Shawl for an Art Lover

Yesterday I released Shawl for an Art Lover, a pattern for the shawl I designed for my wedding.

I was always going to wear something knitted at my wedding and it was always going to be a shawl. I knew I wanted something big, beautiful and imbued with meaning. After I finished my book, this was the first design I started sketching.

Shawl for an Art Lover uses one of my favourite shawl constructions — the humble triangular shape — and the pattern motifs are inspired by the city in which I live: Glasgow, Scotland. The delicate lace takes its cue from the sinuous Art Nouveau lines of Charles Rennie Mackintosh’s iconic architecture, while the solid strip with its Estonian nupp and lace stitches calls back to the tenement tiles seen in the 19th century apartment blocks throughout Glasgow. The pattern is named after House for an Art Lover, a Glasgow house designed by Mackintosh himself and we photographed it at the Mackintosh Queen’s Cross Church, the head quarters for the CRM Society.

I fell in love in Glasgow and I also fell in love with Glasgow itself. The shawl reflects that.

The shawl I knitted uses 5 balls of Rowan Kidsilk Haze, a silk/mohair yarn. I know it is a yarn that divides the waters but I chose it because I wanted a lightweight shawl that would keep me warm on a cold January day. KSH is magical that way - the fluff traps air and keeps you cosy even in the depth of winter. Many years ago I also used to work for Rowan and it was a nice way of embedding those memories into the shawl.

However, I’m going to give you some yarn substitution tips if you don’t feel like knitting a giant shawl in a yarn that is somewhat unforgiving if you make mistakes (or if it makes you sneeze).

• Be mindful of yardage: you need around 1050m or 1150 yds to make Shawl for an Art Lover.

• Even though Rowan Kidsilk Haze is marked as a laceweight, be careful substituting it with a true laceweight: the fluff adds a lot of ‘bulk’ which means it looks more solid than it actually is. If you substitute KSH with a true 2ply or even a cobweb, your shawl will look less ‘substantial’ and more delicate. You might like that effect, but if you are wanting something that looks more like the fabric I’ve created, you’ll be looking at a heavy laceweight to a 4ply. You know I’m going to tell you to swatch!

• Think about the fibres: Silk and mohair make for a super-romantic combination, but if you are wanting something more practical or rustic, don’t be afraid to experiment. Alpaca is going to give you drape, Shetland will give you a crisp feel, Merino is going to be soft and wearable, pure silk will be fluid and drapey, and .. you know I am just going to swatch for you.

The top swatch was done in a 1ply Shetland yarn which I have previously used for my Mahy shawl. It is a crunchy, oatmeal-type yarn and the stitch pattern comes out looking clean and well-defined. This sort of yarn has a lot of stitch definition and stitch memory, and it will remember its blocking for a long time whilst also softening a lot with use. It is not romantic nor top-end-restaurant elegant, but it is honest and wears well. For an everyday shawl, a Shetland-style yarn would be an excellent choice.

The bottom swatch was done in a new John Arbon sock yarn, the Exmoor Sock 4ply, a blend of Exmoor Horn, Bluefaced Leicester, Devon Zwartbles, and Falklands Corriedale. It’s a really interesting mix and one that I can see myself using for shawl designing. It has a handle of a standard merino/nylon sock yarn with with added lustre and drape. As you can see, you still get a nice stitch definition and the 4ply fills out the spaces between the stitches a bit more, giving the shawl a more solid, substantial feel. Using a 4ply sock yarn would make a practical and bold shawl.

The two swatches laid on top of the Kidsilk Haze sample should help you visualise the difference. See the crispness in the Shetland swatch? The solid feel of the sock yarn? Both look stunning and so different to the airy softness of the silk/mohair.

• Nupps: a few people have told me that they are afraid of nupps. Please don’t worry! Their difficulty has been vastly exaggerated! Nupps are small bubbles made by knitting several times into the same stitch and then working all those extra stitches together. There are plenty of great tutorials out there and if you really, really hate nupps, you can always substitute them with beads. It’s absolutely allowed.

