When I began thinking about putting together this collection, I felt it was important to include a design that might serve as an introduction to circular yoke knitting: something that was speedy and straightforward to knit, with some interesting details and a characteristic construction. That design is Jökull.
Jökull is a yoked mantle. Though the design is extremely simple to knit – it is basically a decreasing circle decorated with some striking chevrons – Jökull also has some neat features, such as buttoned hand-openings, corrugated rib, and i-cord to stabilise and finish the garment edges.
Worked up in Alafoss Lopi, at a gauge of 4 stitches to the inch, it is an extremely cosy outdoor garment. (Having worn the mantle on some wild days in Iceland, Mel and I can both vouch for it being wind and weatherproof!)
Jökull is the Icelandic word for glacier – the name seemed appropriate in reference to the garment’s chill-defying properties, as well as the palette of shades we chose for this sample.
This is Mýrdalsjökull, a glacier in southern Iceland that Mel and I were lucky enough to visit. You can see what I mean about those icy shades. . .
Like many designs, changing the colourway of Jökull completely alters its appearance. Mel and I knit up a second sample, whose bold high-contrast shades produce a rather different effect from the subtly graded teals and icy blues of the original. We have not depicted this sample in the book (one of the shades we chose is now unavailable) but I will show you here just to illustrate how different the chevrons can look when other colours are selected.
Jökull is a super-simple, quick and enjoyable knit – ideal for any knitter attempting their first yoke, or first colourwork.
I will be back tomorrow to tell you about the collection’s final design. We are very busy preparing packages and labels here – I can’t wait for you all to see the finished book!
Good morning! Here is today’s yoke from my new book – Bluebells. In the 1950s and 60s, there was a particularly popular style of sweater featuring a rather narrow circular yoke. In such garments, the sleeve and body shaping tended to be a little more neatly tailored than other circular yokes, and the colourwork motifs were placed high up on the neck, necklace style. I wanted to include one of these necklace-yoked sweaters in the collection, and this is what I came up with.
There’s really no need of much explanation for where I drew inspiration for the design.
One of my favourite wild flowers, bluebells transform the woods and glens with their luminous glow throughout the month of May and are one of the undoubted highlights of a Scottish spring.
Bluebell flowers seem particularly lovely to me when they flip upwards just before they turn to seed, and this is how I represented them in my chart.
Bluebells encircle the neck of this garment like a garland, and the floral motifs are echoed in colourwork bands at the hem and cuffs.
Jamieson and Smith shade FC37 really is the perfect bluebell blue, and the chart also features two of my all-time favourite greens – FC11 and FC24. The finished sweater is neat, simple, and easy to wear – even on a very breezy day like the one on which we took these photographs.
These photographs were taken in late summer, above the Blane Valley, a place which in the spring is awash with bluebells. I knit this sweater during bluebell season, and loved to see how bluebells took over the woodland and darker north-facing slopes of the valley, bringing them to life with their luminous glow.
I wanted to include a smart, simple cardigan in my yoke collection. Something in a single colour; that might provide a showcase for a beautiful hand-dyed yarn; a garment that would be easy to wear and straightforward to knit. That cardigan is Fintry.
Fintry is a pretty village a short drive away from my home. Though the village nestles against the north face of the rugged Campsie Fells, its direct environs have an unusually gentle feel, with verdant lanes, hedgerows and fields. There is good grazing and growing here, and Fintry’s distinctive pastoral feel provides a stark contrast to the generally rockier, boggier, woodier – much more Highland landscape – which immediately surrounds me. I find this contrast rather interesting. In summer, the landscape around Fintry is extraordinarily green and pleasingly textured – and its those features that I celebrate in this cardigan.
Fintry is knitted all in one piece, with moss (or seed) stitch button bands, cuffs and hems framing a garment of simple stockinette. These bands of texture are then echoed on the yoke, which is shaped with short rows.
