surfacing

Whoa. I didn’t mean to just disappear on you there! Don’t worry — I’ve not, like the indomitable Betty Mouat, been cast adrift on the North Sea with half a bottle of milk and a biscuit — but I have just been really, really, really busy — working on my book, and a few other projects, as well as spending more time in Shetland photographing my new designs. I’m actually enjoying being so, um, occupied (it is genuinely lovely to feel able to work at a reasonable pace again) but it does mean that I have got stupidly behind with many other things — so if you have been waiting to hear from me, my apologies!!

Anyway, here are today’s announcements:

As the pic at the top of the post suggests, an edited version of my Betty Mouat feature article appears in this months edition of 60 North Magazine. Even if you’ve already read the article, or have no interest in the trials of Betty M, I would encourage you to pop right over to 60 North and download your (free) copy immediately.


There’s a great feature about the new Shetland Textile Museum, its unparalleled resources, and the expertise of the amazing women behind it, and I really enjoyed reading Jordan Ogg’s lively guide to spending the day in Lerwick (which includes some great tips about the best local charity shops for knitwear). There’s also a a piece about the restoration of Unst’s beautiful Belmont House (an idyllic knitting retreat if ever there was one) and a fascinating interview with Ann Cleeves (whose Shetland Quartet has recently been adapted for the BBC and whose adaptation will feature . . . some of my stuff!!)


(Peerie Flooers hat, coming soon to a TV screen near you)

Also, I just released a pattern.

These wee fingerless gloves have been in the pipeline since Spring, and I’ve written up the design for my friends at Studio Donegal. If you visit their lovely shop in Kilcar, you can actually buy a pair of these gloves hand-made by local knitters in beautiful Donegal tweed . . . but if you fancy making your own, you can now find the pattern here or here)

And while we are on the subject of patterns . . .

Did you see that Cloudy Apples has been released?

Cloudy Apples is a collection of accessories that my lovely friend, Jen Arnall-Culliford has created with the equally lovely Kyoko Nakayoshi. The patterns are being released in stages, and first up are these terrifically elegant socks, designed by Jen.


(Dunkerton Sweet socks, designed by Jen Arnall-Culliford. Photograph ©Jesse Wild)

Each design in the collection has been named after an apple — and just like apples, these accessories are sweet, seasonal, and very tasty.

ALSO — Tom’s news is that he’s just accepted a great new job at Glasgow University. He starts in-post next March, and will commute for the time being . . . but in the long term this may herald a Westward move for the Davies / Barr homestead. . . exciting!

AND FINALLY, for those who have missed Bruce, here he is, sitting nicely in the exact location of the discovery of the St Ninian’s Isle treasure 58 years ago. . .

. . . negotiating a stile in customarily elegant fashion . . .

. . . and being intrepid on the cliffs of St Ninian’s Isle.

What a grand walk we had that day.

There is much more to tell you. I’ll be back very soon xx

Tír Chonaill

Woolfest is just a fortnight away! I am pleased to say I am mostly prepared (hoping to hear about the whereabouts of the last of my stock today, fingers crossed). I’ve produced two new designs to launch as kits at the event (with yarn and project bags), and sent the patterns off to my printers yesterday. As it really isn’t long till they are published, I thought I’d show you a few photographs in advance. So here’s the first design: it is a Donegal wrap or throw, and I’ve called it Tír Chonaill.

The wrap is knitted in “Soft Donegal” – the same lovely Irish yarn I used for the Bláithín designs. As well as the fresh, Spring-like shades I used for the cardigans, there are a number of deep jewel-like shades in the Donegal Yarns palette that really speak to each other, and which I wanted to bring together. The throw mingles three of these rich shades against a creamy báinín background.

The palette and pattern were inspired by Medieval tapestries. And the name of the design also has historic associations: Tír Chonaill was the name of the last independent Gaelic sovereignty in Ireland: a kingdom which, until the Flight of the Earls in 1607, covered most of what later became County Donegal.

The finished design is about 3 feet square – just right for a wrap or lap blanket – though the tiled repeats mean that it is easily customised for those who would prefer a smaller pram blanket, or a larger throw. It is knit in the round, steeked and finished using similar techniques as those used on the Bláithín cardigans. And the pattern is surprisingly simple to knit — because the yarn is worsted-weight, and the background shades are never carried over long distances, the throw works up quickly, and would be fine for someone reasonably new to colourwork. You can see the steek-sandwich and i-cord edging here:

One of the things I really like about this sort of tiled design is the way that the repeat creates different lines of visual continuity. This only works over a reasonably large area – so this is an ideal design for this particular repeat.

The rich tweedy colours – which really speak to, and blend with, each other – add to this sense of continuity as well.

We took these photographs at St Anthony’s Chapel, just down the road in Holyrood Park. When I’m there, I always think of the ascent of Arthur’s Seat in James Hogg’s Confessions of a Justified Sinner.

Unfortunately, it was too cloudy for brockenspectres when we took these photographs. But even when there are teenagers and tourist buddies about (it is a popular spot) I always find the atmosphere around the chapel just a wee bit eerie.

