Wip-ping Along

These days I struggle to write eloquently about what I am knitting. It used to be that I could snap a photo, link to a pattern and wax lyrically about the process. As I now tend to design my own patterns and work on things that will not be unveiled for another six months .. well, it kills the sharing bug a bit. But let's see if I cannot circumvent the whole "cannot show & cannot tell" thing.

Pictured: a hat. This hat design (along with the matching fingerless gloves) was the first design I sketched when I started working on my Doggerland collection. It sums up the whole collection for me: a controlled colour palette, very  clean and geometric lines, and that little hint of the natural world to it.

I am knitting the sample in Rowan Creative Focus Worsted. I set out to design Doggerland using yarns from the North Sea/North Atlantic region but I could not resist the wonderful light grey - Nickel sh 401 - when I saw it. The CFW also had two other colours that were exactly what I wanted, so even though all the other Doggerland designs will be knitted using local-to-me yarns, this hat & gloves set will be slightly different.

On the plus side, it should be easy to find local-to-you substitutes with a worsted weight.

I should finish the hat this week and begin work on the gloves. After then I will start to work on a mini-collection in collaboration with a well-known indie yarn dyer. I cannot say much more at this point - mostly because we are still working out the finer details.

So, I am kept busy.

But I do find time to work on something that has nowt to do with collections.

This is a little black shawl which may or may not end up a free download. I have been knitting it at knitting groups lately as it is marvellously portable.

I am using Lopi Einband, a fantastically sticky and rough-and-tumble lace yarn from Iceland. I bought in Denmark some three years ago and I never really knew what I wanted to make with it as it is not your standard soft, drapey lace yarn.

So, it is now becoming a straightforward triangular shawl with easy pattern repeats and chevrons (I am currently obsessed by chevrons). I don't expect the shawl to be finished anytime soon as it's just a for-pleasure knit.

Speaking of for-pleasure knitting.. I plan on making this beautiful cardigan for myself as soon as I have cleared my table of work knitting. And anyone who dreams of making an Icelandic jumper will do well to look at this website (esp. if you dream of designing one for yourself)

Finally, a big congratulations to Vivienne who won the copy of Coronation Knits from my give-away. Huzzah!

Coronation Knits by Susan Crawford

Go make yourself a cup of tea, butter your scone and get comfy. This is going to be a dose of loveliness. (And there is a giveaway at the end! Giveaway now closed!) There are some designers whose works are so distinctive that you don't need to look at a label or a tag to know who made a particular item. This is true for catwalk fashion design, of course, but also true for the very best of knitting design.

To my mind, Susan Crawford's work is instantly recognisable as hers. Her designs are informed by fashion history, always impeccably finished and oh so very British. Her work is nostalgic, but in a very wearable, contemporary way: these are designs to knit while you are watching Brief Encounter or A Matter of Life & Death in your 21st century flat.

Susan has just released Coronation Knits - a lovely collection of 14 designs inspired by the late 1940s and early 1950s. I was given a copy some time ago (such a huge treat!) and absolutely loved what I saw. The book plays right into that young girl who subsisted on Nancy Mitford novels and David Niven films when growing up in Nowheresville, Denmark. Susan's book makes me yearn to be impossibly elegant and witty with a rich, plummy accent. Maybe if I knitted that twinset jumper..?

.. well, I would look absolutely ravishing, of course, but there is no disguising those Scandinavian vowels of mine. Alas.

Then Susan sat down for a conversation with me. As you do.

To me, your work is always unmistakably British - and Coronation Knits is, of course, as British as you can get. Could you say a few words about what you think British style is and, if you think it exists, how it informs your work?

"I too look at my work and can see something ‘distinct’ about it, and I guess that distinction is as you say, unmistakably British. I think British style does exist but it is not just one style or a particular look. I think it comes from an absorption of (..) the landscape, heritage, textile traditions and history, dressmaking and tailoring aesthetics along with design, art, interiors, fashion history and much more. Added to that our 'interesting' weather, drafty old houses, being outdoors in all climates, even frugality and you begin to create a combination that seems to evolve into a British style.

I don't think any design is done in a bubble, we are all influenced either consciously or unconsciously by things we have seen, read, touched but I think those listed above with a good helping of film and social history thrown in are the primary influences on my work. I love how fashion is linked to social changes happening at any given time and I try to explore the connections between the two in my work."

How did you approach Coronation Knits? Did you have set ideas in your head or were you surprised by the direction CK took you?

"I didn't have any designs in my head when I first started thinking about Coronation Knits. More an abstract concept about connecting my interest in this particular period of British history with a very themed collection of patterns. From that point of view the direction the book took has remained very true to that original concept but how the designs developed into such a real 'collection' has surprised me, especially considering the short time frame the book was created in.