Fintry makes simple and versatile use of the seamless yoke construction and the finishing is really quite minimal. Mel and I finished this sample with five buttons, snaps and ribbon facings, but you could add more buttons, or no buttons at all, just as you wish.
The ribbon facing, incidentally, came from a box of cakes from Betty’s. I had been saving it for years and knew I’d find a use for it.
The ribbon turned out to be a perfect match for the yarn, which is Old Maiden Aunt Corriedale Sport Weight. I love Lilith’s colour sense, her particular style of dyeing, and especially the interesting British yarn bases she uses to show off her skills. This Corriedale is a wonderful yarn, which takes the colour in a beautifully matt and saturated way. The tonal variations in the yarn are so subtle and pleasing, and really enhance the textural interest of the knitted fabric.
The colourway is Ghillie Dhu, but I think Fintry would work equally well in any of Lilith’s fabulous handpainted shades.
We shot these photographs at the courtyard cafe at Knockraich Farm in the village of Fintry itself.
At the cafe you can sample ice cream, yogurt, crowdie, and other dairy products made on the farm, as well as some delicious home baking.
You can also hang out with this very friendly farm cat.
If you’d like to know more about Fintry You can find more information here.
The shop will be open for pre-orders on Friday (7th), and we will begin shipping books in around ten days time.
Well, it is time to introduce you to the first yoke from my new collection. Meet Epistrophy.
Epistrophy is the title of a Be Bop “standard” composed and popularised by Thelonius Monk in 1942. The tune is characterised by its repetition and modification of a single, imitative phrase (or epistrophe). If you’d like to hear the tune, press play.
(Monk with Charlie Rouse, Butch Warren, and Frankie Dunlop)
Like Monk’s tune, as this yoke progresses, the diced pattern imitates, repeats and modifies a single motif.
The result is a yoke with a graphic monochrome necklace. Shaping is integrated uninterrupted into the colourwork, and the yoke is designed to sit across the top of the shoulders.
Epistrophy is worked in the round from the bottom up, and then steeked open. . .
The steek edges are trimmed, and covered by a ribbon facing . . .
. . . and the cardigan fastens with buttons and buttonholes that are worked into the rib.
The yarn I’ve used is Toft Ulysses DK – a wonderful British wool – that comes in two muted shades of grey (silver and steel).
The yarn is wonderfully soft and springy and knits up to create a beautifully even fabric. The finished yoke has quite a luxurious feel, but the yarn is such that it will also last and wear well.
I loved the whole process of designing and knitting this yoke (much of which was accompanied by the tunes of Thelonius Monk), and its one of the garments that I have found myself unable not to wear. My samples are often used for trunk shows etc so I’m not really supposed to wear them, but I confess I did pop Epistrophy on to take my driving test a couple of weeks ago. Do you think it might have helped me to pass?
Every pattern in the new book has been photographed in a different location – I wanted to give each garment a distinct style and feel, and knew that I needed a cloudy evening to photograph this design.
If you’d like to know further details about the yarn quantities, gauge and sizing for this pattern, do nip over to the Epistrophy pattern page on Ravelry. I have set up the Yokes source on Ravelry too, and will be revealing and adding more patterns as the days go on.
More to come!
On Sunday I finally got to see the Great Tapestry of Scotland. I was completely blown away by the vision of Alistair Moffat (who produced the tapestry’s historical content and context), Andrew Crummy (the superb artist who designed these 160 panels) and perhaps especially by the skill and beauty of the work of the thousand Scottish women and men who stitched it. It was displayed in the singularly fitting surroundings of the Anchor Mill in Paisley. The atmosphere in this wonderful space was electric. There were people of all ages there, and everyone was completely transfixed by the tapestry, and were clearly enjoying it tremendously. I heard several exclamations of delight at particular details, as well as folk sharing personal recollections in front of individual panels. Some of the panels moved me to tears, others made me laugh out loud and viewing this terrific work was a truly incredible experience.