. . . an atmosphere which was only added to by a little wind and rain.

There were also several canny rooks knocking about the ruins of the chapel, but none of them wanted to participate in our wuthering photoshoot, unfortunately.

So, if you like this design, I’ll have it available in kit form at Woolfest! The pattern now has its own ravelry page, and printed and digital copies of the pattern will also be available shortly after the launch. I may be able to offer some kits as well, depending on the level of interest.

Two days in Donegal

I am designing a few things at the moment with a yarn that is new to me. I really like this yarn – and surely the best way to find out some more about it was to visit the place where it is made? So, on Friday, Mel and I took a trip to Donegal.

The yarn is a 2 ply light aran (US worsted weight) called “Soft Donegal”. It is “soft” because its yarn base is an Australian Merino – and it is “Donegal” because it is processed with the colourful neps, burrs, or flecks that are a familiar characteristic of Donegal tweed. The processing and the end-product are what is traditionally “Donegal” about this yarn. It is manufactured by Donegal Yarns, and distributed by Studio Donegal.


(Tathams of Rochdale carding machine at Studio Donegal. I hail from Rochdale, and always like to spot their machines in a mill.)

I have visited quite a few mills, but this first time I’d seen a fully vertical operation – that is, a mill where all of the processing stages from raw wool to finished yarn are effected in-house.


(Francis introduces Mel to the raw wool.)

Donegal Yarns dye the wool. They mix the dyed colours into beautiful, complex shades; they add the neps (the tweedy flecks) and the wool then goes through several stages of carding and condensing before it begins to resemble what we’d call a ‘single’.

Different stages of spinning, tying, washing, drying and skeining follow before the yarn is finally ready to leave the mill as balls or cones.

Thanks to Francis, the production manager at Donegal Yarns, Mel and I learned all about the operation — as well as many things we didn’t know about yarn processing.

This machine closely resembles a giant pair of human legs and feet — it ensures the colour is evenly distributed through the dye-vats and is appropriately called a “stamper.”

Wool shades are mixed with tweedy “neps” by being repeatedly blown about together in an amazing fleecy snowstorm . . .


. . . the Scotch Feed (invented by Henry Brown of Selkirk in 1844) puts a nifty twist into “woollen” processed yarns, turning and realigning the carded wool in preparation for the next stage.

I am often stunned by the fit-for-purpose ingenuity of textile machinery and the tape condenser (invented in the 1870s) is particularly ingenious. The efficient transformation of carded wool into fine ribbons relies entirely on the slightly-sticky properties of the fibres.

Francis was so knowledgable and enthusiastic and very tolerant of our yarn-related ravings. (Thanks, Francis!)


(a badly out-of-focus shot captures Mel’s rapturous reaction to the end product at Donegal Yarns)

The following day we visited Tristan Donaghy at Studio Donegal, just around the corner from the mill. As well as distributing Donegal Yarns for hand-knitting, Tristan runs his own small and highly-skilled manufacturing operation, producing unique hand-woven cloths which are used to create beautiful home furnishing fabrics, together with a small range of clothing.

What Tristan doesn’t know about Donegal tweed probably isn’t worth knowing. He was extremely generous both with his time and knowledge, and Mel and I came away feeling we had learned an enormous amount.

We saw unspun sliver being woven directly into boucle fabric for a textured effect . . .

. . . we found out about leno and tuck selvedges . . .

. . . we learned all about the different processes involved in finishing a hand-woven scarf or blanket (adding a rolled fringe is much more complex than you might think!)

And then we went outside to explore our surroundings, and let all we’d seen sink in.


(Me, the BMC, and the Maghera waterfall)

We could immediately see the material connection between the yarns and textiles we’d been admiring, and the beautiful landscape of Donegal.






Such an inspiring weekend! Thankyou Chris, Francis, and Tristan! Now it is time for me to get busy with those needles. . .

* You can buy Donegal Yarns directly from Studio Donegal, or from stockists like This is Knit.
* Read more about Donegal Yarns and Studio Donegal in Carol Feller’s super book, Contemporary Irish Knits

Aerial Errigal

I last saw Errigal eight months ago , when you may remember I had a bit of a time getting up and down the chuffer. It is a truly spectacular mountain — just as spectacular from the aerial perspective I saw it from earlier today. As this photo might suggest, Mel and I have spent a fantastic weekend in Donegal. There were sheep! Mills! Yarn! Unseasonably warm weather! More of all of this once I’ve got my breath back . . . and done a bit of knitting.

Hope you’ve had a lovely weekend too!

Errigal


Errigal dominates the landscape of North-West Donegal. Everywhere you look, it is there. In the photo above, it is the fuzzy triangle at centre right, while, in the one below (taken from Horn Head), you can see its distinctive scree slopes catching the evening sun.

I was reminded of the Hebrides in many parts of Donegal, and Errigal is a mountain very similar to the Paps of Jura — a shapely quartzite cone rising dramatically out of the surrounding bog. It is a fabulous looking mountain, appearing around every vista as if to say “climb me,” and so this is what we did.

