Keith Moon


AHOY THERE! Today’s yoke is called Keith Moon (bear with me . . . )


I wanted to include a sixties-inspired, mod yoke in this collection: a sweater that would be really easy for even a beginner-knitter to create but which also had the potential to look really sleek and stylish. I love the simple boat-neck shape of many sixties jumpers and thought it would be fun to combine this with the straightforward construction of a seamless yoke.


My inspiration came from the tri-colour roundels with which British mods adorned their clothing and scooters:


. . . perhaps most famously sported by Keith Moon, The Who’s explosively talented drummer.


As you can see, I’ve taken the idea of the mod roundel as three decreasing rings of different colours, and applied this to the circular structure of the seamless yoke, swapping out the positions of the red and blue.


This is one of those sweaters where the finishing really makes a difference. The hems, belled cuffs, and boat-neck collar are all creating with facings of contrasting shades, which are neatly finished off with i-cord.


The yarn is Lett Lopi (yes, its my new favourite). I found it very interesting that a few tailored details could give a really sleek finish to a yarn that is sometimes regarded in a more, um, rustic context. How I love a facing!


I’ve styled my Keith Moon in a rather nautical fashion . .


. . . but I think this is a very versatile jumper with which a variety of different looks could be achieved – Mel has knitted a really striking sample in jade, black, and silver, and I also think Keith would look completely amazing worked in a single shade of charcoal or a lighter grey. As soon as I made my sweater, though, I felt that its red, blue and white would work particularly well in a maritime setting. . .


. . . so we went to Portnahaven, on the island of Islay, where, on a beautiful, calm, sunny Sunday, the colours of the sea and boats and sky and jolly paintwork really seemed to speak directly to those of Keith Moon!


The seals were singing out at sea while we shot these photographs around the village – it was a lovely morning.

I find that, if I block it correctly, I have no problem wearing Lett Lopi next to my skin, and here is my top tip to finish your jumper for maximum smoothness and softness: block it out in luke warm water with a solution of a good quality hair-conditioner for at least 30 minutes — I use one of the straightening kind, that is designed for human hair (though I do know someone who swears on the transformative effects of Mane and Tail – the original horse-to-human crossover.)

You can find more information about Keith Moon here.
And Yokes is now available for pre-order here

A few of you have been asking about the relationship between the print and digital versions of Yokes. Well, there are two basic options:
Option 1: Print + digital. If you purchase a print copy of the book, you will receive a complementary download code to enable you to access the digital version.
Option 2: Digital only: You can also choose to purchase the digital book separately, without a printed copy.
The book costs exactly the same for both options, and the digital-only version will be made available on Ravelry after the book has started to ship, on or just after November 17th.

boreal tropical

boreal tropical

Here, as promised, is Mel’s Boreal - which we photographed in the palm houses at the Botanical Gardens.

Mel used two shades of teal for her sweater (Artesano aran shades c740, and 8316) , and reversed the light-on-dark, dark-on-light order of the colourwork. The effect is more subtle than the high-contrast, highly-festive look I’m sporting in my sample.

Mel is wearing exactly the same sweater size as I am, but with slightly less ease. We are similarly petite, but have very different body shapes: while I am narrow of shoulder and meagre of chest, Mel is not. On her sample, the shaping of the sweater is shown to advantage, but there is less room for layers underneath. Mel is also quite proportionately long-waisted, and added a little length (the pattern gives instructions for where and how to do this). If, like her, you intend to lengthen your sweater, you should factor in yardage additional to the quantities specified in the pattern. (She used an additional 14 yards of the paler teal).

I’ve been receiving a lot of queries from knitters who describe themselves as colourwork novices, who are wondering how ‘easy’ they would find this sweater. I would say that, because of the nature of the colourwork, which involves long floats in aran-weight yarn, it is best to feel fairly confident with your preferred colourwork technique before you embark on this project — it is probably not a beginner’s sweater. If you are uncertain, to help you along, here are my top tips to achieve the best look on the colourwork of this sweater:

1) Swatching really is essential to achieve the best fit. I would be inclined to take the time to check your tension on both a decent-sized blocked swatch of plain stockinette and a representative blocked sample of the colourwork pattern. If the fabric is drawing in at all during the colourwork, you may wish to go up a needle size when working these sections of the sweater. Because it involves two layers of aran-weight yarn (cosy!), over the colourwork sections the fabric is quite dense, and the sweater’s inside-capacity is reduced. Be sure to follow the instructions about sizing in the pattern, and consult the schematic carefully for detailed measurements.

2) I generally don’t weave my floats at all – but this sweater is the exception to the rule. Because the pattern involves long stretches of a single colour, I would suggest that it is absolutely necessary to weave your floats. Do this every 6 stitches in a different place on each round to avoid the weaves stacking up and showing to the front of the work.

3) When you are carrying a long float, fan the stitches out a little on the right hand needle before working the next stitch in the contrasting colour. This slows down the pace and flow of the knitting, but is particularly useful if your tension tends to be tight.

4) Always work the ‘trees’ and ‘snowflakes’ as the foreground, or dominant colour (if you are working two-handed, the dominant yarn will usually be in your left hand, or if one handed, will come from underneath). This means that you will need to switch your yarns around at the charts’ mid-way point.

5) If your tension is a bit lumpy and uneven, try turning your work inside out — the knit side will still be facing you (allowing you to work as usual from the right side), but the floats will be stretched around the work, allowing the tension to ease up. This is a particularly useful technique for small- diameter knitting (like sleeves).

6) Block like crazy. In the pattern, I suggest steam-blocking, a technique which the Artesano Aran seems to particularly like (both Mel and I found that, during the blocking process, our stitches seemed to naturally soften and fill-out their allotted space in a very pleasing way).

7) happy knitting!

PS I’m really enjoying reading about your Wintery favourite things.



The cloud pattern is now ready, and you can find it here! To celebrate its release, I thought I’d show you some pictures (taken in a cloudy Edinburgh yesterday) which suggest the different ways that the sweater might be made and worn. Mel’s storm cloud (warning – rav link) is knit in a yarn (rialto 4 ply) that is both more drapey and more form-fitting than the bowmont braf that I used. The shift to a light, even yarn, together with the lack of pocket, turn the hoody from fuzzy and cartoon-like to sleek and sophisticated. The puffed sleeves make for a light and feminine summer sweater:


But you can still stick your hood up for some furtive window shopping. . .


i-cord (ah! the wonder!) gives a neat finish to the neckline. Check out the deep purple facings. Very stormy.


As you know, I love the finish on this sweater — the facings and edgings are what really make it for me — so the pattern takes its time over the finish, with stitching notes, and diagrams for clarity.


There are also instructions for an alternative, plain, lozenge-shaped pouch (if you don’t want a cloud, but do want a pocket on your sweater). I’ve written the pattern in nine sizes (covering girls 22 inch to woman’s 44 inch chest) and highlighted several points in the instructions at which you might modify the sweater to create the best fit for your body shape. Of course, the fact that the sweater is knit top-down makes it infinitely, and easily, modifiable. The neckline is nice without the hood, for example, and would look lovely with a different edging, (if one was, for some unaccountable reason, tired of all that icord). Hearty thanks to Mel for expert knitting and advice, as always. You can see some more photos of her looking fabulous in her storm cloud over on ravelry and acquire the pattern, if you are so inclined, above from the designs page. Cheers!

(thankyou, Gordon, for this great photo)


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