The Great Tapestry of Scotland has a monunmental name, and it is certainly a monumental thing – but importantly, it is not in the least pompous or in any way up itself. Rather than telling the story of a nation through a top-down celebratory narrative of kings and queens and battles, it tells that story from the bottom up, in pleasingly piecemeal fashion, allowing many different identities, and many regional and linguistic differences to be included and represented. Scotland here is the sum of many different parts, and historical change is an uneven, and often deeply conflicted process. And this is a history where the folk who worked to build a bridge might be celebrated in the same terms as the engineer who designed it; where a can of Irn Bru and the King James bible might both share status as national icons. The tapestry’s 160 panels are alive with the colours of the landscape, with cultural invention, with the power of the imagination, with the emotive movement of time, with joy, wit, terror and sadness. That the panels sing so is testament both to Andrew Crummy’s wonderful designs as well as the skill and creativity of the stitchers, and I was deeply moved by the beauty and energy of the embroidery. The story of the people who stitched it is stitched up in this incredible thing, and that is certainly part of what makes it so terrific. So I think it was the tapestry’s sheer sense of shared endeavour that killed me most: that this was the best kind of collective history, created collectively. Craft and design have, I think, a unique power to bring people together in the expression and sharing of their creativity and cultural identity. In all honesty, this tapestry is the best example I’ve ever seen of how this might be so.
This blog serves several functions, one of which is as my own diary. I have thought quite hard about how to represent the tapestry to you, and to myself as well, so that, in the future, I can remember what I felt when I first saw it. I decided that the best way was, over several posts, to show you some of the details that really struck me. If you are interested in finding out more about the Great Tapestry of Scotland, two super books have been published about it. The first, a paperback by Susan Mansfield and Alistair Moffat, tells the story of the tapestry’s creation, together with the stories of the thousand Scottish women and men who were involved in its creation. The second book is a handsome (yet very reasonably priced volume) which carefully illustrates each of the tapestry’s individual panels, alongside more detailed and thorough historical information. I heartily recommend both books. And if you’d just like to look at each of the tapestry’s panels, you’ll find a wee slideshow here.
So here are some of the details I enjoyed from panels 1 through 23
Panel 9: Pytheas the Greek visits Calanais. I was particularly struck by the way the Isle of Lewis stitchers had carefully rendered the colours and textures of the banded gneiss and lichen of the Calanais stones.
Panel 20: Macbeth. Each of the tapestry’s panels includes the ‘signature’ of the stitchers who created it at the bottom right. This one, a small sampler of every stitch and every colour used in the panel was particularly striking. The panel was stitched by Sandra and Glennie Leith, Ingrid McGown, Paddy McGruer and Rhea Scott.
More to come . . .
Tom is away, working in Ireland at the moment. I really miss him, but I am distracting myself by working very hard on my YOKES, and am enjoying pottering in the garden in my spare moments.
I cannot use a spade (I have tried, and I just fall over), and we knew there was going to be a limit to what I could feasibly do this Spring in the garden in Tom’s absence. But with a couple of raised beds, a plastic lean-to, and many containers, I’m not doing so bad.
I brought salad leaves on in the lean-to, planted them out in a raised bed and have been amazed at how well they are doing. I don’t want to speak too soon, but as yet they have remained mercifully unmolested by pests – the raised beds have a protective cordon of bark and copper tape, which has proved an effective slug deterrant. More remarkably, perhaps, the deer and rabbits have not yet taken the opportunity to chow down on my tasty crops. There are certainly rabbits and hares in abundance in our environs (I enjoy seeing the hares if I’m out on an early morning walk) but so far, there have been surprisingly few in our garden. My neighbours (who inform me that we are usually overrun with bunnies by this point in the Spring) think that Jesus (our cat) has something to do with it. He has been seen out on the prowl in the early hours, and kindly leaves headless rodents on my doorstep, as well as those of my neighbours, from time to time. If the rabbits are concerned that they or their offspring might meet the same fate, it is all to the good. But I have no idea how he is seeing off the deer.
Meanwhile, in my containers, the beans are doing their bean-thing. . .
