Tenebrae

unstboat

I have more posts to come from Iceland, but today I wanted to briefly mention one of those interesting cross-connections which are one of the many reasons I enjoy writing this blog. During a trip to Shetland in September, 2012, I took this photograph of a boat moored near Norwick beach in Unst. I later included the photo in this blog post, where it was seen by Oxfordshire artist, Jim Kelso. Jim then contacted me to ask if he might produce a painting based on my photograph; I happily agreed, and his painting, Tenebrae, is below.

-1

Tenebrae recently sold, and by way of thanks, Jim has now made a donation in my name to Chest Heart, and Stroke, Scotland. You may remember that it was this charity that funded the home-support of a dedicated stroke nurse for me after I left hospital. The work they do in the community is really important, but often overlooked, and I am always happy to support them in whatever way I can.

Congratulations on your painting, Jim!

Ístex

alafoss

This is Álafoss — foss being Icelandic for waterfall. Álafoss is situated on the river Varmá in the small town of Mosfellsbær, a short bus ride from Reykjavik. In 1896, an enterprising farmer imported some machinery, and harnessed the power of Álafoss to operate it. From that day to this, Icelandic wool has always been processed in Mosfellsbær.

KONICA MINOLTA DIGITAL CAMERA

Ístex is an abbreviated form of Íslenskur Textiliðnaður (Icelandic Textile Industry). Ístex was formed in 1995 when the old Álafoss company was threatened, like so many other yarn-producing businesses at that time, with bankruptcy. The business was bought out by five employees, together with a group of sheep farmers, and the company now thrives under this associative structure (during our visit, we ran into one of the company directors, who still plays a very hands-on role in the mill’s daily operations). Ístex employs 50 people and is responsible for the purchasing and processing of 80% of Iceland’s annual wool clip directly from the nation’s farmers. I was very struck by the similarities with Shetland: my friends at Jamieson and Smith purchase around the same percentage of Shetland’s annual clip, and like Ístex, they also ensure that crofters are able to get a return on their wool whatever its quality. Both companies use the lower grades for products such as carpeting and insulation, so that nothing is wasted, while the finer grades are retained to be processed into hand-knitting yarns. Ístex sort and scour their wool in Blönduós, and all other processes are carried out vertically at Mosfellsbær – which is now the only yarn-producing mill in Iceland.

Under the guidance of Hulda Hákonardóttir, we were able to see many different stages of yarn production.

Dyeing . . .

dyedwool

and blending.

blending

The Scotch feed at the top right of this photo . . .

scotchfeed

. . . processes the roving to tape condensers, where sliver is then processed into unspun forms, such as plötulopi, which will be familiar to many knitters.

condensing

Other yarns, such as Álafoss lopi, Lett Lopi, and Einband, are then spun-up here . . .

spinning

. . . before being hanked, coned, or balled. While many of the processes and some of the machines at Ístex were familiar to me from other mill visits, I have never before seen a yarn-baller in action. Cones were transformed into neat packs of yarn with fascinating efficiency.

baller1
baller2
baller3
baller4
baller5

The end result. Yum.

melatalafoss

We learned a lot about Icelandic wool and its unique properties from Hulda, who also kindly showed us many of the different wool products that Ístex has developed over the past 19 years, from beautiful traditional blankets to contemporary neon yarns. And it has to be said that the tales you hear of Lopi being everywhere in Iceland are completely true: yarn really is available to buy in supermarkets, hardware stores, clothing shops, garages. You would certainly never be short of yarn for a project in Iceland. I was very struck by the number of people who said to us on our trip that “everyone is knitting”– a fact borne out by the fascinating statistic that Iceland has proportionately more Ravelry members than any other nation (1 in 10). Though we saw a handful of familiar imported yarns in one shop, its very clear that Iceland’s knitters are, by and large, knitting with Lopi: with the wonderful dual-coated light and airy fleeces that are grown by the nation’s resourceful and hardy sheep; that are shorn and sold by Iceland’s farmers; then sorted, scoured, dyed, and spun by Ístex in the mill at Mosfellsbær. I personally find this kind of readable continuity from sheep to sweater very inspiring.

traditionalicelandiclopiwool

Thankyou for a very enjoyable tour of the Ístex mill, Hulda!

