier to dress a wee one in than owl jumpers and I’ve been asked about the possibility of such a pattern many times. . . one can never have too many owls, so I decided to make it. The Wowligan is basically a mini Owligan, knit up in a sport-weight yarn and carefully resized to baby and kid proportions.
Like the Owligan, Wowligan uses an all-in-one piece circular yoke construction and is knit from the bottom-up. The pattern includes a choice of charted or written instructions for working the cables, and comes with the option of knitting the sleeves flat, or in the round. It is a great pattern for any beginner knitter.
The pattern comes in 8 sizes, from 17 ins to 25 ins, and uses Debbie Bliss Baby Cashmerino, which is a great yarn for kids garments. In the pattern you’ll also find a schematic and a very detailed sizing table, together with instructions for selecting and knitting the right size.
This sweet and cheery wee soul is Sofia, who is wearing her Wowligan in the fourth size. She was photographed by the very talented Fergus Ford. I’ve recently been working with Ferg on another exciting and, ahem, exceptionally cute project – which I should be able to tell you about next week.