. . .to meet a yoke hero

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I have been excited about this for weeks – and can’t quite believe that tomorrow I am going to Göteborg to meet with Kerstin Olsson. For those of you who don’t know, Olsson was one of the group of talented and accomplished women who designed for Bohus Stickning, and the Wild Apple (above) is perhaps her most familiar and admired yoke design – indeed, it is a design that to many, including myself, seems iconic of the Bohus aesthetic itself. The Wild Apple is the only piece of knitting that, from a photograph only, moved me to tears when I first encountered it a few years ago. I still find the design breathtaking and really inimitably beautiful and who would have thought that, seven years after seeing a picture of this incredible yoke, I would be going to Sweden to meet its designer in person! I will be spending several days there, and will also be traveling up the coast to visit the Bohuslans museum. Ye gods!

Thankyou all so much for your wonderful comments and messages in response to my last post. I have been really moved by many of your memories, and am so grateful those who have shared ideas, suggestions, and information. There is so much food for thought in what you say, and for those who have written to me, if I haven’t yet responded by email, I shall do so shortly when I return from Sweden.

I have been particularly interested to read your remarks about fit and sizing, and I certainly spent a long time musing on such matters myself before and during work on these designs. Though many may feel that a yoke is never for them, I have aimed to ensure that several different kinds of yoke, involving several different sorts of shaping, are represented in the collection. In the book you’ll find deep yokes, shallow yokes, colourful yokes, single colour yokes, boat necked yokes, scoop necked yokes, yokes shaped with short rows, yokes involving colourwork, cables or beads. . . . would you like a teaser?

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. . . that’s Mel pouring me a cup of tea at the lovely Courtyard Cafe in Fintry where we held today’s photoshoot for a couple of the designs.

See you soon!

Great Tapestry of Scotland 60 – 92

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There have been some interesting questions in the comments on my previous posts about the Great Scottish Tapestry. Elaine and Deborah asked what materials had been used in the creation of the tapestry – well, the stitchers used Peter Grieg linen and Appletons crewel wool throughout. Terry asked why it was called a tapestry at all, given that strictly speaking it isn’t, which is an interesting question. I couldn’t find a direct answer to this, but speaking personally, my sense of it is that for the majority of folk who are not involved in craft, design, or the fibre arts, the word tapestry immediately suggests the Bayeux Tapestry, which is not woven either, but is similarly embroidered, from similar materials, in a similarly collaborative fashion. Perhaps its the public, narrative connotations of the word “tapestry”, derived from its associations with Bayeux, that have lead the project to be so described? Those who have been directly involved might like to add their thoughts in the comments below. And yes, I am aware of the Prestonpans and Diaspora projects, and am very much looking forward to seeing them both.

As I continue through my photographs of the tapestry, I find myself vaguely frustrated that there are things that I missed, or failed to record with a photograph, particularly in the eighteenth-century sections. . . but I suppose the tapestry’s richness, its inexhaustive nature, is one of the most wonderful things about it. Plus, I fully intend to spend time with it again when it comes to New Lanark in October. Regarding panel 64, which you can see at the top of this post, one of my academic interests many moons ago was the development of what we now know as sign language out of the “natural” philosophy of the Scottish Enlightenment. I was particularly pleased to see a panel recording the pioneering work of Thomas Braidwood, who established the first school for signing in Edinburgh in 1760.

So here are some more tapestry highlights . . from my favourite period in Scottish history.

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Panel 65: James Small and the invention of the swing plough. Love the neeps and kale. “The swing plough changed cultivation radically and by doing that it changed the world”

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Panel 67: Edinburgh’s New Town. Auld Reekie’s familiar Enlightenment geography

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Panel 70: Adam Smith Delighted to see Smith’s invisible hand . . . made visible!

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Panel 73: Weaving and Spinning Loved this panel, stitched by Frances Gardner and Jacqueline Walters. The details of the lace shawl particularly killed me.

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Panel 74: James Hutton’s theory of the earth the birth of modern geology.

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Panel 75: Smoked fish I love how the figure of the fisher lass merges in with the landscape in this panel – that’s her striped skirt you can see in the photo. Finnan Haddies, Arbroath Smokies . . . nom.

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Panel 77: Scotland and the drive for Empire I liked how this panel carefully represented the Atlantic Triangle as a commercial, profit-driven enterprise, with hideous human costs.