Machrihanish

machrihanish9

I was very excited to have the opportunity to design the Machrihanish vest for Cross-Country Knitting, Volume One, and always enjoy knitting for Tom, who is its recipient and model. Tom often bemoans the general lack of shaping, and poor fit of men’s garments, so I like to knit him things that are well-fitting.

machrihanish7

Men’s knitted vest patterns rarely include shaping, but one of the things I knew I wanted to do with this design was to taper it to the waist. Shaping of any kind can be tricky when designing with Fairisle patterns, but the trick here is simply to work the ribbing and the first few inches of colourwork on a small needle, before going up a needle size for the upper torso. When blocked, this straightforward manoeuvre creates a difference between waist and chest of 3.5-4 ins, which means the vest fits neatly to the body, without excess fabric.

machrihanish6

Though this vest is, in many ways, a classic garment, I think the waist shaping also makes it feel sharper and more contemporary. But if your shape is more rectangular than triangular, you can easily leave out the waist shaping when working the pattern for a looser, more casual fit. Whatever your body shape, you should knit it with a little positive ease to allow the wearing of layers underneath.

machrihanishside

Though I’ve followed standard sizing for men’s garments with this design, I’ve also tried to make the pattern straightforward and flexible enough to accommodate a variety of masculine body shapes. Because there is no ‘set’ place to divide for armholes, the main body of the pattern can be knit to whatever length is required to accommodate a shorter or longer torso. Equally, if the armhole depth is greater or less than that specified in the pattern, it can be increased or decreased as required. (A detailed sizing table and schematic is included in the pattern to help you achieve the fit that’s right for you). You also have the option of working the ribbing doubled around the armholes and hem for a firm and durable edge.

machrihanish3

The yarn I used for this design was Jamieson and Smith Shetland Heritage.

machrihanishneckline

This wonderful yarn was developed in consultation with the Shetland Museum and Archives, and is very close in handle, hue and character, to the yarns that were traditionally used to knit Fairisle garments in Shetland before the Second World War. It is a light fingering-weight – lighter than a standard 4 ply – and because it is worsted spun, feels much smoother than other “Shetland” yarns you may be used to. To give the garment its shaping, I worked the yarn at two different gauges of 8 and 9 sts to the inch, and at both gauges it gives a nice, light even fabric. Because of its unique characteristics, I would really recommend you use this yarn, but if substituting, please swatch carefully to ensure you achieve a fabric with which you are happy. You can find detailed information about shades and yardage here.

machrihanishpattern

The pattern is written to be knitted entirely in the round, with steeks worked at the armholes and neck.

machrihanish2

I personally love the speed and ease of working completely in the round, but if you are a determined purler, you could easily work the upper torso separately, back and forth.

machrihanish10

Tom is very happy with his vest.

machrihanishlaughing

. . .and I am very pleased with the design!

machrihanishjumping

Now, about the name. We live in the West of Scotland, and Machrihanish is a village further West, on the picturesque Mull of Kintryre. Tom is a great admirer of the Fairisle knitwear Paul McCartney proudly sported after he moved to Scotland, but we felt that Mull of Kintyre might prove to be too much of an earworm to work as a pattern name . . . and Machrihanish is also one of our favourite locales from the UK shipping forecast. . . . so Machrihanish it is.

machrihanish8

We shot these photographs opposite Dumgoyne, a short walk from our house. The light and skies have been very dramatic here of late, and did not let us down that day. There is just something about the bright colours and high-contrast of a Fairisle vest that work perfectly with a highland landscape. Living out here often prompts me to think about colour and pattern . . . and these photographs of Tom make me want to get another bloke’s Fairisle design on the needles immediately!

machrihanish4

My Cross-Country comrade, Jen, has also been writing about her design for the Volume – the fabulous Bruton hoody – so if you’d like to read more about it just pop over to her blog. We have also set up a new website for the collaboration, where you can keep track of our Cross-Country design journey.

