Milano

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This is my first project of 2014. I don’t mind admitting that it was an entirely selfish knit, just for me. A few months ago, I noticed that Jean was knitting Carol Sunday’s Milano. Ye gods, what a gorgeous thing it was! Those stripes killed me! I had to copy Jean and knit those stripes! So I treated myself to the kit, with the intention of enjoying it over the holidays. The most relaxing kind of knitting I can think of is striped stockinette, worked in the round. And my all-time favourite garment construction – the shape I can whip up while barely thinking about it – is a seamless yoke. So that’s what I decided to do. (Carol’s original dropped-shoulder design for the kit is completely gorgeous, but because I am short and narrow of shoulder, its a shape that doesn’t really work on me.)

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I really cannot say enough good things about Carol’s yarn, or her wonderful colours. The kit combines three different base yarns, all of which are majority-merino and which all knit to the same gauge. The shades have a delicious muted quality, and have an incredible tonal consonancy: by which I mean that that they all seem to speak to one another, without particular shades becoming overly dominant in the palette. But they are all totally distinct, rather than graded shades – so while they all work together, there’s still lots of contrast between them. The way Carol has put them together in sequence (from cool shades light-dark to warm shades dark-light) is genius, and really made me think about different ways of organising hues. I love the end result.

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I decided to knit my jumper tunic length – and its turned out to be an eminently wearable garment that is very nearly a dress! Because I know some of you will be interested in my design decisions: I knit the body with an inch of positive ease and added gentle waist and bust shaping. The sleeves are knit following exactly the same stripe sequence as the body (6 +2 rounds), but are worked at a slightly tighter gauge, which has reduced the length. These matching stripes allowed me to join the yoke with the correct shade, and the same round, for each of the three pieces, but to account for extra length through the body. After joining the yoke, I went down a needle size so that the fabric was tighter and closer fitting, and then later reduced the depth of the stripes to 5+2, largely because I became obsessed with ending the neck with the lagoon shade, which is probably my favourite in Carol’s lovely palette.

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Honestly, I can think of nothing I’d rather knit than a circular yoke. There’s just something so satisfying about joining in the sleeves, whizzing around, and shaping the top. Ah me. But I know from speaking to my knitting friends that stockinette stripes would emphatically not be their choice for a relaxing, selfish project. These preferences rather interest me: if you were knitting something relaxing just for you what would it be? Socks? A shawl? Would you have to to wear it, or would the making of it be enough?

I have to say that I am particularly happy to be wearing this tunic. I completely loved knitting it, and as I rarely get to wear the things I make these days, this project really has been doubly satisfying. I imagine I’m going to be knocking about in my Milano quite a lot in weeks to come.

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I can heartily recommend Carol’s kit, which, as well as completely being beautiful and delicious, is also amazing value. I have enough yarn remaining to knit another tunic of similar dimensions. And a hat too. I may well make the latter.

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And though I didn’t knit from it, from having a good ol’ read (which I often do with written patterns) I’d also recommend Carol’s design, which, like all her patterns is clear, thorough, and very well-written. In short, I heart Sunday Knits!

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My Milano is ravelled here.

circular needle storage

Hello everyone, and happy new year!

The title of this post is probably not one to start your heart a’ racing . . . and happily its not often I get evangelical about, um, “storage solutions”, but I am so very pleased with my new super-organised circular needles I thought I’d show you what I’ve done.

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These wee bags are generally known as fishing wallets or rig wallets. I was introduced to them by Mel (who is the complete opposite of me – ie – exceedingly neat and organised) and they are ideal for arranging and storing your circular needles.

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As you can see, the wallets contain separate ziplock transparent compartments into which needles of different sizes can be placed.

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The small black wallet has 8 compartments and is great for storing the tiny 20cm needles that I use for knitting sleeves and socks.

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The medium-sized green wallet has 10 compartments secured on a ring binder, making them easy to move, rearrange, or add to when you suddenly find yourself with an excess of 2.75 mm needles.

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. . .and the larger wallet contains 20 fairly generous compartments, which means I have some spare for future additions. As you can see, I’ve written the needle size and length on the compartment with a sharpie — ye gods — the joy of actually being able to find a needle! May I never gripe of the whereabouts of all the 3.25mm needles again!

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The larger wallet also has a compartment at the back into which the smaller can be placed. Bags within bags!

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This neat container has completely resolved the unholy mess of wires and envelopes which formerly occupied a corner of my studio. Now if I could actually just put stuff away all would be well.

You can easily find these rig wallets under their brand names on Ebay or various online fishing stores. The small one costs under £3, the medium around £7 and with a bit of searching you can find the larger, more durable, dual-compartmented bag for under £20.

