The Tale of A Scarf: When Knitting Chooses You

September 2014 - wearing the scarf

Everybody says that I chose knitting, but I think knitting chose me. Yesterday I was looking through a drawer and came across a scarf I knitted in early, early 2008. Around the neck it went and I wore it running various errands. I wore it as a secret badge of honour.

This is what I was, this is me now, and this is what knitting brought me.

I fell horribly, terribly ill shortly after I moved to the UK. I don't talk about it much because it is a really boring topic, but I was very ill for many months. The illness meant I had to stay in bed and I could only do a very limited number of activities. I read a lot of books but I needed something else to do.

After one of my hospital visits, I persuaded David to stop at a local yarn shop. I bought a crochet hook and two balls of Twilley's Freedom Spirit from a quirky girl in the shop. I liked the name of the yarn and I liked that it was green. Dave was surprised I knew how to crochet. I made a hat that evening.

I crocheted more hats and gave them to friends. I realised that yarn was expensive and that crochet used a lot of yarn. On our next visit to the yarn shop, I bought a pair of knitting needles and three balls of Noro Silk Garden. I sat in bed wondering if I could remember how to cast on. While I was trying to remember, I looked down and my fingers had done it. Muscle memory from years ago. My body which had almost given out on me was now helping me. Knit two, purl two..

the scarf

And this is it. A humble k2, p2 scarf in a Noro yarn. Looking at it now, my stitches are incredibly even, the edges are (mostly) slipped and the fringe is a bit awful looking. Starting this scarf was the start of many things in my life. Recovery, finding friends, building up a new life, and settling into what would become a passion and a career.

I knit a lot. I have knitted many, many things much more beautiful and much more complex than this scarf. But this is where it all began. This is when knitting chose me.

A New Favourite: Brushwork Sport

One of the perks of my job is that I get to swatch a vast range of yarns. My design process hinges on knowing which yarn would be right for a design, and I only get there by swatching several yarns. When I started knitting again after a long break, I thought all yarns were somewhat interchangeable as long as you matched gauge. Many years later I know that a) not all yarns are equal, b) a yarn's properties goes way beyond its weight, c) fibre plays a huge part, and d) the construction of the yarn is important too. In fact, finding the right yarn for a project can sometimes feel somewhat scientific (as does yarn substitution). One of the yarns I have swatched recently is Blacker Yarns' birthday yarn, Brushwork. I have worked closely with Blacker Yarns over the last year or so — they are the main yarn provider for This Thing of Paper — and I understand their passion for producing yarn with provenance, stories, and lineage. We share a strong interest in yarns that belong to a certain landscape and place. After all, a space becomes a place once we pour stories into it.

Brushwork comes with plenty of stories, and, dear reader, one of those stories is that it broke my heart.

As soon as I unpacked the yarn, I knew I was in trouble. It is a lofty, soft, sproingy yarn with subtle flecks of colour. I held it in my hand, giving it a gentle squeeze, and it bounced back in my hand. I am not a spinner, nor do I possess a brilliant yarn construction vocabulary, so my best description is that Brushwork reminded me of a cross between Rowan Felted Tweed and Jamieson's Spindrift — but definitely its own beast. Reading closer, I learned it was a mix of Bowmont, Castlemilk Moorit, and British Alpaca.

Let the swatching commence.

As a personal sacrifice, I swatched twice: first on 3.5mm and then on 4mm. The first swatch gave me a nice, firm fabric. It bloomed slightly upon blocking but retained its shape nicely. It would make for a beautiful cardigan or jumper where the yarn would do most of the work. The second swatch was much drapier and supple. Knitted on 4mm needles, Brushwork would definitely make a beautiful scarf or hat. I began thinking about cables and pom pom-adorned hats.

The heartbreak came when I learned that this is not going to be a permanent addition to the Blacker range. Brushwork is as close to my Platonic ideal of a yarn that I have found — bouncy, complex, soft, woolly, takes all sorts of stitch patterns - but it is not sticking around for me. Instead it will make its debut at Yarndale where you will all snap it up (because you are clever and recognise brilliance when you see it).

Heartbreak in a yarn ball. Which is pretty much the highest praise I can bestow upon it.

