In case you hadn’t already realised, Mel really is my right-hand woman where this designing lark is concerned. She is an incredible knitter and I am very fortunate that she has the time and inclination to test out my designs. Mel is in many ways a much more exacting craftswoman than I, and her experience of, and feedback on, my patterns helps me to produce what I know are more ‘knitterly’ instructions. She is also a valuable sounding board for my design ideas. In the case of Braid Hills, for example, I was uncertain whether or not to continue the cabling on the cuff. . .
. . .and Mel persuaded me that this detail was absolutely essential. She was right.
Working closely with Mel is also useful when I’m grading a pattern. I produce a sample for myself, and Mel produces one too. Although we are similarly petite, we have very different body shapes – as well as being far more curvy than I, Mel has a longer torso, and often has to adjust the length of knitted garments that would proportionately fit her otherwise.
Braid Hills is knit all-in-one piece: the cable pattern has to end on a certain row in order for it to flow into the top-edge ribbing edging . . .
. . . and for this to happen, you have to be quite careful where and how many rows you add, and how you space your buttonholes.
Thanks to Mel, there is a note in the pattern about this.
Mel used the same yarn as me for her sample — Blacker Swan DK — in a natural (ie, not overdyed) stone grey shade. I think the natural shades of this yarn have a hand that is (if possible) even more pleasing than the dyed colourways – Mel’s sample has retained a slight halo without losing any of the stitch definition.
If you’d like to see Mel’s project notes, her Braid Hills cardigan is ravelled here.