Finally a look at how the entire shawl looks like when not worn. It is .. rather large which makes it perfect for wrapping around you. The shawl is well-worn in this photo (sorry, I got married in it before we went for a photo shoot) and you can still see the drape and lovely halo here.

I wanted to make something that was beautiful, that felt beautiful as I was knitting it, and which made other people feel good too. I wanted to write a pattern that was enjoyable and allowed other people to imbue their own makes with their own meaning. I’ve already received comments from people who plan on knitting this for their own wedding. It is something you can knit for the special people in your life (including yourself! - never forget that) and wear for special occasions — but ultimately Shawl for an Art Lover is about letting beauty and love into your everyday life.

The Story of a Bench

As a rule, I have an uneasy relationship with yarn-bombing. Done right and with purpose, yarn-bombing can be an effective way of practising craftivism (using craft as protest and promoting social change). It can transform a community and serve as a visual marker that something is not right. Sadly, I see too many press releases using yarn-bombing as a thoughtless exercise to "get the knitters on board" and throw a few pom poms at a tree as an empty PR exercise.

But then there is this bench and I want to share its story with you. It is deeply affecting as well as a story of how yarn-bombing can be an incredible story-telling tool.

This bench sits in a remote corner of the Botanic Gardens in Glasgow, Scotland. This particular bench is hidden away at the back, close to the rose garden and the 16th century garden. Most visitors never make it that far, but the location is a favourite spot for many local people. I live next door to the Botanics and you will often find me knitting somewhere in that little area when the weather's nice.

Local textile artist and production designer Rita McGurn passed away two years ago, and her daughter decided to yarn-bomb the bench. Most of the benches in the Botanics bear small memorial plaques, but this bench needed to be slightly different as a tribute to a woman who was described as "colourful, eccentric and a little irreverent". Some of the pieces were crocheted by Rita herself before she passed away, while other pieces were made by Rita's friends and family.

I came across the bench on a sunny day. As always, this corner of the Botanics was almost deserted - except people were lined up to look at this piece of art. A young couple was sitting on the bench for a long time, stroking the pieces of fabric and admiring the colour. A family stopped to have their children photographed ("no, don't touch the flowers - say cheese - no sit still - now look at me"). A small group of people stopped for a long time and I wondered to myself if they were friends of the family. As I saw more and more people stopped to engage with the bench - taking photographs, sitting down, touching it - I realised that they were drawn to it as an art piece. Some had read about the bench in local papers - others just came across it in passing. Everybody slowed down and took a moment to reflect.

There is something so very moving about this yarn-bombing effort. It is a deliberate gesture carried out with care and love. The bench lights up its little corner of the park and the ephemeral nature of the piece makes it incredibly poignant. It is one of my favourite pieces of yarn-bombing I have ever come across. If you are nearby, I can only urge you to catch it before it disappears forever.

You can read more about Rita and Rita's daughter, Mercedes here.

An Autumnal Pattern Launch: the Burnet Hat

Judging by my inbox, this pattern launch should please a lot of people out there! Say hello to the Burnet hat! This was an Edinburgh Yarn Festival 2016 exclusive pattern, but the copyright has now reverted to me. Burnet is one of my own personal favourite patterns and I am so happy that so many of you agree with me!

You can buy Burnet via Ravelry and Loveknitting (where you can also peruse the Shilasdair yarn!).

I was asked by the EYF folks to design a hat inspired by the tenement tiles I document across Glasgow.

Glasgow's weather is notoriously 'dreich' – a Scots word meaning 'dreary' and 'bleak' - but the city is so beautiful. Its Victorian heritage is apparent in everything from wrought iron fences to elaborate street lamps. The sandstone tenements (apartment blocks) light up the cityscape with their warm glow.

The tenements were originally an attempt to fight the widespread slum then found throughout Glasgow. The city had begun as a small, rural settlement but had grown into an industrial hotspot. The rapid industrialisation was fuelled by shipping and manufacturing – but housing had not kept up with the boom. Architects began erecting tenements and these buildings were vast improvements upon the squalor found throughout 19th century Glasgow. The entry ways - the so-called closes - were communal spaces where people would meet, children would play, and deals would have been struck. It was important that these entryways would be easy to maintain - and this is where the beautiful tiles come in. When I was approached to design 'something Glaswegian', I only had to step outside my front door for inspiration.