A Knitterly Guide to Ireland - Nadia of A Cottage Notebook

I'm currently very busy working on my forthcoming book, so I asked the Irish podcaster and blogger Nadia to guestblog. I know many of you enjoy my knitterly guide to Scotland, so here is Nadia's fibre-filled guide to Ireland. I hope you enjoy! Kx

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Image 1 © J. Seaver

I know what you’re thinking: most of you dream of Ireland filled with green fields, sheep and lots of fibre related crafts. While in a way, you are right, everything is probably a little more spread out here then you think. So, let me take you on a province by province yarny trip of Ireland and as this is my guide, the sun is shining, birds are singing and you all magically have sparkly wellies for spontaneous field trips!

Leinster

To start with a little history, you can visit the Museum of Decorative Arts in Collins Barracks to have a glimpse into Ireland’s textile history before starting on a yarn crawl to the local yarn shops This is Knit in Powerscourt Townhouse, The Constant Knitter on Francis Street and WM Trimmings on Capel Street. Leaving the city center you have Spring Wools in Walkinstown and Winnies Wool Wagon in Blackrock. Starting early in the morning we are off to Co. Wicklow where you can visit the beautiful Powerscourt estate before having an afternoon tea and some baked goods at Avoca HandWeavers. Now further south it’s off to the National Craft Gallery in co. Killkenny before checking out the fabulous Cushendale Woollen Mill.

Munster

Waterford is my personal favourite with Waterford Crystal and the Museum of Treasures in the viking triangle worth a visit. While in Co. Kerry visiting the locations of famous movie sets, you can stop at Kerry Woollen Mills and visit the mill. If weaving is also of interest to you, a visit to Lisbeth Mulcahy  in Dingle is a must. Moving on to Co. Clare to McKernan woollen mills if you want to see some looms in action. A trip in Munster wouldn't be complete without a trip to the Hedgehog Fibers and Vibes & Scribes while in Co. Cork.

Image 2 © J. Seaver

Connacht

The Museum of Country Life is one to visit while in Castlebar, Co. Mayo if you want to learn more about the different types of Irish traditional lifestyles. The Connacht Textile Crafters meet up here so check to see if you can catch them while you visit. While in Mayo you can pick up some craft supplies in Lunasa and you can watch the looms at work in the beautifully restored Foxford Woollen Mills and popping by Beth Moran of Ballytoughey Loom before heading off in a more northerly direction.  A personal favourite of mine is a trip to the Aran Islands to explore everything they have to offer, before settling in for the joy of Galway city with a yarn top up at the Crafty Stitchers.

Ulster

This may be the last section of our journey but it is by far one of the most beautiful and breathtaking in Ireland. I have a deep love for Ulster from spending so much of my childhood there. We have to start out with the Yarn Spinners of Inishowen before continuing the theme of spinning with a trip to Johnny Shiels cottages in Inishowen to have a look at his wonderful wheels. Do drop him a message first through the web or Facebook because he might be off visiting local schools sharing his vast knowledge and inspiring the local youth. While we are on the subject of spinners, you should also have a quick check in with the Ulster Guild of Weavers, Spinners & Dyers you might be in luck and your travel dates coincide with a meet.  For a yarn top up you have Love Wool in Portadown, The Wool box in Lurgan and Lighthouse yarns in Whitehead.

From here I would also recommend a trip to the Ulster American Folk Park. Yes I know it’s on every tourist site out there but during their exhibitions I learned how to basket weave, how to plait straw into dolls and braids and I had an in depth talk about clothes and textiles of the time. No visit to Ireland would be complete with a visit to Donegal Yarns. You can visit the working mill and the surrounding area is one of the most picturesque in Ireland. While here why not pop in to Edel Mc Bride to have a look at some knitwear.  On our way back to Dublin, we cross back in Lenister once more and stop off in Carlingford. Why? Because I spent a day on the mountain with a packed lunch hugging sheep and visiting the derelict buildings of a famine village and seriously who doesn’t want to do that?

Image 3 © L.Sisk

Returning to Dublin for rest and now filled with the knowledge of fiber in Ireland. You can head to both This is Knit in Powerscourt Townhouse and The Constant Knitter in Francis street to squish some final skeins and top up on yarn before heading back to the airport or ferry.

Before your visit why not check out The Dublin Knit Collective for the nights you are in Dublin if you would like to meet up with local knitters. The Irish Guild of Weavers, Spinners and Dyers also have meetings and events and you never know you might even get a glimpse of a Great Wheel made by one of the members!

