Foula Wool update

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(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!

Shepherd hoody

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You may remember that, last year, I mentioned how thrilled I was to be invited, along with Kirsten Kapur, to design a sweater for Susan Gibbs and Emily Chamelin’s project The Shepherd and The Shearer. Well, the sheep have been shorn, the yarn has been spun, the patterns have been written, and a lovely booklet and a sweater’s worth of yarn is about to wing its way to 200 subscribers. I’ll explain the process, and my part in it.

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Susan’s original brief was one I found particularly exciting: to design a functional cabled sweater that would suit the robust properties of a good, natural woollen-spun yarn, that would wear well and look good over time. For my swatches and sample I used some local Scottish stuff that we imagined would be a really good match for how Emily and Susan envisioned their yarn turning out – New Lanark Aran (a yarn whose weight is equivalent to a US ‘worsted’) . I popped over to the mill to pick up yarn for my sample back in April, and decided that I wanted to make a simple, functional hoody – a garment which a shepherd might easily throw on before nipping outside to check her animals. I thought I’d use a simple modified drop-shoulder construction (a style that’s easy for shepherds of all body shapes and sizes to wear) and an allover cable pattern (both fun and straightforward to knit). I finally settled on a stitch that I have always found really pleasing.

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When knit, this alternating cable has a lovely rhythm to it. It is simple enough to make the knitting a pleasant distraction, but has enough action to remain interesting to work. This was the cable for the Shepherd hoody! I started to work on the design.

While I was knitting away in Edinburgh, over the pond in the US, Emily was shearing sheep.

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The fleeces used for the Shepherd and the Shearer were shorn by Emily from animals raised in fifty flocks on small farms across the Mid-Atlantic region. One thing I find particularly interesting about the yarn that’s resulted from the project is the variety of identifiable breeds and crosses that are blended in it, mixing the fleeces of ancient British breeds like Shetland, with relatively new US breeds, like the California Red Face.

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(I spy a goat-buddy)

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After shearing, the fleeces were prepped and skirted . . .

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. . .then sorted and baled

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From there, the bales were taken to MacAusland’s mill in Prince Edward Island.

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(Here is Emily, heroically joining the bales on their trip to the mill following an accident which severed tendons in her left hand. I’m very happy to say that after surgery and physio, she’s back to shearing again.)

MacAusland’s has been in business since 1870, and under a vertical operation where all processes are finished on-site, scours, cards, and spins raw wool into yarn on a 128 bobbin frame.

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With its firm springy hand, the yarn has indeed turned out to be very close to the New Lanark Aran I used for my sample.

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While the yarn was being processed and spun, the Shepherd hoody was being knitted. Here’s how it turned out.

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Now, I like all my samples, but I immediately developed a very special affection for this finished garment. Once I’d put it on, I seriously didn’t want to take it off. I think its equally suited to tramping about the fields in a brisk wind . . .

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. . . or cosying up by the fire on a chill winter’s evening.

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The hems, cuffs and hood are finished with moss stitch.

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. . . as is the pixie hood

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I’ve used buttons on the facings, but they are equally well suited to the insertion of a zipper, if preferred.

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The construction enables the hoody to be knit all in one piece, completely seamlessly, with minimal finishing. The pattern is sized from 30 to 57 inches, and I reckon it could easily be worn by a shepherd of either sex.

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In short, I absolutely love this garment, and it was really very difficult packing it up in a box and sending it off to the US.

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The pattern for the Shepherd hoody, together with that for the breathtakingly beautiful Shearer pullover, designed by Kirsten Kapur, is included in a booklet produced by Juniper Moon Farm telling the whole story of The Shepherd and the Shearer. This booklet, together with a plump package of yarn to make their choice of sweater, is about to be posted to the project’s 200 subscribers, without whom none of the processes I’ve described in this post would have happened.