Cross Country Knitting Volume 1 is now available!

machrihanishmoodysky

Puffin Post

rebecca2

One of the many things that makes me very happy as a designer is seeing different interpretations of a sweater I’ve created. I often learn a lot from the modifications knitters make to my patterns, and sometimes a simple change of shade can make a design look like a completely different garment. The Puffin sweater is one of my favourite patterns in Colours of Shetland, and it was designed with a very specific palette in mind: the puffin-y palette, which you can see above in Rebecca’s lovely sweater. But many knitters, through subtle or dramatic alterations in the design’s original shades, have created some wonderfully different Puffins. Here, with their permission, are a few examples I’d like to show you.

barbaraandbramble

Here’s Barbara in her Puffin, together with Bramble (who, like Barbara, enjoys visiting Shetland). At a first glance, Barbara’s sweater looks pretty much like my original, but she has actually swapped the garment’s main colour – Jamieson & Smith Jumper Weight shade 77 – for shade 81, which is a much quieter, softer black. I confess that shade 77 can be a real bear to knit with, as well as to photograph, and I love the slightly muted effect that shade 81 has lent to Barbara’s Puffin.

When designing the Puffin sweater, I spent an awful lot of time swatching to create the correct colour sequence for my chevrons, and was interested to hear that Rhiannon and Valerie did the same when making theirs . . .

RHI
Rhiannon . .

valerieandhockley
Valerie (and Hockley, who Bruce would like to meet)

Rhiannon began by swatching a dark-to-light gradient across the yoke, but when that didn’t work out, came up with a chevron sequence of several graded and contrasting monochrome shades, using Jumper Weight shade 27 for the main colour. Valerie is very fond of the undyed, sheepy shades of Jamieson and Smith Shetland Supreme. She settled on Shetland Black (shade 2005) for her main colour, with 7 different shades worked through the yoke. The way these these natural shades effortlessly speak to each other means that the effect is both simple and striking. I think Valerie’s and Rhiannon’s natural Shetland sweaters are absolutely stunning.

Erin has actually knit the puffin Sweater twice: first for her sister, and then for herself. Erin used a combination of Brown Sheep Nature Spun fingering and Knit Picks Palette to make her sweater (both of which have a large colour range) and like Valerie and Rhiannon she swatched several times before settling on this particular sequence for her chevrons. “I tested a few combinations,” says Erin, “mostly involving some orange and gold colors I had in the Nature Spun fingering . . . but everything looked a little too 70s shag carpet.”

erin2

After rejecting the 1970s palette, Erin settled on this lovely combination of tan and teal in the yoke, both of which really pop out against the subtle stone shade she used to knit the body.

Deb’s “parrotty puffin” is one of my favourite iterations of this sweater – it is just so striking!

Deb

“The yarn was given to me by my sister,” says Deb. “She’d had it since the late 1980s, still in its original bag with the pattern she was planning to make – a typically 80s, oversized and brightly-coloured jumper. I’m not a big fan of fluffy yarns but accepted it because I really liked the highly saturated colours. It then sat in my stash for some time while I tried to work out what to do with it. When the Puffin Sweater was released, I knew straight away that it was the one! While I was working on it, it occurred to me that the colour scheme was very reminiscent of Rainbow Lorikeets – the friendly little parrots that visit the balcony of my flat every day. So, I’m very glad to have kept the birdie theme going.”

rainbowlorikeet

As well as the bright lorikeet palette, I really like the way that Deb’s more closely-placed colour changes through the yoke lend the garter-stitch chevrons an incredibly graphic, luminous effect.

