The Picycle Shawl - Designing for Baa Ram Ewe's Bespoke Collection

The cat is out of the bag. Meet the Picycle shawl which I designed in Rowan Kidsilk Haze for Baa Ram Ewe's The Bespoke Collection.

I want to write a bit about the design process because even though my name is on the design, the whole process was all about teamwork and having a great group of people supporting you.

Verity of Baa Ram Ewe commissioned the shawl and gave me a very cool and tight moodboard to work with. I outlined my initial thoughts for a design that would combine lace and bicycles - Verity was super-responsive and playful. We decided upon doing a Pi shawl Elizabeth Zimmermann-style.

The Pi Shawl construction is genius - with just 6 or 7 strategically placed increase numbers, most of the circular shawl is actually a blank slate upon which you can place your lace motifs and patterns. For a designer, this sense of "blankness" is fairly irresistible and the temptation to go overboard is always there.

I spent a lot of time taking away elements and trying to nail the essential elements. Eventually I ended up with a central bicycle spokes/wheel motif and a recurrent bicycle wheel running out the outer border. I am a big fan of early 20th century art and the design brief made me think of Umberto Boccioni's studies for Dynamism of a Cyclist, so I really wanted to capture the idea of dynamism, of perpetual movement, within the shawl. With this in mind, I designed an asymmetrical mountain range which gave this essential sense of movement to the shawl. The outside border also denotes speed with its small oblong shapes - the shapes are not circular but are forever moving onwards.

Italian Futurism. You wouldn't know the influence was there unless you knew where and how to look for it.

And then teamwork ensued.

Nicky came on board and proved an enthusiastic, perceptive tester with a lot of great suggestions (the outside border would be very different without her input). Elly was a great sounding board for technical conundrums. Rachel remains one of the best technical editors I know. Ashley is a very smart lady who pulled things together like nobody's business. And Verity, of course. Each of those ladies made a huge contribution to my pattern and it is all the better for it (and it even comes as a half-circle! I nearly forgot to mention that) . It feels a bit wrong to have just my name on it when it was a team effort in every sense. A huge thank you to everyone involved.

The Bespoke Collection features a lot of great designs - I am honoured to be included along such names as Ann Kingstone, Sarah Hatton and Rachel Coopey. Ann's Woodrup cardigan with its fanciful little bicycles on the yoke is one of my favourites and Rachel's Frame mitts are incredibly clever.

Bespoke is currently on pre-order from Baa Ram Ewe (any orders will arrive towards the end of this month) and will be available to buy from Rowan stockists this spring.

Wow. That's one way to start 2014, isn't it?

2013: My Year in Knitting

If 2012 was my year of 'throwing out the oughts', 2013 was my year of discovering what happens when I try to 'do what I love doing'. And the answer? A lot of things happen.

The Edinburgh Yarn Festival was an early highlight for me. I was teaching a class and also helped Ms Old Maiden Aunt on her stall. I met a lot of fantastic people; most importantly I met a lot of you lovely blog readers (hello!) but I was also happy to meet fellow industry people. Working in the knitting industry can feel almost isolated at times so events like EYF are fantastic for meeting "colleagues". And a huge thank you to L. for bringing me breakfast at 2pm!

I also went to Woolfest in Cumbria at the beginning of June and the PomPom Magazine PopUp Xmas Party in December. Again, meeting a lot of great people and marvelling at people's creativity and talents.

2013 was the year of working crazily hard.

+ I published Gatsby Hat, Gatsby Mitts, Eyre Shawl, Botanical Gardens Shawl, the Kilsyth scarf and Chinese Kites in Knit Now magazine.

+ the Doggerland collection was launched: Ronaes, Hoxne, Gillean Hat, Gillean Wristwarmers and Ythan were all released this year. Three more to come in 2014, phew.

+ I also found time to do a limited edition kit, the Tenement Tiles gloves, with Ms Old Maiden Aunt.

+ I also worked on several other designs that are yet to be published.

+ I also did a nice amount of teaching, copy editing, tech editing, and knitterly translations throughout the year as well as keeping up with my part-time job as a design consultant for a well-known UK yarn company.