From start to finish it has been a delight to be part of a collaborative project which truly celebrates sheep and wool, and which also makes transparent and legible the many different kinds of labour that go into raising and processing fibre. It is quite rare to receive a commission to design a garment to support that labour, and to showcase the unique properties of that fibre, rather than to speak to a trend, and I have to say that this is one reason I was so pleased to be invited to participate. The project has brought together the skills of many talented women and I am very proud to have been involved. I want to say a special thankyou to Lauria at Juniper Moon, who has been cheerfully brilliant at co-ordinating the project, and bringing everything smoothly together. I hope the subscribers enjoy their wonderful yarn, and the patterns that Kirsten and I have designed, and I understand that a limited further number of Shepherd and Shearer kits will also soon be available from the Juniper Moon Shop, so if you are interested in knitting yourself a Shepherd hoody or a Shearer pullover, do keep your eye on the site for updates.

Photos reproduced courtesy of Juniper Moon Farm

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A tale of Titus

As you know, the story of the yarns I use in my designs is very important to me. I am always interested to know as much as possible about a yarn’s provenance and background; like to use fibres that are locally grown and processed where possible; and am especially keen on yarns that showcase the unique qualities of different breeds of British sheep. One of my recent ‘wow’ discoveries is Titus, a wonderful new yarn that has been developed by my Yorkshire friends at baa ram ewe. I am sure many of you will have heard of Titus already, even if you haven’t knit with it, as each new batch seems to disappear from baa ram ewe’s shelves in Headingley and Harrogate almost as fast as it is spun up. Why is Titus so special? Well, this yarn blends the lustrous fibres of two beautiful British sheep breeds — Grey Wensleydale and Blue Faced Leicester — together with 30% UK Alpaca. These three different fibres are worsted-spun together to create a yarn that has a gorgeous sheeny-soft hand, but also tremendous strength. What I especially like about this yarn is that it feels incredibly luxurious but, because of the particular qualities of the fibres of which it is composed, is also clearly really tough and hard wearing. It has a really unique hand — smooth, yet because of the Wensleydale, slightly hairy — and you can tell as you knit it that the yarn simply does not want to bobble or pill. So far, Titus has been available in three natural shades, but five new colours are about to be produced, meaning that the yarn now also has a beautifully balanced palette. In short, I love Titus, and have just completed a couple of designs using it, which I’ll show you very shortly (huzzah!) First, though, I caught up with Verity Britton of baa ram ewe to hear more about Titus and the thinking behind it.

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How did the idea for Titus first come about?

Owning a wool shop and choosing among the hundreds of different yarns that are offered to us does make you think about what your dream yarn would be. We love the fuzziness of our local Wensleydale and the softness of the Bluefaced Leicester and Alpaca, and when the opportunity came to have a small batch spun, we jumped at the chance. It was amazing seeing our dreams become reality!


Can you tell us about the process of the yarn’s development? What was involved?

We knew what mix of fibres we wanted in our yarn, but we’d never made one before, so we took some advice from the the wonderful John Arbon of Fibre Harvest, who spun our first ever batch of Titus. We’re passionate about supporting British Wool and UK fibres and showcasing our local breeds here in Yorkshire, so it some ways it was an easy choice to make. We could say we had a firm idea of exactly how the yarn should be spun and what it would look like but in fact we put our trust in John who had far more experience at spinning wonderful yarns than we did. We were very nervous when we ordered our initial 12 kilos- would we like it? Would anyone else like it? But when the box arrived we breathed a huge sigh of relief. It was absolutely gorgeous and surpassed all of our expectations.


Who was Titus Salt and why is he associated with your yarn?

Sir Titus Salt was a Leeds born wool manufacturer who became tired of the smoke and pollution emanating from Yorkshire’s mills and factory chimneys and built a new mill on the outskirts of Shipley, followed by houses, bathhouses, an institute, hospital, almshouses and churches which became the village of Saltaire, now a World Heritage Site. But this wasn’t Sir Titus’ only achievement. In 1836, Titus came upon some bales of Alpaca in a warehouse in Liverpool and, after taking some samples away to experiment, came back and bought the consignment. Sir Titus became the creator of the lustrous and subsequently hugely fashionable alpaca cloth, which contributed massively to his success as a manufacturer. And that’s why we’ve added 30 per cent of the finest UK Alpaca to our yarn, which adds a little bit of magic to our wonderful wool, and strengthens that connection to our Yorkshire heritage even further.

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It is fair to say that Titus has been a roaring success, recently voted no.1 British yarn by the readers of Knit Now Magazine! Do you have any plans for new colourways and ranges?