Both Kate and Maureen chose a paler palette for their Puffins:

Kate
Kate

maureen
Maureen

Kate found the chevron yoke to be reminiscent of waves, and chose the graduated blues of the yoke “to evoke the Shetland and Suffolk coastlines,” and to contrast with her favourite winter white (Kate has blogged about her sweater here). Maureen, meanwhile, loves to fill her wardrobe with colour, and was keen to knit herself a sweater to match the wonderful kilt she’d recently treated herself to from Scottesque. She devised a pretty pastel palette, which is perfectly complemented by the corrugated rib at the hem and cuffs. Both Maureen and Kate used slightly thinner Shetland yarns when knitting, and their sweaters have a lovely light and feminine feel.

Zaz’s hand-spun puffin sweater is truly a labour of love, and is the garment that prompted me to write this post.
Zaz won a prize in the 2012 Tour de Fleece, and requested this beautiful custom-dyed BFL and silk fibre from Mandacrafts.

Prize_medium2

The fibre waited for the right project to come along, and when Zaz saw the puffin sweater she felt she had to make it, since the puffin (or Macareux moine) is the symbol of Bretagne where, says Zaz “everything I love is.”

macareux-moines_diapo_crt_page_1_colonne_medium
(puffins - macareux moines – perch atop the distinctive granite rocks of the Sept Isles)

Zaz – a beginner spinner – mixed and spun the custom-dyed fibres with natural shades of BFL to give several distinct shades. She wanted to create a light fingering 1-ply yarn with a slightly variegated effect, which to her recalled the granite landscape of the Sept-Isles in Bretagne. “All the yarns are ‘spotted’ because the pink granite is, and the light among the forests in Bretagne is too.” says Zaz, “I did not blend the colours at all, I just put them close together and spun.” Zaz spun with friends in her Ravelry group: “I was encouraged by showing off my progress,” she says, “I did not feel the different steps as being long but just all luminous and exciting.”

This is the yarn that she created. . .

handspun

. . . which she then knit up into this beautiful sweater

zaz

“Although this is a process project,” says Zaz, “I love it with a passion…I believe the best creations come when there is a basis for things (like a passion for a landscape, its history or a funny story).”

zaz2

I entirely agree with Zaz, and love the way that she has spun and knitted her own story and distinctive sense of place into her sweater.

But I have to conclude this puffin post with a photograph of Mary’s “puffling”, which she knitted for her grandaughter, Robyn, who loves all things red and Robin coloured.

mary

Mary knitted the puffling from assorted stash yarn, working a basic yoked cardigan, and adapting the puffin chevron yoke to be worked back and forth in a smaller size. Mary’s photograph of her lovely wee girl, in her puffling cardigan, in this gorgeous landscape, just makes my heart sing.

Thankyou, Puffin knitters, for all this inspiration!

Shetland Textiles: 800 BC to the Present

cover

Writing of the worn and mended Fair Isle sweater that Shetland knitter, Doris Hunter created for her fiancé, Ralph Patterson, who spent four years in a Japanese POW camp during the Second World War, editor Sarah Laurenson states: “Ralph’s sweater is much more than a physical object. It is a site of personal and political meanings containing traces of world events and the lives of individuals.” Sarah’s astute remarks on this incredible piece of knitwear speak much more broadly to the content of the wonderful book she has recently produced with the Shetland Museum and Archives. In Shetland Textiles: 800 BC to the Present we discover the intriguing stories of creative, enterprising, and brave Shetlanders like Doris and Ralph within the many cultural and economic contexts that make Shetland textiles so unique. Drawing on the knowledge of curatorial staff of the Shetland Museum, academics and researchers from several Scottish Universities, as well as a wealth of local expertise, this book is an important testimony to the significance and impact of Shetland textiles worldwide.

rolags
(natural fleece shades)