(Note to self: this is why you needed a holiday in December!)

Selfish knitting? There was a tiny bit.

+ I discovered how much I love fair-isle by knitting the Orkney & Bute cardigans (both from Rowan 52). Neither are finished at this stage but I loved every single stitch.

+ I finished the Stevie cardigan by Sarah Hatton. I absolutely love it and it became my go-to cardigan immediately. I'd love to knit another one. I also knitted Sarah's Edith shawl in one of my favourite shades of Rowan Kidsilk Haze.

+ I am currently knitting the Castiel hat by Woolly Wormhead in some yarn I bought in Copenhagen. It's a nice, easy pattern that's great for when my head's tired and I need some comfort knitting.

2013 saw a lot of patterns that I loved on sight but haven't had time to knit.

+ Blanche Too by Susan Crawford made it to my queue the minute I saw it. It is a classic jumper with those tiny Susan-touches that just makes it stand out. It's next on my needles. + Cinnamon Girl Cardigan by Amy Christoffers. It's the shape of the garment that makes this cardigan such a stand-out for me. It is a contemporary take on the classic Aran cardigan - and how much do I love the reverse stocking stitch sleeves? + Rock Candy Pullover by Talitha Kuomi is the quitessential Karie jumper. It is a classic shape but has clever touches and details that make it special. + Happy Triangles by Kiyomi Burgin is one pattern I'll probably never make but it is so perfect for right here & now that it is ridiculous.

So. 2014? It will look quite a bit like 2013, I imagine.

I have things on my desk right now that I need to sign off by end of next week. I am back doing things with Glasgow University in early 2014. Doggerland will be wrapped up (and how I will miss it) and a new big project launched. More patterns will be released. I will be teaching classes - and I'll probably get all stressed out by mid-June!

However, Sarah has issued me with two challenges. Can I design a pair of socks? Can I design a garment? Of course I can.

2013 was insanely busy, so I do need to work on my work-life balance, but it has also been very rewarding on a personal level.

I think I have finally found my feet and I have a better understanding what I have to say as a designer. I have also met some really amazing people along the way and I certainly leave this year feeling stronger and happier as a result. It has been rough along the way but it has been worth it.

Thank you for 2013. Godt nytår - happy new year.

The Project of In-Between Time: Orkney

For the past fortnight I have been travelling. I am used to travelling but usually I travel for work, not pleasure. I had a lovely time and I'll be sharing stories from that journey soon. Suffice to say that my batteries have been recharged. I spend so much time working on things that I cannot show you until they have been published. However, I do work on the occasional design by other people. My Bute cardigan is nearly done, but unfortunately I made a major mistake when I cast on for the fronts. The Small and Medium sizes are practically identical up to a certain point and, yes, my brain chose the wrong increase. As a result one front is size Small and the other is size Medium. I will have to reknit the wrong size front (which would be the smaller of the two, of course) but luckily I have enough yarn for that.

So I cast on for another project and it is one I work on when I do any public knitting or have any in-between time.

This is the Orkney cardigan from Rowan 52. I have changed the pattern quite a bit - though not any essential parts!

Instead of knitting it flat, I worked the body in the round with steeks (including the neckline and the armholes) as I didn't see the need to knit a traditional fair-isle cardigan flat and then seam it. So much extra work for no good reason! I added 9 stitches for the front steek and 7 stitches elsewhere. First I secured the steek with crochet stitches but I didn't like the bulkiness (particularly around the armholes) so I redid the edges using the zigzag on a sewing machine - much better.

I also changed the colour scheme significantly.

The original cardigan uses 13 colours in Rowan Felted Tweed DK and is rather bright when you see it in real life. The Rowan photos show it as being rather muted, but you have yellows next to purples with turquoise is another of the dominant colours. I just wanted to take the colour scheme somewhere else and turn it more autumnal. I did a coloured in version of the fair-isle chart before I changed colours around so I could see which colours were dominant where - I really recommend doing this if you are planning on recolouring any big fair-isle project. In the end I substituted the Camel (beige) with Phantom (brown). I used Ancient (a blueish khaki green) instead of Bilberry (purple) and Rage (red) instead of Watery (turquoise). I am generally using fewer colours as well as they tend towards the cool green-brown-red end of the scale.