I was nervous before commencing the project as to how quickly I would get back in the designing 'groove' after spending over two years working almost exclusively on A Stitch in Time Volume 2, which doesn't allow room for personal design ideas. However as soon as I began designing the ideas flowed and this was most definitely helped by having already created a specific theme to work to. I enjoyed the process so much I would really like to work this way again."

When I think of your work, I always think of it as being soft and feminine. I was intrigued when I saw your mens' sleeveless pullover - it is very much recognisable as your work, yet it is obviously very wearable for any gentleman of discerning taste. Was it a challenge to design a menswear item?

"I've designed menswear before and often get asked by men to do more menswear but its just one of those things that is on the list to do when time allows. However I really wanted to include some menswear in this book. I deal a lot in shape and fit and using the body to create that shape which is very different to how most men think of their clothing I would imagine. I used to make men's tailored suits and learnt a lot about the fit of men's clothing through that so hopefully that translates into my knitting patterns. I also know a fair number of male knitters and wanted to design something which would be interesting to knit if you were knitting for a man or are a man who knits. Having knitted the sample garment myself I found the pattern moved along nicely and helped me feel that I was covering big chunks of length each time a pattern repeat was completed. I know the Coronation Sleeveless Pullover is quite a statement but I think the muted colour palette really turns it into a very wearable garment."

(This sleeveless pullover is one of my favourite pieces from Coronation Knits, actually. Far too often designs for men equal baggy, dull jumpers in safe, dark colours. No man of my acquaintance would ever wear such shapeless things and it was so wonderful to find a fitted and quirky menswear piece in Susan's book! Huzzah!)

Finally, the book looks absolutely gorgeous. It is an absolute joy to look at. How did you go about styling it?

"As a vintage clothing collector I do have a lot of bits that I have collected over the years – hats, scarves, bags and jewellery in particular, but clothes, shoes etc as well. The main difficulty this time was having chosen the red, white and blue theme all the props had to fit in with that theme too so it did involve quite a bit of searching. Fortunately I have some great contacts who work with vintage fashion who help me out when I get stuck and who came up with some key pieces on this occasion.

I had decided from the very beginning of the project to use the 'Royal Route' background that you see in every image. This original illustration from 1953 was the perfect backdrop for the designs and made it much easier to theme. I also have hundreds of magazines and books from this period and both my models, my daughter Charlie, and her boyfriend Denis, spent a lot of time studying the magazines to identify poses that were appropriate to the time frame. They really worked it and brought the images alive.

Gavin, my husband, is the Graphic Artist on all our projects and he has an amazing eye for detail and can make any page look better just by minutely adjusting something. It really is a team effort and I hope it shows in the finished results."

It does indeed look gorgeous - as I am sure you can tell from the photos. Isn't that Diamonds Is Forever jumper just lovely? I can just imagine myself wearing it with a little pencil skirt to a certain little retro tea shop in my neighbourhood. And, you know, I bet my 16-year-old Mitford-reading, Niven-watching self would say I was the height of glamour.

You can purchase Susan's book here but Susan Crawford has generously offered me an extra copy to give away to a reader.

Thank you, Susan!

In order to win this, I would love to know which piece from the book you would knit and where would you wear it? Giveaway runs from Saturday July 7, 2012 until Saturday July 14, 2012 8am GMT.

This blog post forms part of the Coronation Knits blog tour - please go visit all the blogs on this tour - they are all great reads.

12th June 2012 - More Yarn Will Do The Trick - Jean Moss 16th June 2012 - JenACKnitwear  - Jen Arnall Culliford 18th June 2012 - The Icelandic Knitter - Helene Magnusson 20th June 2012 -Knitting Institute - Knitting Magazine 24th June 2012 - Ingrid Murnane Investigates - Ingrid Murnane 28th June 2012 - Domestic Soundscape -Felicity Ford 29th June 2012 - Sheep To Shawl - Donna Druchunas 2nd July 2012  - The Making Spot - Simply Knitting 6th July 2012   - rock+purl - Ruth Garcia-Alcantud

-- 10th July 2012 - By gum, by golly! - Tasha 14th July 2012 - tomofholland - Tom Van Deijnen 18th July 2012 - Woolly Wormhead - Woolly 22nd July 2012 - Crinoline Robot - Mim 25 July 2012     - Sexyknitter.com - Sarah Wilson

Nobody Told Me I'd Need To Do This On A Regular Basis

That's one shawl for magazine publication finished and sent into the world. I wish I could show you, but you'll have to wait until November :) What I can show you is what I got up to this afternoon.

I needed to get a head-shot done for various reasons (not least because my face'll be in a magazine soonish - good grief!). Luckily my Other Half is a talented photographer with a knack for making me relax in front of the camera - this is no mean feat as I hate having my photo taken and I usually pull all sorts of unnatural faces. It took Dave quite a few attempts to get some good shots and I thought I'd share some of his tips for successful photography:

1) Unless you have a really fancy kit, natural light is best. In the photos above I am standing right by a window.

