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.

maud

hogg
John Watson Gordon, James Hogg (1830). © National Galleries of Scotland.

I’ve been working on a piece for Yarn Forward about tweed. In the course of my research, I’ve been reading a lot about the Maud: the shepherd’s plaid traditionally worn in the Scottish Borders. This is John Watson Gordon’s portrait of James Hogg, best known as the author of the tremendous Private Memoirs and Confessions of a Justified Sinner (1824). In the portrait, he carries a shepherd’s crook and his maud is displayed prominently over his gentleman’s attire. Hogg’s maud — the sign of his local attachment to the landscape and traditions of the Borders — is here much more than a visual conceit. He was a working man who had grown up tending cows and sheep in the Yarrow valley, and, after achieving a degree of literary fame, was always known as the Ettrick Shepherd. My friend Meiko, an expert on Hogg, told me a great anecdote about him wrapping his maud about his shoulders before running all the way to Edinburgh in pursuit of his literary fortunes. He was 40 at the time.

Hogg, and his friend Sir Walter Scott did much to popularise the textile traditions of the Scottish Borders — by writing about them, and by wearing them too. By the 1840s, the distinctive monochrome checked tweed, produced in Selkirk, Galashiels and Hawick had achieved immense popularity all over Britain, and was worn by both men and women.

It is still popular now!

plaid2

Last weekend we had a great time in the Borders, tracking down some tweed, and checking out the celebrations at Scott’s Selkirk. There were many mauds in evidence. This one was clearly in need of refreshment:

tea

And the construction of this one demonstrates the closed ends and original use of the maud — for carrying lambs.

bonnet

Of course, after seeing all these mauds I wanted to try one for myself. I bought several waste lengths of borders tweed from Selkirk’s most exciting emporium (well, it is to me anyway)– the wonderful Hinnigan. You may remember that the lovely Helen first introduced me to Hinnigan a while ago, and then I made this cosy blanket out of their fabric. I love the textures and colours of their tweed, and really can’t speak highly enough of it, for both quality and contemporaneity. As well as selling by the metre, Hinnigan also design fabric for fashion at the catwalk end of the market. They also produce fabric for a couple of familiar high-end stores on the UK high street. I have admired Hinnigan’s tweed for years in the form of wonderful wool coats and skirt suits, without realising where it came from. . . .

hinmos

I think many of you will be able to identify the shops in question.

Anyway, I got several thin lengths of waste Hinnigan tweed and whipped myself up a quick prototype. I chopped the length into four, and sewed the four pieces together to create a sort of T square shawl shape. I then cut out and attached a lining – and bingo.

maudmos

I am quite excited by the possibilities of this garment. It is very warm, and very wearable. (Well, I think so anyway — and who cares if I go about looking like some sort of Victorian re-enactor? Certainly not me. . .) Perhaps, when (if?) I get some time, I will attempt a grey Borders maud, in honour of James Hogg’s.

head

Apologies for the quality of these photographs. My abilities with the self-timer in poor winter light are limited. More maud experiments anon (if I can fit them in amongst all the writing, other work, and frantic Christmas crafting…)

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