The crucial factor shaping the production of Shetland textiles from the Mesolithic to today is of course, the wool grown by its native sheep. A fabulous piece by Elizabeth Johnston introduces us to some of Shetland’s earliest examples of woollen textiles, while other sections of the book explore the the effects of the landscape on the development of the breed, alongside the realities of keeping a flock, and working with wool in Shetland.

oliver

We learn that there are 57 names in Norn “specific to colours and patterns in sheep,” and gain insights into what makes Shetland “oo”, as a fibre, so very distinctive. Other things make “Shetland” distinctive too. Unlike, say, “Harris” tweed, (which refers to cloth woven on the island of Harris, but whose provenance is yarn spun from the fleeces of many different breeds and crosses, who may be raised in many different locales), “Shetland” is unique in its breadth of reference: to a particular group of islands; to the name of a particular breed of sheep; to the fibre those sheep produce; to the yarn spun from that fibre; and to the cloth, knitwear, and other manufactured products that are created from that yarn. Unlike “Harris” (an island ‘brand’ now famously trademarked and protected by national regulatory bodies), the broader resonances of “Shetland” ironically meant that it failed to gain the same protection. According to Sarah Dearlove in her important chapter on Shetland tweed, “the word “Shetland” and its use in the woollen industry in general has been the islands’ achillles heel.”

labels
(Shetland tweed labels)

And yet, although the cachet of terms such as “Shetland” and “Fair Isle” means that they are frequently exploited, in some senses that very exploitation has also ensured their continued prominence and visibility within the textile industry. As Sarah Laurenson puts it: “histories of Fair Isle knitwear have to a large extent been shaped by marketing stories which do not necessarily fit with with the ideas and identities of people in Fair Isle and throughout Shetland. However, these stories have driven the commercial success of the style. Without them, there would be no Fair Isle knitwear.”

kep
(early Fair Isle kep. Shetland Museum and Archives)

Shetland textiles are truly spectacular, and the book includes discussion of many important pieces, now housed in the collections of the Shetland Museum and Archives. There’s a great discussion of the incredible lace garments created by enterprising Lerwick hairdresser, Ethel Brown, and anyone who has seen Jeannie Jarmson’s prize-winning rayon tank top (depicted above on the book’s front cover) will not be surprised to learn that she hurt her hands in its making. Yet though these showstoppers are breathtaking examples of what makes Shetland textiles so special, it is also refreshing to read chapters focusing on the everyday. This is the forté of Carol Christiansen (curator of textiles at the Shetland Museum and Archives) and her sections in the book are genuinely illuminating. You’ll learn about the careful reconstruction of the woollen garments worn by the “Gunnister Man” by Carol and her team, revealling “crucial evidence for how early modern clothing was made, worn, and mended.” And while we are all familiar with the beauty of Shetland lace and colourwork, few are perhaps aware of the unique graphic appeal of the “taatit rugs”, which Shetlanders created as bedcovers and wedding gifts from the Eighteenth-Century onwards.

taatitrugs

Building on the book’s wealth of original research is Ros Chapman’s piece about Shetland Lace. Her chapter effortlessly mingles intriguing documentary evidence with tantalising anecdote: “there was even an exhibition of Shetland knitting held in a Philadelphia department store containing a reconstructed croft around which knitters, ponies and sheep exhibited their uniqueness.” Ros’s lively chapter is merely the tip of the iceberg of a wonderfully thorough research project into the history, significance, and practice of Shetland Lace knitting. She is clearly going to produce an important book which I’m already looking forward to reading.

teeniewlliamson
(Teenie Williamson (left) in a hand-knitted print o’da wave jumper)

Shetland’s knitters are, of course, at the heart of this book, and form the focus of Brian Smith’s and Lynn Abram’s contributions.