I hope you all enjoy your trip, prepare for rain... the wellies are not a joke!

Like Karie’s Guide to Scotland, all recommendations are from my own travels, including the hug a sheep part and yes I apologised profusely. I haven’t been bribed to include places in the post with either money, baked goods or promises of yarn. I would love to hear your favourite yarn shops in Ireland and other suggestions as I’m sure there are places I haven’t gotten to visit yet!

Love, Nadia

(Catch up with Nadia's lovely podcast here.)

All the Things; All the Feels

Today I'm really tired. I spent the weekend in London for the lovely, lovely Yarnporium and while I took yesterday off, I am feeling a bit rough around the edges today. I spent Friday at the Victoria & Albert museum in London which is dedicated to arts & crafts and design. I took in the Opus Anglicanum: Masterpieces of English Medieval Embroidery with a friend and also lingered with the sections on medieval European art. Saturday I taught two classes at Yarnporium (and managed to get lost on my way to teaching the Knitting the Landscape class which I thought was very on-message and method of me). I caught up with vendors and friends before heading to an evening do thrown by LoveCrafts in Bloomsbury. Sunday I spent the morning at Yarnporium again meeting awesome folks before spending my last hours in London at the near-by National Gallery.

I had been quite nervous about teaching Knitting the Landscape as the class had been commissioned by Yarnporium and thus was brand-new. The class went really well, actually, and I was blown away by people's willingness to reassess their approach to knitting. I found it so inspirational to hear people's stories and I loved how individual all the finished pieces looked. Though there are some limitations to the workshop (such as it can only really work with a large number of participants), I will be adding it to my repertoire going forward and I cannot wait to see how people interpret their world through knitting.

I have only just unpacked my bags from Yarnporium and now I'm off to Northern Ireland. I'm teaching Shetland Lace at Glen Gallery - this will be my third year of teaching their November workshops and I always look forward to my visit. So, laundry to do, samples to air and then it is off again..

.. but before that happens, I just want to tell you something that happened yesterday. I learned that I have been nominated as Designer of the Year in the British Craft Awards. This nomination really floored me - particularly because I am nominated along some serious heavyweights like Martin Storey and Marie Wallin. Having begun designing on a whim whilst working for a yarn company to making designing my full-time career just two years ago and now being mentioned alongside people I really admire .. well,  I cannot begin to tell you how much this means to me. I am not quite sure what to make of it all, but I am so pleased to see woolly chums like Tom of Holland, Knit British, and BritYarn nominated in various categories. It feels like we are slowly changing the conversations we are having about knitting. Hooray.

I'm off to continue work on the book and answer questions from my inbox. Please be patient: I won't have access to internet or mobile data whilst in Northern Ireland!

Looking Forward To... Yarnporium 2016

I'm currently packing my bags for London. This weekend, November 5 & 6, I'll be teaching at Yarnporium which is taking place at King's College on the Strand.

(Let's just stay with that mental image for a while. If you had told me 20 years ago that one day I'd be teaching at King's College, London, I would have swooned. It is so exciting for this bookish girl from Nowheresville, Denmark)

I'm teaching two workshops: my popular Introduction to Shetland Haps class and a new workshop called Knitting the Landscape which I have developed by request. Obviously I'm really excited (and a little bit nervous) about these classes and I cannot wait to meet the people taking my classes.

Teaching is really rewarding: I feel I always leave a workshop feeling I've learned something - this can be anything from a cast-on someone's grandma taught them to a better understanding of why one specific thing can feel daunting for a knitter. I take these things and I pour them into the other parts of my working life - I'm particularly focused on demystifying knitting and helping people the best I can.

You cannot talk about an event like Yarnporium without talking vendors. I have several earmarked already: my friends at Blacker Yarns (we are currently collaborating on my book!), Ginger Twist Studio, Midwinter Yarns, Kettle Yarn Co, Travelknitter (also a book collaborator!), The Wool Kitchen, Woollenflower, Triskelion yarns and the awesome ladies of The Crochet Project .. and that is just to start! Also excited to finally catch up with Knit With Attitude and A Yarn Story! There's also an Indie Focus section which I'm really pleased to see.

And to cap it all off: I have a thing at the V&A on Friday which relates to my book research. It's going to be a glorious weekend and I really hope to see a lot of friendly & lovely faces there.

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.