2) Indirect light is a lot better than direct light. Direct light tends to either flatten your features or cast harsh shadows where you least want them.

3) Work with a neutral background. We have neutral coloured walls which work well in this context but brickwork, painted doors and foliage can also work. Remember, you don't want anything to compete for attention, so move that table lamp!

4) Take lots and lots and lots of photos. Dave routinely shoots between thirty and seventy photos whenever we work together on something. Having a lot of photos to choose between makes it  easier to find that "hero photo". For this headshot we actually shot in excess of 90 photos(!) because I just couldn't stop pulling faces.

5) .. and relaxing in front of the camera is something I find really difficult. I keep trying to pose or doing model-like faces - none of which work because I'm a 5'6" lumpy thirty-something woman, not a 14-year-old super-skinny genetic freak. How does Dave make me relax? He makes me focus on something else than that infernal camera pointing at me. He also ensures I feel comfortable - unsurprisingly I won't look relaxed if I'm wearing uncomfortable clothes or in an awkward setting.

I am not saying I look particularly relaxed here but that shawl looks absolutely stunning (especially in the original size photo). Apparently my Other Half is now so well-trained that he automatically starts homing in on knitwear. This bodes well for future Finished Object shoots..

.. which reminds me: come late August/early Sseptember I might be looking for a Goth/steampunk/burlesque type model for some knitwear photos. Sadly I cannot promise much in the way of financial recompense bar coffee & cake at Glasgow's finest retro cake shop, but it is a good chance for any budding model wanting something for her portfolio. Glasgow-based, por favor. And, of course, absolutely no nudity involved (oh please, it is knitwear!).

A Handmade Wedding

Remember the wedding blanket that Glasgow Knit'n'Stitch made? The wedding took place this weekend and it was full of knitterly details. Settle in for some great photos.. The wedding took place at New Lanark about an hour south of Glasgow. New Lanark is a UNESCO World Heritage Site right by the Falls of Clyde. The setting is absolutely stunning and is teeming with wildlife - but New Lanark is also a former cotton mill that now spins the most lovely yarn on-site (there may have been some yarn browsing during the wedding..).

The wedding was very much a handmade wedding. Elaine and her mother Shirley had made the bridal gown themselves over the last five months. It was a stunning dress: it had an empire waist with a subtle A-line skirt and an elegant little train. The fabric did most of the talking with its beaded Chantilly lace. Its clear lines and unfussiness suited Elaine so very well - I think there is often a tendency to smother brides' personalities with ruffles, fake tan, rhinestones and silly hairstyles - but tellingly one of our mutual friends told her: "you look bridal and yet you still look like Elaine!".

But wait! What is that she is wearing over her shoulders? Let us get a better look at that!

The shawl was a wedding present from Lilith of Old Maiden Aunt. In the words of Lilith: "She knew I was knitting her a shawl, but not which shawl it was - and all the secrecy was totally worth it when she, her mum, & her gran all burst into tears when the shawl was presented! " The shawl is the Brora Black Shawl knitted in Jamieson & Smith undyed 1ply cobweb. I am sure Lilith is going to blog extensively about this shawl (I know I would if I were her!) so all I will say is that it took her three months' intense knitting, several members of GKS knitted a few stitches on it, and that Lilith got a special thank you during the speeches. Photo was taken by my very patient partner who had been informed to take as many knitterly photos as possible!

And there he is! No, David is not wearing anything knitted but surely half a metric tonne of woolly tartan counts as being of interest to knitters, right? Also: that's my man in a kilt. Whoop!

Back to the knitting..

That is Ms Lilith wearing her cashmere Laminaria. I love the colour combo she is wearing, incidentally. You cannot see her kick-arse red shoes, but believe me when I say they were awesome.

Lynette is also wearing a stunning shawl - brilliantly it is my Karise pattern knitted in Old Maiden Aunt yarn. How wonderful is that? I think that is a great snapshot of the spirit permeating the entire wedding: everything was made by family and friends for family and friends. I'm going to share a heart-tugging example a bit later on but first back to the shawl parade..

And to the right is the fabulous Paula wearing an equally fabulous shawl (and my second favourite frock of the day - my favourite obviously being Elaine's wedding dress). The shawl is my Elsinore pattern(!) knitted in Wollmeise. The original pattern is a cute shoulder-sized shawl but Paula made sure she got good use out of her yarn and upsized the shawl. You cannot tell but Paula is also wearing handmade jewellery and she made her bag too.

And to the left it's me. I'm not wearing anything knitted or handmade. Awkward.

And that brings me to something I just loved so much about the wedding: the personal touches.