As Brian Smith puts it:

“It is important to remember, and easy to forget, that the people who knitted those tens of thousands of stockings and mittens, as well as performing other chores in and out of the home were Shetland women. It was an “honest man’s daughter” who came to Bressay Sound in 1613 with her knitting and got assaulted in the process; it was women who knitted the “Zetland hose and night caps” that Dutchmen were still buying there two centuries later; Shetland’s land rent was being paid from the women’s hosiery in 1797; they created the stockings and gloves presented to the Queen and Duchess of Kent in 1837; the “hose, half hose, gloves, mittens, under waistcoats, drawers, petticoats, night caps, shawls &c &c” in Standen’s Shetland and Scotch warehouse in 1847; and the Shetland goods on show in the Great Exhibition in 1851. And little cash they got for their pains.”

samhibbert1818
(Sketch of a Shetland knitter by Samuel Hibbert (1818)

Brian and Lynn’s chapters unfold carefully researched, well-written, and nuanced narratives about the economic realities of Shetland women’s lives, and the part that knitting has played in shaping them. All of us who enjoy our knitting as a stimulating or relaxing leisure pastime should read these chapters to gain insight into what it really meant to be a knitter in Shetland.

truckcommission

Brian’s chapters unpack the truck system (by which Shetland knitters were paid in goods rather than cash), which lingered on in Shetland well into the twentieth century. His account of the effect of collective action by the Shetland Hand Knitters Association, which was developed under the same post-war influences as the British Welfare State, is particularly interesting (and heartening).

sha

Lynn’s piece reveals the wide variety of ways in which Shetland knitters used their own enterprise to support their families in response to extremely challenging social and economic conditions. “We were more or less financially secure” recalled crofter Agnes Leask after purchasing a knitting machine in the early 1960s, “as long as I could churn out about a dozen jumpers a week.” Lynn’s chapter (as much of her work) is extremely important in the way that it suggests the public and social resonances of a craft which is too often regarded in narrowly private contexts. “Hand knitting,” writes Lynn “was far from a domestic activity undertaken by women in the privacy of their own homes. In fact Shetland knitting created social networks and . . . relationships which aided women’s survival in the face of economic crises, personal loss, and the vagaries of living in these islands.”

ella

As well as providing a rich overview of Shetland textiles and the history of their production, the book also introduces us to some of Shetland’s most talented contemporary makers and artists – Hazel Tindall, Emma Blain, Ella Gordon, and Donna Smith – all of whom are experts in their fields. These interviews suggest how Shetland textiles not only have an inspiring present, but a very bright future, a fact celebrated by Jimmy Moncrieff in his foreword to the volume.

I suppose I should mention by way of a disclaimer that the people mentioned in this post, who created and contributed to this wonderful book, are my good friends, colleagues and acquaintances. You would perhaps be very surprised if I didn’t like this book. But then I would be very surprised if you didn’t like it either.

If you buy one book about textiles this year, make it this one.

Sarah Laurenson, ed., Shetland Textiles: 800 BC to the Present (Lerwick: Shetland Heritage Publications, 2013)
ISBN 978-0-9572031-3-6


All images in this post are the copyrighted property of the Shetland Museum and Archives and are reproduced with their permission.

a spencer dress

spencer1

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

spencer2

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.

smaguide
(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).

spencer5

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.

spencer3

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!

spencer4

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!

a woolly wednesday. . .

atmos2

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. . .

pomteaser

. . . 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!

swants

. . . and if you have seen Ella’s blog recently, you’ll know why I am unbelievably excited by this:

zedress

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!

three sweaters

frontyoke

I thought I’d show you my three new sweaters! First up is this lovely Fairisle yoke (bought for £16 on eBay).

yoke

This is a garment of a kind that is still being made in Shetland, and that you can find in Lerwick today in shops like The Spider’s Web. I think its a lovely example. The body has been knitted by machine, and the yoke inserted afterward by hand.

yokeinside

The blending of the colours on the yoke is beautiful, and the hand-finishing is exemplary, particularly around the steeked opening for the back neck.

backyoke

The garment is in great condition and shows no signs of wear at all. I fully intend to wear it!