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Panel 78: New Lanark Loved the Falls of Clyde, the silent monitor (I have one on my desk) and the way the figures of the dancing children echo their depiction in contemporary prints of the period. (In the eighteenth-century panels, I often noticed Crummy’s designs directly referencing contemporary prints and paintings.)

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Panel 87: The Growth of Glasgow A truly wonderful panel, stitched by the Glasgow Society of Women Artists

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Panel 90: Kirkpatrick Macmillan celebrating the modern bicycle’s 1839 wooden prototype

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Panel 92: The Scots in India this richly coloured and beautifully detailed panel, stitched by Edinburgh’s Wardie Church stitchers, is truly a work of art.

Great Tapestry of Scotland 1-23

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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.

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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

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Panels 3a and 3b The formation of Scotland / The collision. “Geology formed Scotland and the land and the sea formed the character of the people”

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Panel 4 Scotland emerges from the ice. Love the figures of the fisherfolk, the detail of the currach, the graded colours of the stitching.

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Panel 5: The wildwood Hare and Red Squirrel.

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Panel 7: The First Farmers Wonderful textures on this panel.

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Panel 8: Brochs, Crannogs and Cairns. Scotland’s early vernacular architecture.

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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.

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Panel 10: The coming of the legions. I love how the curls of Julius Agricola tell the story.

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Panel 11: Ninian at Whithorn. Beautiful stitching, the work of a single Dumfries needlewoman, Shirley McKeand.

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Panel 15: Dunnichen. Love the bold way that Andrew Crummy and the stitchers have here rendered the details of the famous Pictish stone.

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Panel 17: Dumbarton Rock One of many examples of how the geology represented in the tapestry afforded the stitchers an opportunity to really show off their skills. Astounding.

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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.

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Panel 22: The Flowers of the Borders. Anyone familiar with the architecture of the great Border abbeys will find the subtle pinks and greys of these stitched columns immediately evocative.

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Panel 23: the medieval wool trade. One of many panels illustrating the importance of textiles and their production to Scotland’s culture and economy.

More to come . . .

A Hap for Harriet

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I have a new pattern out today! This is A Hap for Harriet.

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I recently heard that my friend, former colleague, and doctoral supervisor, Professor Harriet Guest, was about to retire, and I thought it might be nice to produce and name a design in her honour. Before I began, I had some discussion with Harriet’s husband, John, about colours. Through a cunning ruse, John discerned that “a muted, not too intense green, jadeish but a tiny bit duskier” would be one of Harriet’s preferences. I immediately thought of this:

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This is a lovely Shetland 2 ply, dyed up in inimitable fashion by my friend Lilith, in her Bitterbug shade. It’s a heavy laceweight, with 800 yards to the 100g skein. It is worsted-spun, both soft and lofty, and blocks out beautifully to create a fabric that is amazingly light and warm. It was the perfect yarn for the hap or wrap I had in mind.

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The hap features a garter stitch centre and a Shetland openwork edging which creates a series of sweeping points. The construction is very simple: it is knit from side to side, the edging and centre are worked simultaneously, and some shaping is added to create a long, shallow triangle.

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The result is a simple, dramatic and extremely versatile wrap that can be worn in many different ways.

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I designed this hap to make the most of a special skein of yarn: simply weigh your skein and follow the percentage instructions in the pattern (the pictured hap measures just over two metres in length). As well as information about how to adjust the hap’s dimensions, the pattern also includes two full sets of instructions: the first for knitters who like to knit from charts, and the second for those who prefer written instructions.

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Today, at the University of York (where I studied, and later worked for many years) there is a colloquium celebrating Harriet’s important work and influence. The hap will be presented to Harriet today, and is my contribution to that celebration. Many moons ago, Harriet supervised both my Masters and Doctoral theses. She had a profound influence on my thinking and writing, and I know I am better at both because of the happy evenings I spent with her discussing matters Eighteenth Century and otherwise over a pint (or two) at the Minster Inn. When I later returned to York to work as a lecturer, Harriet and I established a Master’s degree in Women’s Writing at the Centre for Eighteenth Century Studies, and together we edited Charlotte Smith’s important 1790s novel Marchmont for Pickering and Chatto – a project of which I am still proud. A few days after my stroke in 2010, Harriet appeared in Edinburgh, arms full of vintage detective fiction, which we both enjoy. To me, Harriet has been inspirational teacher, supportive colleague and a true friend. It was often (somewhat dismissively) asked of eighteenth-century women intellectuals whether they could make a pudding as well as translate Epictetus, or write the History of England. Well, I can tell you that as well as changing the way the world thinks about Eighteenth Century literature and culture, Harriet can make a pudding, knit a cardigan, cultivate a garden, sing any tune you like from the Cole Porter song book, and make you laugh out loud.