I love this photo which I snapped during the dinner. The wedding cake was made by Elaine's mother and the cake decoration was made by Elaine's talented dad (who had also made all the table decorations). It is placed on a crochet table cloth made by Elaine's great-grandmother. Elaine and Steve had placed family wedding photos on every window sill together with small, pretty flowers. Sitting there I felt surrounded by love and friendship.

And I think that was why this wedding felt so special and why I will look back at it in years to come with such fond memories. The wedding was as quirky, personal, and friendly as the couple themselves. I think that is really what a wedding should be all about (and not feeding an industry of glitz, glamour and fake tans).

Next time I'll wear a handknitted shawl, though.

Taking Comfort

Sometimes a project comes along that just makes you sigh with pleasure. This is one of those projects. It is work knitting, but it also feels like comfort knitting. This is a shawl pattern that is destined for my Doggerland collection. It is knitted in Navia Uno, a gorgeously soft yarn from the Faroe Islands. Technically it is a light fingering yarn - almost 3 ply - but I am working with it on 4.5mm needles which gives it a magical drape, yet a satisfactory weight to the fabric. I am currently on the second repeat of my stitch pattern - the world is distracting me a bit too much with other things, but I need to knuckle down as I have deadline knitting in addition to this shawl.

I am really enjoying working on this collection, though. Part of the fun is researching Mesolithic Europe but also thinking about materials that would have been available to the peoples at the time. I have decided against using glass beads and metal beads for obvious reasons - but how can I justify using wool when I cannot a) find any material on Mesolithic textiles and b) any evidence of sheep? Well, I am allowing myself artistic freedom to use wool but I will attempt to use relatively unprocessed yarn. Obviously knitters using my patterns can choose whichever materials they want, but I have had fun thinking about my choice of materials rather than just reaching for the merino/silk blend and that jar of glass beads.. as tempting as though it may be!

I have been reading a couple of non-related books, too. I gulped down Susan Hill's Howards End is on the Landing last night. I adore books about books and have a big section of my home library devoted to them. Sadly Landing is not so much a Book About Books but rather a Book About Famous People Susan Hill Has Met  - and it does suffer from it.

There are some very good bits tucked away in Hill's book: how to (not) sort books, the physical pleasures of reading a codex rather than an e-reader, collecting books over the years, and how to choose a title for book. However, the good bits are drowned out though by incessant name-dropping.

Did you know she had lunch with Benjamin Britten who liked her novel? That she once waited on a doorstep with TS Eliot? That E.M. Forster once stepped on her toes? That Kingsley Amis once said to her in 'a genuine tone' that he was very proud of his son? That she interviewed one Sitwell and recited Thomas Hardy to another Sitwell? That Bruce Chatwin's parents lived doors down from her? And so it goes on.

I am sticking to Anne Fadiman's wonderful Ex Libris, John Baxter's A Pound of Paper, and Alberto Manguel's A History of Reading. Hill's Landing ended up reading like chatter from a woman who has nothing interesting to say even about the most fascinating things. But did you know she once was on a reading panel with Roald Dahl who signed a book for her?

Sorry.

I better get back to work/comfort knitting. (Fortunately all this knitting coincides with the European Championship of Football - my homeboys won their first match!  I may have biked through Glasgow silently singing old football songs.. this is an expat thing, surely).

Drive-By Blogging

This week has been fun, stressful, and interesting. Prepare for bullet-points as I don't think my brain has the capacity for entire paragraphs. First some knitting bits:

• Rowan has published my Windsor hat pattern. It is free and you can download it from the Rowan website.
• I took part in another crafts/textiles conference at the University of Glasgow. Highlights: Edith Rattay from the Moray Firth Gansey Project speaking about East Coast ganseys with such authority and passion; Di Gilpin and Rosie Eribé asking questions about the heritage and future of Scottish textiles. It was a good day.
• I had a few more commissions for patterns come through my in-box. I am really, really excited!
• And because 2012 has been a fantastic year for me so far (which I needed after some very soul-destroying years not so long ago), I am throwing a mini-celebration. I'm knocking 12% off all my patterns until June 5th - just use "Love2012" when you purchase any of my Ravelry designs.

And some non-knitting bits:

• I finally read some books(!). I re-visited The Great Gatsby by F. Scott Fitzgerald after some 18 years. My first thought? "That'd be a breeze to teach." My second thought? "Damn, but it is slight."
• London Under by Peter Ackroyd was my next read. My Other Half has an affinity for psychogeography and recommended me the book. It was okay - but for a book about the London subterrain it did skim the surface an awful (if you'll pardon me the pun).
• I am quietly addicted to W.E.L.D.E.R. - a word game for iPods and iPads. I am yet to get beyond level 10, sadly.
• Eurovision came around and it was awesome. While I do have opinions on the proceedings, so far I am just listening to Loreen's "Euphoria" for the 464th time.
• And you may enjoy the Overthinking Person's Drinking Game. Hic.