Next up is a sweater that – shock horror – I just knitted for myself.

bowmontfabric

This garment is knitted in some wonderful yarn that I hand-dyed myself at a workshop at Lilith‘s studio four years ago – Bowmont Braf 4 ply. Words cannot express how much I love this yarn – it is springy and sheepy and robust . . . it has a deeply matt, slightly felted appearance, but retains a bouncy hand. Dyed up on it, colours appear soft and muted, as if already worn for a long time. Plus, the yardage is incredible. What’s not to like? Well, only the fact that its long-discontinued. (If anyone knows of a supplier of bowmont fibre please do let me know!). Lilith was very taken with the yarn as well, and our dyeing workshop was the beginning of our collaboration on the Fugue design, which she dyed up as a kit in her glorious Dreich and Lon Dubh colourways. Coincidentally, I know that Lilith is currently knitting an Ursula with her secret Bowmont Braf stash, and I can’t wait to see it.

Anyway, back to the knitting.

As a designer, I think its important to get one’s head around different garment-construction methods – I learned to design yoked sweaters by knitting yoked sweaters – and though I’m familiar with many different top-down sleeve constructions, I’d never tried Susie Myers’ contiguous method, which (essentially) allows you to produce a seamless, top-down, set-in sleeve without the need for picking up stitches around the armscye (which is my usual method). I read the contiguous ‘recipe’, browsed the contiguous threads on Ravelry, purchased a couple of Ankestrik‘s excellent patterns for informed reading, and decided to attempt the method by knitting a sleeve which was a combination of saddle and set-in. The idea was to familiarise myself with the contiguous method’s basic principles, while turning my precious stash of Bowmont Braf into a simple, loose fitting sweater that I could enjoy wearing everyday.

bowmontshaping

I’m happy with the sleeve shaping . . .

bowmont

. . .and indeed with the sweater (though this photograph, snatched between rain showers probably doesn’t suggest it). As my stash of Bowmont Braf was limited, I weighed the remaining yarn and divided it in two before starting the sleeves. This is a pottering-about, dog-walking sweater that makes good use of my lovely Bowmont Braf, and has taught me a bit about a different way of constructing a sleeve top-down! I really like it.

Finally, this amazing find came into my possession for a mere £1.04 via eBay.

shetlandfabric

It’s a beautiful hand-knit vintage Fairisle gansey in natural Shetland-sheep shades. From the way the yarn is spun, I’d say it was probably knitted post-war. The eBay listing described the garment as having been purchased many years ago in an ‘exclusive Edinburgh boutique’. I would speculate that this ’boutique’ was a shop that once stood in Morningside, whose owner sourced garments directly from Shetland knitters, and who has donated several items to the Shetland Museum. This is a really well-made sweater.

Like many such garments I’ve seen, inside the ends have simply been knotted and left to felt

knotted

The gansey has clearly been worn a lot, but is still in great condition. The only area that needs repair is this one cuff.

shetlandcuff

And as Mel said to me when taking these photos yesterday, “it fits like it was made for you.”

shetlandjumper

I’ll take good care of it.

Foula Wool update

foulasheep1
(Foula sheep . . . growing more wool as we speak)

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.

Meanwhile, the Tea Jenny hat / cosy pattern is available digitally via Ravelry, and as a printed pattern through my MagCloud store.

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!

Tea Jenny

teajennys

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 . . .

cupofteas

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 . . .

tejenny2s

. . .someone like me . . .

tejenny3s

Jolly teapots dance around the body of the hat . . .

teapotss

While the crown is a swirling, kaleidoscopic homage to the theraputic wonders of my favourite beverage.

crowns

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”

brims

Foula Wool is a DK-weight yarn, so knit up, this makes for quite a substantial hat worked at 22 sts to 4 inches.

slouch2

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)

crown2

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 . . .

slouchs

Follow

Get every new post delivered to your Inbox.

Join 5,597 other followers