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Congratulations, Harriet. Hope to see you soon in Herefordshire.

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If you’d like to knit your own hap, the pattern is available digitally via Ravelry or in print via MagCloud.

Peerie Flooers kits

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A happy Beltane to you! It being the time of buds and flowers and new growth, I have today released kits of what is probably my most Spring-like design. Yes, Peerie Flooers is a woolly hat, but this is Scotland and a hat always comes in useful, whatever the season.

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I think the linchpin of this hat is shade FC 11. . .

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This marvelous, quintessentially Spring-like green is one of two shades to have been recently re-released back into the Jamieson & Smith Jumper Weight palette. It is the colour of fresh leaves and new grass, and as soon as I saw it I knew it was the perfect shade to set off Peerie Flooers.
There are six other wonderful Jamieson and Smith shades in the hat, including 91 (egg-yolk yellow) and FC15 (a perfect forget-me-not blue).

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. . .and the kit is all packaged up in my brand new tote bags, featuring hand-drawn illustrations of my designs by my comrade-in-wool, Felicity Ford, aka Felix.

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This lovely sample of Peerie Flooers has been knitted by my Shetland buddy, Ella Gordon, who is also expertly modelling it here.

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Peerie Flooers
: the colours of Spring brought to you today by myself, Felix, Ella, and shade FC11.
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The kit is now up in the shop, and if you are interested in the tote bags alone, I’ve also made these available for sale.

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Shepherd Hoody – re-released

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Just to let you know that, as the rights in this design have now reverted back to me, I have re-released the pattern for the Shepherd Hoody.

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There are a few minor changes to the pattern: I’ve anglicised the spelling, and, following feedback, I’ve also adjusted the sleeve shaping to allow a little more ease around the arm in all sizes. There’s also an exciting new addition to the pattern booklet, as Felix has produced a truly superb schematic illustration for me.

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I think she’s really outdone herself with this one – I find the detail on this drawing just beautiful, and the textures and shading are both accurate and pleasing. Thanks, Felix!

The eight-page pattern booklet for the Shepherd Hoody is now available digitally via Ravelry or in print via MagCloud. If you have previously purchased the pattern from Juniper Moon and would like an updated copy with the new amendments, please contact me with your Ravelry username at info@katedaviesdesigns.com and I’ll sort you out.

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Interview with Jen Arnall-Culliford

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(Jen Arnall-Culliford in her Puffin Apple hat design)

As part of our Cross-Country collaboration, Jen and I thought it would be interesting to interview each other about our different approaches to producing our different designs. (You can read Jen’s interview with me over on her blog today.) Jen is a sharp, focused and highly professional tech editor. In this capacity, she has worked with me on many projects, including Colours of Shetland. But she’s also an accomplished designer, though for some bizarre reason she doesn’t really think of herself as such. This is something that I think needs to change, because Jen designs beautiful, well-thought out patterns, and has, I think, a genuine feel for the structure and behaviour of textured stitches. She has a real knack of bringing a classic design to life with a well-thought out, well-placed motif, such as that which you can see on her Puffin Apple hat above, or the Bruton Hoody (below) that she designed for Cross-Country Knitting. Jen, you are a talented designer, and must keep on designing! (Anyway, you can’t stop now as there are already plans afoot for Cross-Country Knitting Volume Two! ho ho.)

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(Bruton Hoody)

I should also mention that, as well as being available via Ravelry as an ebook, Cross Country Knitting, Volume One is now also available as a beautifully-produced 20 page booklet, which you can order in print from Magcloud.

So here’s Jen’s interview.