Have a lovely Sunday. I’m off to take down the decorations.

looking back

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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

Gawthorpe, encore

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In between developing kits and other designs, I’ve been working on my Gawthorpe project (which you may remember is a commission to produce a pattern inspired by the wonderful textile collections of Rachel Kay Shuttleworth). The piece on which I’ve decided to base my design is a large coverlet, featuring deep teal-coloured woollen embroidery on a plain linen background. I knew that this beautiful piece had been stitched by Rachel Kay Shuttleworth herself, but I had only seen it behind glass on my first visit, as it was part of the collection on display. So I decided, a couple of weeks ago, to pop back to Gawthorpe to take a closer look, and do a little research.

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I had assumed, when I first saw the coverlet, that the motifs were ferns, or fern-inspired, but this turned out not to be the case. In her notes about it, Rachel Kay Shuttleworth describes the motifs as “big feathers” and gives two sources of inspiration for the pattern she’d used. The first is another piece in her collection, which had been embroidered by Rachel’s contemporary, Hilda Ashworth . . .

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. . . which had in turn been inspired by an original Tudor piece, purportedly embroidered by Amy Robsart (the wife of Robert Dudley, whose death in mysterious circumstances made her something of a sentimental cause célèbre at the turn of the twentieth century). Robsart’s original crewel-work, featuring the “big feathers” was part of the collection of Rachel’s friend, and champion of the Arts and Crafts movement, Lewis F. Day, and Rachel had borrowed it when drawing up her own design.

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Rachel’s coverlet features a total of 100 feathers, each of which features a different embroidery stitch.

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Rachel described the coverlet as “a sampler of line stitches.”

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The embroidery is made with a lovely teal-coloured wool, which due to its provenance from different sources and dye-lots, has faded over time into several different deep blues and greens. I find this uneven fading both attractive and intriguing, because of the way it writes the time and process of Rachel’s stitching into her finished piece.

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The colour Rachel chose for her stitches is a similar shade as the ink she familiarly used to write with. The annotations to many pieces in her collection are written in her hand, in a shade of ink, which has also faded over time in an uneven way, to a series of greens and blues that echo the varied hues of her stitching on the coverlet.

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And just like her handwriting, Rachel’s signature is evident in the coverlet she embroidered, which is a showcase of the varied possibilities of crewel embroidery, and the skill of a truly talented needlewoman. It is a piece in which Rachel’s deep knowledge, and love of, stitch is immediately apparent. But it is a piece with a family story as well.

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Around the border of the coverlet, Rachel stitched a Latin inscription in Lancastrian red. Translated, the inscription reads:

“He who would have ordained that his children should acknowledge the supreme Lord has survived by family descent a great many generations. His granddaughter of the tenth generation fashioned this work of devotion with her needle.”

Rachel had designed the coverlet to commemorate her ancestor Richard Shuttleworth, also known as Richard the Roundhead, or “Old Smoot”. A prominent parliamentarian, Richard had led the Lancashire forces against the King during the civil war, served as a magistrate during the commonwealth period, and, having reconciled himself to monarchy under Charles II, was the parliamentary member for Preston for a total of eleven terms.

Using motifs inspired by Tudor embroidery, the coverlet speaks to Rachel’s heritage in a prominent Lancashire family (a heritage of which she was clearly very proud), and perhaps quietly celebrates the commonwealth politics of her famous ancestor.

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Rachel completed her work by stitching her own initials around a crest of her own devising depicting weaving shuttles, thereby connecting her heritage and family name to her own profound love of textiles.

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(Rachel Kay Shuttleworth, at work on the coverlet)

Rachel stitched away on her huge “Richard the Roundhead” bedspread for several decades. Though she embroidered the finished date of the piece as 1966, she was actually still working on it at the time of her death in 1967. Her niece, Rosemary Kay Shuttleworth, completed her aunt’s work, and it is now a key piece in the Gawthorpe collection.

The coverlet has such a wonderfully rich context, which I’m glad I took the time to find out about, and which I hope I’ll be able to speak to a little in my own design. There will be feather-y motifs, shades of wool inspired by Rachel’s stitches and handwriting, and a nod to Rachel’s (and my own) Lancastrian heritage.

More soon!

All images in this post are the copyrighted property of Gawthorpe Textile Collection, and are reproduced here with their permission.