I should mention that I had managed to forget the battery of the camera I like to use, and that this walk is not-altogether-successfully documented with a wee camcorder. These three seconds of shaky footage taken from a moving van give you a reasonable sense of Errigal’s dramatic appearance as we approached it from the West.

There are a number of different ways up the mountain from the R251, all of which involve a good half hour of picking one’s way over squidgy bog before beginning the ascent proper. Here, at this point, are Tom, Bruce and a whole lot of scree.

At 2464 feet, Errigal is not a tall mountain, but it posed serious difficulties for me. The ascent involves scrambling up a scar in the scree, and herein lay the problem. Quartzite is sheer and slippery, and quite apart from the physical effort of climbing up it, I had to think about the placement of my weak leg and foot with every step – this was completely exhausting.

The other two mountains I have climbed since my stroke have been ‘easy’ in that they didn’t involve a lead-in walk, and their ascents were steady, on clearly marked paths. On Errigal, after some tiring and tricky bog-stomping, I faced ground that was steep and uneven and slippery. I was becoming very weary by the time I approached the upper slopes.

The summit of Errigal is really rather fun – there are two points separated by a wide ‘ridge’ that is simple to cross – and the views really are fantastic. But I think you can see in this next clip that I am totally bloody knackered.

If you have no experience of neurological disability, the motor deficits caused by stroke can be quite difficult to explain. It is really, really tricky for me to walk on uneven ground – not because my leg is physically damaged in any way but because it does not know what to do. The foot has no stability, and, when I get tired, my brain simply stops sending the right messages – I become unable to point or lift my toes – essential actions for walking. This is the stage I was at by the time I reached the top of Errigal, and I was not looking forward to getting back down again. There is no footage of the descent because it was horrible. There was falling over and arse-sliding. There was getting to my feet, and falling over, and sliding on my arse again. I cursed my leg and brain and my stupid body for having had a stroke. I cursed the mountain. I threw my sticks at the scree and shouted at it. Getting back to the van was a drawn-out and deeply unpleasant affair, and, if I am honest, my attitude did not help matters.

The problem is that I often still think like someone who has not has a stroke: someone who would skip up and down a mountain like Errigal in a goat-like fashion and – here is the rub – take pride in that skipping. I used to be a physically capable person, and, though I didn’t ever consciously think about it, I really enjoyed that capability. I loved being quick and nimble in the hills; I loved exhausting myself. Now I am all too easily exhausted, and am frequently appalled and even embarrassed by my body’s refusal to do what I want it to. I hate being slow and ungainly, and I also hate being seen to be slow and ungainly. It is at moments like this that I really wish I had the HELLO, I’VE HAD A STROKE T-shirt. I think to myself: if they knew what had happened, they wouldn’t look at me as if I was a slow, silly girly, the unwilling partner that a clearly-fitter bloke was dragging up a mountain. They wouldn’t, as they saw me struggle, sympathetically turn to Tom and mutter “you might want to watch out at the top, the ridge can be a bit tricky.” At such moments I want to tell these numpties to FOOK RIGHT OFF and that I’VE HAD A STROKE BUT I CAN STILL HANDLE A BLOODY RIDGE WALK!!

I, of course, used to be one of those numpties. Without thinking about it, the physically fit often sneer at those who are less capable, and I will be honest and say that there was certainly a significant element of this in my pre-stroke character. In the context of being out in the mountains, my particular sneering was composed of two-thirds hideous prejudice, and one-third (misplaced) feminism: if you are a serious hill walker, you often encounter women who are clearly being dragged around the landscape by their men, and one thing I knew was that I was not one of those women. Why was I so bloody judgmental? And in my present circumstances, does it really matter what people think at all?

Of course it doesn’t matter – I absolutely know it doesn’t matter – I know that I am tackling mountains in my own time and at my own pace; that it is amazing that I can do so at all; and that folk can think what they like or go hang . . . and yet it is true that the point at which I became most angry and frustrated on Errigal was when we were passed by an elderly couple who were finding the descent a total breeze. Clearly, I still want to be the scree-dashing, nimble person – and in some ways that is very important since it is precisely this desire that makes me work hard at recovery and attempt to get up mountains in the first place. But things get tricky when the impulse to succeed comes up against not just an uncooperative body, but the most stupid and unpleasant aspects of one’s own psyche. I will be honest and say that, though I got up and down it in the end, Errigal very nearly did for me. As well as encountering my physical limitations, I think I met the limits of my own hubris in Donegal.

away

Projects are completed, bags packed, and the wazzwagon has been pimped up with new tinted windows. Tom, Bruce, and I are off across the Irish Sea, and will be away for a wee while.

Thanks for your interest in Textisles! I won’t have internet access while I’m in Ireland, so please bear that in mind if contacting me with any queries. Feicfidh mé roimh i bhfad thú!

Follow

Get every new post delivered to your Inbox.

Join 3,955 other followers