Where did you start, Jen, when planning this design?
When we hatched the Cross-Country Knitting plan, I had pretty much hung up my designer hat, and decided to concentrate on editing. I am constantly faced with the temptation of casting on the projects that I edit, and I’m lucky enough to edit many of my favourite designers, so I was generally feeling as if I didn’t have much to add to the vast number of stunning patterns that are already out there. And then something like this came along, and tempted me out of “retirement”. The opportunity of publishing an eBook with you was too much to resist, you temptress! There are also situations where I want an item, and I just can’t find the right pattern out there. I design for pragmatic reasons, rather than because I have a constant supply of inspiration just welling up within me. In many ways, I see myself as a reluctant designer, with enormously encouraging friends within the industry.
Anyway, when I do decide to design, different designs take me in different ways! This time I knew that I wanted to design something for Jim. I knew that it couldn’t be too fussy, but I wanted some knitting interest as well.
Inspiration came from a number of places…
* Jim wears lots of zipped cardigans and hoodies.
* I had a vague memory of a T-shirt he once loved that had a trio of stripes down the left side.
* Maria Erlbacher’s Twisted-Stitch Knitting is one of my favourite stitch pattern collections.
* Editing Nick Atkinson patterns for The Knitter had shown me some clever ways of knitting strips within a piece without having to break off yarns.
*Over a period of days, these different strands came together in my head to create a hoody with interesting construction and a twisted stitch panel on one side.

How did you go about choosing yarn for the design? How much did you swatch?

Ever since I used Excelana 4ply for my Snawheid, I have wanted to use Excelana (from Susan Crawford and John Arbon Textiles) for a garment. It was SO pleasurable to knit with. I’ve had some in my stash for ages, and cracked open a ball for swatching. I tried both the DK and the 4ply weights in good-sized swatches (this is unusual for me – I’m usually a lax-swatcher who will get away with a micro-swatch whenever possible – naughty Jen!). The yarn is perfect for texture work. It’s a lovely balance of great stitch definition, springy woolliness and softness. The Persian Grey shade was also spot on for Jim’s clothes palette, but not too dark to hide the cable panel. The hoody would also be gorgeous in the Cornflower Blue shade, or Ruby Red perhaps!

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(Jen’s Snawheid, knit in Excelana)

Is knitting your design an essential part of the process for you?

Again, it very much depends on the design. Some designs evolve during the knitting (Puffin Apple with its many rips and reknits stands out here!), and others are so well-formed in my head that I can start with writing the pattern straight away. I’m lucky enough to work very closely with Kim Hobley, who does a lot of sample knitting for me. She often helps me to create a design in a reasonable timescale that would otherwise have been impossible. For Bruton, I was working on a smaller-scale version (which is currently in hibernation). I needed to knit the technique so that I could explain the construction clearly in the written instructions, but in this case Kim knitted the full-size sample. We see each other regularly, so she can let me know quickly if anything isn’t going to plan, and I can check on progress too. As a technical editor I’m very used to imagining through the steps of a project and ensuring that the instructions are clear, without actually knitting it myself. I’m also happy to make calculations from the swatch and write up the whole thing from that point.
In the end I have chosen the DK weight for Bruton, as I knew I would be more likely to knit a man’s hoody in DK rather than 4ply, and the swatch has a satisfying weight and drape to it.

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(Jen’s swatches for the Bruton Hoody)

What are your aims when you write up the pattern?

I go with the same principle I used when I wrote up my Chemistry PhD thesis! Someone should be able to easily follow my instructions and get the exact same results. They shouldn’t be left wondering whether I did it one way or another. I aim for as consistent a pattern writing style as possible, with a balance between including lots of detail, but not over-complicating things. You can’t account for everyone’s pattern preferences, but I aim for a set of instructions where the information is presented as logically as possible. You and I have fairly similar pattern writing styles, so we were able to make a few minor changes on each side and ended up with something which works for both of us. I lost the cast off/bind off battle (it wasn’t really a battle!), but in return I was able to capitalise your abbreviations. Compromise being an essential part of teamwork.
(Kate says: ho ho, next time everything will be lowercase)

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(Jen’s thesis!)

Were there any challenges that were specific to designing a man’s garment?

Getting the balance of designing something that Jim would wear, but that knitters would not be bored to tears by was tricky! I’m happy with the finished garment, and Jim has been wearing it non-stop for the last 12 months, so I’m guessing he is happy with the outcome as well. I’ve been holding myself back from stealing it for my wardrobe too!

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(Jim is happy in his hoody)

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(Jen is happy in Jim’s hoody)

Thankyou, Jen!

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