David shot the photos in Partick, Glasgow. I loved the tiles in this entryway and they were in great condition - something which can not always be said for all tenement tiles! I love the stylised, geometric feel of the tenement tiles and I think Burnet really captures that. When I was designing the pattern, I also had the wonderful geometric nature of traditional Sanquhar knitting in mind. While Burnet is not anything like traditional Sanquhar knitting, I think it's important to acknowledge this debt (this sensibility) to past generations of Scottish knitters.

Burnet is knitted using two hanks of the exquisite Shilasdair Luxury 4ply which is plant-dyed on the Isle of Skye. The sample is knitted using the natural/undyed shade and the gorgeous Tansy Gold. Judith of Shilasdair is a big believer in dyeing yarns that reflect her natural environment on Skye - but she also knows Glasgow tenements with their tiles very well. In fact, she used to visit family living in my very own close! I greatly enjoyed collaborating with her on this project and I urge you to seek out her yarns. They are beautiful.

This past week I have been away on a research trip for my book. I will write more about my trip later but suffice to say that I was happy I had Burnet tucked into my bag. Autumn is very much here. I hope you'll enjoy knitting the pattern.

PS. If you have a copy of Wool Tribe where this pattern was first published, I have a tiny piece of errata addressing Chart A.

See You at EYF 2016, Lovelies

I'm currently knee-deep in prepping for this year's EYF. It'll get done but I'm thankful I have Mr D chipping in! We will be at EYF Friday and Saturday (I'm also teaching Sunday). Will you be there? Wave your hands here, so I know to look out for you!!

(Note: I'm *terrible* with names & faces but can spot good knitwear from ten miles away! Don't be offended if I mess up your name even if we spoke yesterday - I sometimes call my best friend by the wrong name!)

FRIDAY I'M IN LOVE

• Come & say hello at the Ripples Crafts stand between 11.30am and noon.
• I am teaching Pattern Writing in the afternoon - it's a new & exclusive EYF class and I'm really looking forward to talk really nerdy stuff :)
• I won't be at the dinner or ceilidh, sorry.

SATURDAY'S ALRIGHT FOR, er, KNITTING (sorry Elton)

• I'm teaching Faroese Shawls in the morning. Another new class and another one where I get a bit nerdy.
• I'm doing a signing session/trunk show at Ysolda's stall at 2.15pm. Bring your Wool Tribe magazines! Come and show me your projects! Grab a shawlfie with me! I'm bringing samples and patterns! Wheee!

LAZING ON A SUNDAY AFTERNOON..

• Except I'm teaching Beaded Knitting in the afternoon. This is always one of the most relaxing workshops I teach and it'll be a lovely way to wind-down after a hectic weekend.

GENERAL STUFF

• Ripples Crafts will be stocking Frances Herself kits & is happy to talk colour choices if you cannot decide! She also has a few Byatt patterns in stock if you are looking for a hard copy. I won't be bringing any Byatt patterns myself, just fyi!
• The Queen of Purls is selling several of my patterns (including Mahy and Scollay) and is also bringing some really luscious samples. Her Mahy is just beautiful - go check it out!
• I have recently cut my hair, so if you see a long-haired chubby brunette with a blunt fringe & black specs .. that is no longer me! I am now a bobbed-haired chubby brunette with a blunt fringe & black specs! I know this is a strange thing to point out but I have had this happen to an acquaintance recently!

RIGHT - WHO'S GOING?! What are your plans?

PS. If you are waiting for an email from me, please be patient. It's all EYF prep, festival and recovery in Casa Bookish. If it's urgent, please text me.

