hat at Hermaness

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I’ve had a lot of queries about Peerie Flooers over the past few days, so here are a couple more photos of the particular hat in question. After being approached by the wardrobe folk involved with Shetland, I knitted up this new sample especially for the production. I remember knitting it over the May bank holiday, while Tom was running the Jura Fell Race, and then posting it off the following week.

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Mel also knitted up an o w l sweater sample, which sadly wasn’t used in the production in the end. But you may have spotted other Shetland knitwear on screen: Hazel Tindall’s beautiful Eid Top was unmistakable, even at a distance, and I was very excited to spot a Sheep Heid in the Up Helly Aa crowd. During filming in Shetland, my friend Sarah worked in wardrobe, and they did a great job.

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These photographs were taken out at Hermaness last September, and because I know someone is bound to ask about my yellow raincoat, it is from Seasalt, I highly recommend it, and you can find it here.

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Thanks for all your well-wishes. I am still not at my best healthwise, unfortunately, but with careful pacing hope to be back up to speed very soon. xx

Shetland

Recognise the hat?

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Yes! Its my Peerie Flooers!

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This hat, along with a couple of my other designs, will be making their first TV appearance tomorrow in Shetland, a two-part BBC crime drama based on Ann Cleeves’ novel Red Bones. Exciting!

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You can see some more stills and the trailer here, and, if you are in the UK, you can watch the first part of Shetland tomorrow night at 9pm on BBC1.

I’m not very well at the moment, so am unfortunately very behind with many things, including my email. If you have been waiting to hear from me, I’ll endeavour to get back to you this coming week. Apologies xx

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.

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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.

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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.

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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 . . .

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

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

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

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

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

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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.

thinking time

lerwick

Well, I had a fantastic time in Shetland. As I was on my own, I stayed in Lerwick. I really enjoyed meeting up with Shetland friends old and new, and pottering about toon.

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shutters

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But I was there to work — I have a couple of writing commissions in the pipeline, one of which involves producing a short history of Fair Isle knitting for a new (and very exciting) book about Shetland textiles. So I examined a lot of Fair Isle pieces, and I thought a lot about them.

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I saw some truly incredible textiles . . .

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. . . so many of which defied any idea of the ‘traditional’ in Fair Isle knitting.

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(This striking allover features 4 shades of Shetland wool and 3 shades of artificial silk)

motifs
(Fair Isle motifs, but not Fair Isle knitting)

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(Fair Isle or . . .Tartan?)

So much to think about.

me

heading north

Map of Shetland Islands 1906

I’m packing my bags for a trip to Shetland! Its been a while, and I’m itching to be back. I’m particularly excited this time, as I’m about to begin a new research project. Here’s a hint of the kinds of things I’ll be exploring. . . .

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pattern

These are details from a recent vintage find on Ebay with which I’m very pleased, (particularly as it fits me!) Like all vintage hand-knits, the construction of this garment has a story to tell . . . I’ll perhaps say more about it when I return.

I’ll be away for a week, so won’t be able to process any trade orders, or answer any email queries until after the 19th.

See you very soon!
x

puffins!

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So, I suspect it won’t be hard for you to guess what provided the inspiration for the last pair of designs in the collection . . .

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©John Moncrief Photography

These two designs really were an awful lot of fun to work on . . .

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For what is more fun than a puffin?

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©John Moncrief Photography

Um, garments inspired by puffins, that’s what!

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Here we have a puffin sweater . . .

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. . . and a puffin mantle . . .

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Both of which feature the same six-shade garter stitch chevron pattern. . .

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. . . which echoes the colours and texture of the beaks of Shetland’s most beloved summer visitor.

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©John Moncrief Photography

In Colours of Shetland you’ll find several puffin-related treats . . .

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©John Moncrief Photography

Including talented Shetland photographer, John Moncrieff’s, fabulous puffin portraits . . .

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©John Moncrief Photography

. . . and an intriguing, puffin-related MAP that has been specifically designed to accompany my essay in the book. All will be revealed as you turn the pages . . .

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These designs are simple and fun and I love, love, love both of them. Pardon my hubris, but I have to mention that when I’ve worn the Puffin Sweater in Shetland, it is the design that has drawn most comment, from airport security staff who complemented me on my ‘blendin’, to local knitters and designers whose positive remarks really mean the world to me.

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The mantle incorporates further decreases into the pattern to create a neatly-fitting and dramatic-looking wrap.

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We shot the mantle photographs around Lerwick’s lodberries on a quiet, grey sort of day.

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But I love the way the bright colours of the chevron pattern stand out against the stone.

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Yarn and sizing information for the Puffin Sweater and Puffin Mantle can now be found on Ravelry.

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Stevenson sweater and gauntlets

Ahoy there! I have two complementary designs to show you today — the Stevenson Sweater and Gauntlets.

These designs were inspired by Shetland’s iconic lighthouses . . .

. . . such as the Bressay light, which provides the dramatic backdrop to these photographs.

Seven of Shetland’s lighthouses, including the one at Bressay, were designed and constructed by a pioneering family of engineers — the Stevensons (about whom you can read more in the book).

The golden paintwork that distinguishes a Stevenson lighthouse, together with classic matelot stripes, inspired this pair of quintessentially nautical designs.

With simple shaping, and a single round of colourwork per repeat, these are incredibly easy patterns to knit.

The gauntlets will keep your hands and wrists cosy in chill sea breezes . . .

. . .and the sweater is just the ticket for a windy cliffside walk.