.. . the cabbages are looking cabbage-y . . .
. . . beetroot is sprouting . . .
. . .and some tatties, which my dad and I planted rather late a couple of weeks ago, are starting to appear.
There will be fruit too – raspberries and strawberries.
. . . and there are tiny gooseberries on the tiny gooseberry bush!
Yesterday I took the squash and courgettes from the lean-to and planted them out in 10 litre pots to see how they do.
If I see a spare space in a container I pop in a petunia. . .
. . .and the back of the garden has presented me with other, unexpected floral delights.
But what I seem to have most of are tomatoes. I started growing them from seed in the bathroom several months ago and their flowers and trusses are now starting to appear.
The lean-to is now taken up with eight very vigorous tomato plants, and I have probably twice that number rotating in and around the house. My mum ventured yesterday evening that I might have grown too many tomatoes.
What do you think?
Please to note the housemartin, to the right of the photo, on its way to its nest under our eaves. Their nests are beautifully compact and sturdy and I love to hear them chit-chattering above my head when I’m sitting outside knitting at the back of the house. Last year, when the housemartins had finished with their nests, a few were occupied by late broods of swallows. Will that happen again this year?
Every day, in one way or another, I am grateful to be living here.
My parents have been visiting, and I thought they might like to see The Kelpies. A few years ago we rather enjoyed visiting Jaume Plensa’s Dream, a meditative and beautiful public sculpture commemorating Lancashire’s mining past. Like Plensa’s Dream, The Kelpies celebrate industrial heritage, but are things of water rather than of light. Kelpies are mythical Scottish water beasts, generally malevolent in nature, and able to assume many different forms. The Loch Ness “monster” should perhaps be more accurately described as a kelpie, and in Scottish song, art and literature, kelpies most often take the shape of a horse.
Taking the fabled creature as a starting point, Glasgow sculptor, Andy Scott has constructed a new mythology for the kelpie — one with a refreshingly specific sense of place, and history. Directly inspired by two local Clydesdale horses – Duke and Baron – Scott’s Kelpies celebrate the beasts who once pulled ploughs, carts and barges — effectively powering the industrial revolution in central Scotland through the Eighteenth and Nineteenth centuries.
Scott’s Kelpies have been constructed at the basin of the Forth and Clyde canal, near Falkirk. Long before the development of railways and motorways, this important waterway enabled the transportation of finished goods and raw materials between Scotland’s industrial heartland and its ports. First constructed in 1790, it fell into decline in the middle of the last century. But its recent re-opening now enables continuous passage by water between Scotland’s East and West coasts.
Scott’s Kelpies are constructed from an industrial material – steel – but when the light hits them they also seem to be made of water: rising and straining, sodden and dripping, from the basin of the canal.
While celebrating the energy and might of Scottish industry, the Kelpies represent, in themselves, a remarkable feat of industrial engineering. Each of the 990 plates that make up the two Kelpies steel “skin” is distinct and different – our guide described them as “snowflakes.” This short time-lapse film documents the process of their construction, and, when you visit, you can examine their incredible structure from the inside.
The Kelpies stand over 30 metres high, and are certainly majestic. Yet to me, it is not their size, but Scott’s very precise sense of detail and characterisation that impresses most: the flared nostrils, the flickering ears, the individual muscularity and movement. Detail at this scale somehow lends these monumental objects an immediacy that is deeply emotive.
Andy Scott says: “I see The Kelpies as a personification of local and national equine history, of the lost industries of Scotland. I also envisage them as a symbol of modern Scotland – proud and majestic, of the people and the land.” Probably the best thing about the Kelpies, it seems to me, is that they are the focal point of what seems to be a modern and genuinely public space: a landscape that, with its new network of trails, cycle paths and waterways, once again has a practical function for the folk of Falkirk and beyond.
My Mum and Dad and I all enjoyed our visit, and would highly recommend the very reasonably priced tour, as well as our knowledgable and enthusiastic guide, David.