We have been completely bowled over by the popularity of Titus and can’t thank knitters and customers enough for their support, especially for their patience when we sell out! It’s been so popular that we have now been able to introduce a brand new Titus colour range spun by the amazing Peter Longbottom of West Yorkshire Spinners. There are eight shades, all inspired by our Yorkshire surroundings, which blend beautifully together making them ideal for colourwork. It’s being dyed up as we speak and should be available in the next week or so- we’re so excited!

baa ram ewe is located in the historic hub of the UK textile industry. Is that heritage important to you? How?

One of the biggest reasons for opening baa ram ewe in Leeds and now Harrogate was to reaffirm Yorkshire’s historic link to wool and to celebrate that heritage. Industrial towns like Leeds, Bradford, Halifax and Huddersfield would not have flourished without the wool trade, and towns like Harrogate with the Yorkshire Dales on its doorstep mean sheep breeds like the Wensleydale and Swaledale are practically on your doorstep. We want to celebrate that woolly heritage and we love that so many of our customers want to see and buy yarn that is local to Yorkshire- it means we must be doing something right!

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I lived and worked in Yorkshire for many years, and love it for many reasons. What is special to you about Yorkshire and its landscape?

It’s hard to put your finger on it, but for me there is an understated natural warmth and beauty to both the Yorkshire landscape and the people that live here. Yorkshire has a really captivating mix of both industrial and rural heritage that is really unique, creating a quiet confidence that envelopes you and makes you proud, even if- like me- you weren’t born here. It’s a rich, varied and special place and if you haven’t been- come and visit soon!


What is your favourite Yorkshire expression or dialect word? (For the record, mine is probably GINNEL).

Oooh I like Ginnel too! Joint favourite though is one I got from my husband and is RADGED, as in ‘he were proper radged’, meaning very, very angry. To me, it’s almost an onomatopoeia. My mother in law says it all the time and it always makes me chuckle.

Finally, what’s next for baa ram ewe?

Oh Lord, who knows? We’ve just opened a second store in Harrogate, North Yorkshire, so we’re still recovering from that. We can’t wait for our new Titus colour range to hit the shelves any day now, and then we’ll be taking that to Woolfest in Cumbria and TNNA in the U.S in June, as well the new Yarndale show in Skipton this September. Oh, and then we’re organising the second Yorkshire Wool Week in October. So just another quiet year for us again then….

Thanks, Verity!

And finally, here’s a wee hint of what’s to come in my Titus designs :

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Here is the result of my pompom mania — SNAWHEID!

Snawheid is a seasonal, snowflake-adorned beanie, feauturing a gigantic snowball pompom. It being Wovember and everything, I thought it would be fun to present to you three rather different Snawheids, each made in a different British breed-specific yarn. All are, of course, 100% wool (as is, incidentally, the rest of my outfit, with the exclusion of my boots).

Snawheid #1 is knitted in Shetland Organic 2 ply. As its name would suggest, this yarn comes from certified organic Shetland sheep, and is processed by organic mills. It knits to a standard 4 ply tension, and, as you would imagine, has a lovely woolly, typically Shetland hand. In the ball it has a matt, almost chalky feel to it and it is plied and spun slightly looser than other natural Shetlands I’ve knit with. When blocked, it puffs right up, producing a lovely halo. I gave it a good long soak and the yarn bloomed and relaxed tremendously. Its a really special, totally traditional Shetland yarn, and makes a lovely soft, even fabric. It has lent Snawheid #1 a quintessentially cosy, Wintery feel.

For a rather different look, I present to you Snawheid #2, which has been knitted by Jen in Excelana 4 ply.

I decided not to stick the pompom on Jen’s Snawheid just yet, so that I could show you my crown design — which is shaped to resemble a gigantic snowflake. If one were in any way averse to pompoms, or preferred a sleeker look, the crown ensures that your heid will remain adequately snaw-y, however you decide to knit this hat.

Excelana is a collaboration between Susan Crawford and John Arbon: the former has unparallelled knowledge of vintage yarns, and the latter is the UK’s independent spinning meister. The result is this delicious blend of 70% Exmoor Blueface / 30% Bluefaced Leicester which has an incredibly smooth, soft hand, a lovely sheen, and a good bit of bounce. Being worsted spun, it also has superb stitch definition, making it ideal for showing off some festive colourwork snowflakes.