Because I know you like to see my styling assistant — here he is, supervising the progress of the shoot.

And having a nice sit down while I gamely attempt to hug a lighthouse . . .(can you spot the Bonxie / Arctic Skua in this shot?)

Yarn requirements and sizing information for the Stevenson Sweater and Stevenson Gauntlets are now listed on Ravelry.

And I just have to let you know that the books have now left the printers and are actually on their way to me. Nic, my amazing art and production editor, has just shown me a copy of the book on Skype, and, though I do say so myself, it really does look bloody amazing. I’m sure you are getting a sense now of the aesthetic structure of the book — that is — how each of my ‘colour stories’ has its own distinctive palette and theme. In the book, these individual palettes distinguish each section, through the patterns, charts, essays and photography right down to the level of fonts and layout. It looks like it is the truly lovely object I always wanted it to be!! I foresee a very busy weekend signing books (each copy purchased from my online shop will be signed) and then we will be ready to put them on sale on Monday.

Book deliveries permitting, I’ll be back tomorrow to show you the book’s final pair of colourful designs. . . .

Until then . . .

Ursula Cardigan

Its time to show you another design, from the next of my Shetland ‘colour stories’. This is the Ursula Cardigan.

This design is named for writer and naturalist, Ursula Venables, who lived and worked in Shetland during the 1940s and ’50s. (You can read more about her in my book.)

Ursula’s writing about wildflowers, as well as my own experience of Shetland’s luminous summer landscape, provided the very feminine palette of this colour story.

While the distinctive zigzagging stitch pattern was inspired by a striking 1940s knitted garment I noticed very briefly on screen in a BBC drama.

This cardigan is probably the most ‘challenging’ design in Colours of Shetland, but that doesn’t mean it can’t be tackled by a confident beginner. It is knit in the round, with steek bridges placed for the front openings and armscyes. After knitting the body, the armscye steeks are cut, and the sleeves are worked top-down in Barbara Walker fashion.

The front steek is cut, and lined with a pretty ribbon trim.

Vintage glass buttons provide the perfect finish. . .

. . .and snaps are used in place of holes to help the button bands retain their shape over time.

This is a classic garment, that, if made carefully, should see its wearer through many summers.

We shot these photographs near St Ninian’s Isle, in Shetland’s South mainland. Every time I look at them, I long to be back there again.

I think I’ll take the Ursula cardigan back to Shetland again next year, to enjoy some more glorious summer days.

Yarn requirements and sizing information for the Ursula Cardigan can now be found on Ravelry.

Scatness Tunic

Here is the next design from Colours of Shetland — the Scatness Tunic

This design was the last in the collection to be completed. For many reasons, it is one of my favourites in the book.

Here is some behind the scenes footage from the day that my friends at Old Scatness kindly allowed us to shoot some photographs around the site.

Unfortunately, the weather wasn’t the best that day, and the photographs we managed to take in between the squally rain showers were a little grey . . .

. . .but there was a peat fire blazing in the reconstruction Pictish wheelhouse, which meant that we had somewhere to get dry and stay warm, just like Shetland’s early inhabitants.

The following day, in typical Shetland fashion, the weather and the light were totally amazing, and we were able to get out to take these pictures.


The two Scatness designs are all about circles. In the case of the tunic, this means that you knit everything in the round, cut a steek up the middle, and complete the edges with corrugated rib, icord, and neat, lined facings.

The finishing touch to the tunic is created with a set of signature wheelhouse buttons, whose colours pick up the rich shades used in the yoke and ribbing, and whose shape echoes the concentric spoked structure of the Pictish wheelhouses at Old Scatness.

The book includes a tutorial to enable you to make your own wheelhouse buttons. When I was producing this part of the book, I might have got a little obsessed with making buttons . . . they are somewhat addictive.

I love everything about this tunic inordinately: it is a very versatile garment, equally at home as an outdoor windcheater, or taking the chill off one’s shoulders in an air conditioned office. I love the rich autumnal hues of the yoke and the shifting colours in the rib, and for me, there is always something uniquely satisfying in the construction of a yoked garment.

I’ve now added the Scatness Tunic it to the Colours of Shetland collection on Ravelry, and if I get my skates on, I might be able to share another design with you later today.

See you again shortly!

a taste of Northmavine

Quite a few of you have been asking about the design depicted in my site’s new header. As there’s not long to go now till my book is published, I thought I’d give you a bit more of a taste of it.

This is the Northmavine Hap.

It uses one of the most familiar and easy-to-knit Shetland openwork patterns. This pattern is perhaps most often used to add a decorative border to plain accessories and garments, but I love its simple waves and bold stripes so much that I had to feature it all over the design!

Something about the all-over nature of the combination of shaded stripes with openwork makes this hap feel quite fresh and contemporary, I think.

The construction isn’t particularly traditional either, and I suppose neither is the distinctive centre shaping . . .

. . . which is meant to echo the smooth scalloped edges of Shetland’s beautiful and famous neolithic knives.

You may remember that, back in May, I was knitting a gigantic swatch, inspired by the colours of sea and stones. I played around with every green and blue and grey in the Jamieson and Smith palette before settling on the parrticular combination I used here.

I am really pleased with the end result — the hap neatly mixes a number of traditional and contemporary elements and speaks really well to the Northmavine ‘colour story’ it is designed to be a part of.

To read more of that story, you’ll have to wait for my Colours of Shetland book . . .

(not long now! We are almost there!)

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