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

First Footing (Ceilidh Oidche Challain)

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I’m really pleased to introduce my first sock pattern, which is now available as a kit in my online shop. I knit socks all the time, but for some reason have never yet designed a pair…until now! This very seasonal design celebrates the Scottish New-Year tradition of First Footing, which, in Gaelic is known as Ceilidh Oidhche Challain (translating as “a visit on Hogmanay night”). In Gaelic, Ceilidh does not really signify a party, in the terms we know it today, but should be thought of more generally as a sociable visit. Ceilidh Oidhche Challain would traditionally have been very jolly affair indeed, as communities celebrated the turning of the New Year together with the sharing of songs, tales, and verse. So if you fancy first footing this Hogmanay, why not do so in a fresh pair of socks?

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The cuff-down sock pattern covers two sizes – small and medium – to fit adult feet with 8in or 9in circumferences. The kit contains pattern, project bag, and lovely Jamieson and Smith Shetland Heritage yarn, in a choice of two colourways, indigo or madder (the same as the Toatie Hottie kits).

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So pop on your socks and prepare for Hogmanay!

First Footing kits are now available.

a spencer dress

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It is a grey and murky day, but I thought I’d take the opportunity to show you my amazing Spencer dress!

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You’ll have probably seen that my Shetland friend, Ella, first scored one of these a few weeks ago in the Lerwick saleroom. She was then put in touch with Margaret Stuart, who originally designed these beautiful pieces in the 1970s and 1980s, and was able to buy a few more. Probably because I wouldn’t stop going on about it, Ella kindly allowed me to purchase one of her haul.

Mine is the same colourway as a Margaret Stuart dress held in the collections of the Shetland Museum.

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(Ella’s photo)

Although it was knitted over thirty years ago, the Jamieson and Smith shades that have been used in the dress are still immediately recognisable to me: FC14, 122, 1281, 141 (used in my Northmavine hap and hoody) and 125 (used in my Puffin Sweater). FC14 is one of those beautifully complex J&S shades (a deep blue with a slightly shimmering quality because of the way the yarn is composed of so many different colours) while shade 125 is one of my all-time J&S favourites (it is the exact colour of tinned tomato soup).

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The fabric of the dress is not dense at all, but really light and airy — the yarn has been worked at a much looser gauge than normal for, say, a Fairisle piece. As a consequence of the gauge, the dress has considerable drape and swing, but the lovely Shetland wool means that it is also soft and warm. The colourway lends the skirt a fabulous visual effect, and I love that the dress combines two traditional Shetland garments – a hap and a spencer – to create a piece which must have looked tremendously contemporary when it was made. It is a brilliant design.

The construction of the dress is also very interesting to me. The body and skirt appear to have been knit flat, in one piece to the armholes. Here you can see the side seam.

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The bodice has then been worked back and forth to the shoulders, and, though the sleeves have been picked up around the armholes, they too have been worked flat and seamed. The whole piece is worked over garter stitch, so I imagine the construction has been specifically designed to minimise purling. A one-piece garter-stitch spencer designed by Margaret Stuart appears in Madeleine Weston’s Classic British Knits – on this garment, the seam is worked up the centre, but the minimal-purl, one-piece construction appears very similar to that which has been used in my dress. But imagine the seamless fun that might be had working one of these pieces in the round using the no-purl garter stitch technique!

I am absolutely thrilled with my lovely new dress. Thankyou, Ella and thankyou Margaret for allowing me to acquire it! It will take pride of place in my growing collection of vintage Shetland knitwear!

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A comment on Ella’s blog from Margaret herself leads me to hope that she may, at some point, republish the pattern for this wonderful dress. I’m sure there are many of you out there who, like me, would love to knit one.

For those of you interested in kits
The shop will be updated at 12 noon GMT tomorrow (Sunday December 8th) with more stock of Toatie Hotties, and another new seasonal design!

Toatie Hottie

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It is time to launch the first of my seasonal kits in my online shop!

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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”).

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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.

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. . .an icord fastens through the eyelets at the neck and is finished off with two jolly pompoms.

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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.

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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.

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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.

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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).

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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.

Mel’s Port o’ Leith

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Mel’s Port o’ Leith . . .

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. . . is dark and moody . . .

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. . .knit up in tasty Jamieson and Smith Shetland chunky in the charcoal shade.

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. . . which is beautiful to work with . . .

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. . . but somewhat vexing to photograph.

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The colour is perhaps best described as a faded black. It is a saturated, dusky kind of shade, and I think it gives a the garment a completely different feel to my original sample – perhaps less traditionally maritime, and more contemporary.

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Mel’s Port o’ Leith turned out beautifully and is Ravelled here.

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Mel and I have been very busy packing up some new kits, of a new design, which will go live in my shop on Sunday at around 6pm GMT. Pop back tomorrow to hear more!

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).

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