Sixareen Cape

While we were in the Highlands, we took the opportunity to photograph a design I’ve had ready for a while: the Sixareen Cape.

sixareenfulllength

I started knitting this Fair Isle wrap last October. You may remember that at that time I’d just designed a hat especially for Shetland wool week (The Sixareen Kep) using Jamieson and Smith’s wonderful Shetland Heritage Yarn.

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(Sixareen Kep at my Shetland Wool Week Workshop, modelled by Tania Ashton-Jones. Photo courtesy Charlotte Monckton)

Around that time, I was getting a lot of wear out of a circular wrap I’d purchased from Toast (which I am wearing in the photograph above). This wrap was a sort of deep tube with raglan shaping, and I was surprised at how versatile a thing it was. It was a scarf, a cowl, a snood, and very nearly a sweater. I wore it scrunched up inside a coat when I was outside walking Bruce, I wore it wrapped about me inside the house when I needed another layer, and I wore it thrown on over a suit jacket when a little extra warmth was required outside. I liked it so much that I decided to design my own version featuring a deep Fair Isle border of the same chart design I’d used for the Kep, which I’d been very pleased with. This was the result.

sixareenclose

The border of the circularly-knit ‘cape’ features three repeats of the ‘kep’ chart. Its a design I’ve come across in several Shetland sources, and, if you look at it, you’ll see that it is an interestingly stretched-out and squashed incarnation of a traditional OXO motif. There are several things I find really pleasing about this chart. The background is unusually spacious for a Fair Isle motif (there are stretches of 7 stitches in some places), and there’s something about this space that allows the different shades to sing. Because of this, when repeated, the motif develops a shimmering near-kaleidoscopic quality, which I really love.

tworepeats

The heritage yarn is amazingly soft, and wonderful to work with. It is the perfect yarn for traditional Fair Isle, but it also has a marvelous drapey quality which makes it absolutely ideal for this kind of garment. The plain stockinette portion is knitted at a slightly looser gauge to enhance the drape, allowing the garment to be worn in several different ways.

It can be worn scrunched up, cowl-like around the neck . . .

sixareen

Pulled forward, collar-like, around the shoulders . . .

sixareenfrombehind

Or pulled down, cape-like, around the torso . . .

sixareenadjusting

Decreases are worked through the plain stockinette part of the garment in exactly the same way as the shaping of a raglan sweater.

sixareenfromabove

. . . and the end result is a striking and versatile wrap that is also great at warding off chilly highland breezes.

sixareenlandscape

These photographs were taken above Rannoch Moor on a truly beautiful evening.

sixareenflare

The cape comes in seven sizes, with a circumference of 45″ to 59″. It is fitted by measuring the wearer’s total shoulder circumference, and it should be worn with at least 2 inches of positive ease, to allow the wearing of layers underneath. If you would prefer a deeper or shallower wrap, the length is easily adjusted following the instructions in the pattern.

The Sixareen Cape is now available to purchase digitally through Ravelry and you can also purchase the pattern in print, to be shipped directly to you, (wherever in the world you are) via my Mag Cloud store.

she swatch sea shells


(photo by me, courtesy Shetland Amenity Trust)

I’ve been swatching sea shells on-and-off for a few months now. To explain: when I visited Shetland in January, I fell in love with this stole, shown to me by the wonderful Carol Christiansen at the Shetland Museum and Archives (it is seen here from the wrong side). The colours were probably not those I would have personally chosen, but just look at the pattern! There was garter stitch! Openwork! Undulating hues! An intriguing effect created with what appeared to be dropped stitches! What wasn’t to like? After a few days on Shetland I realised that this stole showcased a pattern that would be immediately familiar to any local knitter — the cockleshell. I’m sure most experienced Shetland knitters would describe the cockleshell as one of the simplest openwork repeats there is, and it seems to be the scarf pattern of choice for many a beginner who is getting to grips with lace. On Shetland, you can’t move for cockleshell lace — it is everywhere! What a place to be.


When one goes looking for it, the pattern is pretty much everywhere, too – you’ll find one variant or another in most stitch dictionaries and introductions to knitted lace. Barbara Walker has it listed as “grand shell, or hoopskirt” in her Second Treasury, and darkly warns “raw beginners” to “stay away from this one” (the dropped yarnovers, perhaps?)

It is also a curiously mercurial pattern that, when knitted in different types of yarn, produces startlingly different effects. Above is “Margaret’s cockleshell scarf” from Carol Noble and Margaret Peterson’s Knits from the North Sea, which is worked in quite a heavy 4 ply merino. But when knitted in fine Shetland laceweight, the pattern can be light, airy, and delicate. To get a sense of just how beautiful the pattern can be, take a look at this gorgeous example, knitted in Supreme 1ply by Sandra at Jamieson & Smith.

Some versions of the Shetland cockleshell open up the lace with fine yarn and double yarnovers, while others create an effect that, with single yarnovers and kfb increases, is more ‘closed’, lending itself better to coloured stripes. For my purposes, I was more interested in the second version, and began to swatch using the variant described in Glady’s Amedro’s Shetland Lace.

I tried a few different yarn weights . . .



. . .and colours . . .


I liked some swatches more than others, but I felt that the fabric was a little too ‘closed’ and that my shells just weren’t shell-y enough. I returned to the stole I’d originally admired in the Shetland Museum . . .


(photo by me, courtesy Shetland Amenity Trust)

The stole formed its shell with a greater number of dropped yarnovers than Amedro’s variant, and there seemed to be a little more space between repeats. I charted up my own variant, using the stole as a guide. I began swatching again. BINGO! This really looked much more balanced. It was at this point I discovered Fleegle’s no-purl-in-the-round garter stitch, and plans for a twist on the traditional cockleshell were properly afoot. Energy levels permitting (I’m not quite out of the woods yet – bah) I’ll show you the final results of my Shetland sea-shell swatching this weekend!

To be continued. . .

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