Without the enormous pompom, and knitted in the monochrome shades of Persian Grey and Alabaster, I think Jen’s hat has a lovely muted, classic feel.

And finally, here is Snawheid #3.

After I finished Snawheid #1, and got my hands on Snawheid #2, I had a sudden desire to make another one using Jamieson and Smith Jumper Weight. Snawheid #3 is knitted in shade FC 34 — the coolest of cool winter blues — and 1A, a natural Shetland white.

I am not quite sure why, but this is my favourite of the three.

Perhaps I am just in a blue-hat mood, or something.

Or perhaps its that the addition of colour makes this hat feel particularly jolly and festive.

Or perhaps it is just that knitting with Jamieson and Smith jumper weight feels like spending time with an old friend.

In any case it is fair to say that I have gone a wee bit Snawheid crazy. These gigantic, happy pompoms certainly chime with my mood right now; I am really pleased with the design and I absolutely love every one of these three hats. And let me tell you that you have got off lightly with the name, as the temptation to call it Bawheid (one of Tom’s dad’s favourite insults) was extremely strong.

Well, now there’s just a bit of pattern-tweaking and checking to do and, all being well, the SNAWHEID pattern will be released on Ravelry tomorrow (19th).

Wovember is here!

Happy Wovember, everyone! If you haven’t done so already, I urge you to head on over to the Wovember site to read the first of many wonderfully woolly installments. This year, I’ve not really been involved with the Wovember preparations because of the, um, somewhat pressing demands of my collection and book, but you can be assured that I am sitting here wearing my 100% wool outfit and Wovember badge and supporting everything that Felix and Tom are doing. This years Wovember theme is ‘closing the gap’ – that is – the gap between fibre and finished commodity that often leaves consumers woefully misinformed about a yarn or garment’s provenance and the different processes involved in its production. Tom and Felix have done a marvelous job of curating a series of really inspiring and interesting essays, beginning with a group of posts exploring what’s involved in “Growing Wool”: celebrating sheep, and the work of the people who raise and care for the animals who produce the fibre that we all love to knit with. I’m looking forward to reading more!

I shall be doing my bit to celebrate Wovember by knitting like mad, wearing wool every day, and writing more about woolly matters. I’ll try to post here every day for the next month. Till tomorrow, then — HAPPY WOVEMBER!

Shetland Wool Week in Pictures: part 3

where we stayed (I would heartily recommend it).

And the view from our window.

Shetland Times Bookshop, ready for Wool Week.

Delicious Fair Isle Cake, at the Heritage Yarn launch


Wonderful new yarn from Shetland Organics

Projection of Jo Jack’s work at the Bonhoga Gallery



Luminous Yarns

Jane Outram’s prize-winning tablet weaving at the Shetland Textile Museum.

Pressed-felt brooch by Donna Smith


Shetland Wool cushions by Ella Gordon

Phat Sheep Textiles

Handwoven pincushion from Aamos Designs

Nuff said.

Shetland Wool Week in pictures, part 2


Mel at Aithsetter


Mel and Hazel McKenzie, our Wool-Week landlady.




Sandra and Ella at J&S (if you are wondering about their cardigans, there’s a free pattern here)


Eric Stewart, showing us around the impressive textile facilitation unit at Shetland College


Knitters from six nations enjoying a trip to Unst (yoohoo ladies! It was lovely to meet you!)


Hazel Tindall, teaching Fair Isle


Gudrun, teaching lace


Susan, looking fabulous


Chris Harrison, Operations Director of Vi-Spring, receiving an award from Eric Wilson, past-master of the Worshipful Company of Woolmen, and one of the directors of the Campaign for Wool


Oliver Henry, telling us about the development of the new Shetland Heritage Yarn

(if you look at the window-reflections in the previous 2 photographs, you’ll see Misa and Deborah — the organisational geniuses behind Shetland Wool Week, to whom we are all incredibly grateful for this fantastic event! I think I can also spot Jane’s back in a rather pleasing cardigan . . .)


Me and Bess Jamieson – both wearing Fairisle – at the Shetland Textile Museum.

(Big thanks to Cathy Scott for permission to reproduce her photos of the Unst trip and Hazel’s workshop)

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