Knitting in Wartime - A Study Day Retrospect

Last week I had the pleasure of attending another of Knitting in the Round's Public Study Days: The Kitchener Stitch: Knitting in Wartime - Wartime Knitting. The whole day was a delight with many friendly faces in the audience and some cracking speakers. Dr Jane Tynan gave an absolutely fascinating talk on military uniforms, modernity and knitting as craftivism during the First World War. Dr Tynan is an expert on military uniforms and her research on 'khaki' in WW1 led her to discover how knitting served as supplement to official wartime military issue and how this led to unexpected tensions at home between the War Office and women who volunteered their time and skills. I was particularly interested in how conservative gender roles were promoted (this in an age of Suffragettes, lest we forget) and female activist efforts were soon turned into an achievement of the War Office. However, I was mostly enthused by Dr Tynan's work on the disembodiment found throughout knitting patterns and wartime propaganda. I have been interested in modernity, modernism and the Body for many years and it was exciting to see certain recurrent (and familiar) themes pop up in an unexpected context.

The other speakers were absolutely excellent too - Wendy Turner on the importance of Glasgow Women's Library; the irrepressible Joyce Meader with her extensive collection of war-related knitting patterns, knitting paraphernalia, and her knitted 'comforts' from vintage patterns; Professor Maggie Andrews on the WI, domesticity and knitting as war effort; and Barbara Smith on items found in the Knitting and Crochet Guild's archives (including one of my favourite pieces: warships depicted in filet crochet for a table cloth). I was particularly excited about Barbara speaking as I really enjoy reading her knitting history blog.

I was fortunate enough to spend my lunchtime  together with Barbara (and we discovered we have friends in common), the ever-lovely Susan Crawford and my partner David. We sat outside in the sunshine discussing many of the issues the morning had uncovered - particularly knitting as a gendered pursuit and the politicising of knitting during the World Wars. It was absolutely lovely to discuss these things with smart, engaged people who all brought different perspectives to the table. While Dave does not knit (and has no interest in starting!), he does have a life-long interest in textiles and how war affects the production & design of textiles. I really enjoyed having him join me at the event - he also took the majority of these photographs!

After the Study Day concluded, I spent a very happy evening with Susan and Dave. First we went vintage shopping (word of warning: Susan WILL put you in various 1950s frocks), then had a very relaxing meal during which we talked about everything between heaven and earth. What an enjoyable day meeting so many fantastic people, thinking about knitting in new & unexpected ways, and then spending time with good folks.

A huge thank you to everyone involved in putting this event together.

Ingenious Impressions at Glasgow Hunterian Art Gallery

Glasgow Hunterian Museum is currently hosting an exhibition on pre-1500 printed books, known as incunabula. In my previous academic incarnation, I used to work on the transition from manuscripts to printed books, so I was obviously thrilled to see this exhibition open in a local museum.  On Thursday I was lucky enough to catch a preview before going to a workshop the very next day. It is fair to say that the workshop turned out to be some of the best and most memorable hours of my life. I cannot thank Martin Andrews and Alan May enough for their generous sharing of all their knowledge and expertise.

Not only did I get to have a go at printing a page from the famous 42-line Gutenberg Bible, but I used a replica 15th C printing press built by Alan May for BBC's Stephen Fry & The Gutenberg Press programme (I recommend this programme - it was very well researched). May used several near-contemporary etchings and woodblock prints to reconstruct the press as no printing presses from the time has survived. I was very interested in an Albrecht Dürer etching showing a modified two-pull press which Alan May described as fundamentally flawed, yet utterly precise. Dürer is a fascinating figure, anyway, and I like the idea of him having fingers in a lot of pies!

Another highlight was getting to cast my own type(!) under careful supervision. May & Andrews went through the entire process of carving out a prototype (the very name!), showing us how to develop a matrix from a prototype, before starting to cast types. It was absolutely fantastic.

And dare I whisper that my next big collection actually has something to do with knowledge-making in Early Modern Europe? Much more on that when the time comes, but it's a huge thrill that this exhibition has opened up in Glasgow just as the next stage of research begins.

Ingenious Impressions at  Glasgow Hunterian Art Gallery runs from February 27 until June 21, 2015. Free Admission.