Interestingly the sleeves use the same patterns as the body but the colours are changed around. The change in colours make a huge difference and people have been astonished when I point out the patterning is identical. I'm trying to impose a certain order on my colour scheme by using Rage on the sleeves whenever I've used Ancient (and vice versa) and Camel where I've previously used Celadon, but I'm not sticking to any substitution rules, really. Whatever looks nice. The sleeve looks a bit brighter than the body and I've used less green than I had anticipated, but I like how it looks.

Ravelry users reported that the fit was on the snug side, so I have gone up a needle size and also a size up from my usual Rowan size (which is Medium) - the lower part of the sleeve is still snug and I think the body will be a tight fit, but we'll see what happens when I block the cardigan. Felted Tweed DK likes to loosen up during blocking.

And I am already thinking about buttons. All of the buttons have been purchased from Textile Garden over the last year or so. I am somewhat partial to the lower left set but I do have some plain coconut shell buttons I could also use. First, though, I need to finish the two sleeves and the bands, block the lot, and ease in the sleeves. I am in no hurry with this cardigan so there will be plenty of time to decide upon buttons. Maybe even purchase some more?

I think I'll have enough yarn left to do another colourwork cardigan - maybe one emphasising slightly richer colours?

With Love from Glasgow

When you read this, I am currently on a much-needed break. The past year has been a whirlwind of activity and I was startled when I realised I hadn't had any time off since Christmas 2012 (when I had the flu so I am not sure it counts). I have spent some days on Aberdeen with family and now I am making my way towards London (where I'll be at the Pompom Magazine Christmas Party - hope to see you there?) and then Denmark. Hopefully I'll return with my batteries recharged and some major decisions made. I will be knitting whilst I am away - I am currently collaborating with Quail Books on an exciting project and I'm also working with Knit Now magazine on what promises to be their best issue yet - but I am not stressing about deadlines for once. But first I am really happy to unveil a collaboration with my original partner-in-crime, Ms Old Maiden Aunt. We had so much fun running our Sherlock-inspired project in 2012 that we wanted to do something similar this year. Instead of doing a three-month long club, we decided to do a one-off kit that combined our love of Scotland, local history, and Art Nouveau. We began working on this some eight months ago  so when Lilith received the small booklets last week, I whooped.

The Tenement Tiles pattern is inspired by the late 19th century tiles found throughout the Victorian apartment blocks ("tenements") in Glasgow. The pattern booklet includes a small essay about the tiles and Glasgow - the story of the tenement tiles is absolutely fascinating (it involves both cholera and false teeth!) and I have also included photographs of some of the tiles in my neighbourhood.

I see these late 19th century tiles every single time I leave my home - the entry way to my tenement is tiled with deep green titles depicting stylised lilies. Lilith and I began working on how to work the tiles into a design and the obvious solution was colourwork.

The Tenement Tiles gloves come in three sizes and the kit includes an exclusive Old Maiden Aunt colourway that won't be available anywhere else. We were really passionate about trying to capture a slightly weathered green-grey and Lilith came up with a colour that just blew me away. It is the exact shade I had in my head when I first started sketching all those months.

(An addendum: Glasgow's the first place I have really felt at home and it feels so very poignant to have worked on something so quintessentially Glaswegian at a time when Glasgow has been hit by tragedy.  It feels even stranger to be writing about my beloved home when I know this blog post will be posted when I am not here. Glasgow has a reputation of a hard, tough city but it is a city of beautiful architecture, amazing art and (most importantly) an incredible community spirit. )

Many thanks to the overwhelming response to my post about appreciating hand-knitting. I have much I want to say in response to your response but first I have some travelling to do. Also, in lieu of a big gift guide for the knitters in your life, I have compiled a small Pinterest board of some good gift ideas.

On Devaluating Hand-Knitting

It's been a couple of weeks and I've taken some time off. I have more time off soon which means I'll be away from my office for the first time since .. Christmas last year. Ahem.

I have collaborated with the very lovely Old Maiden Aunt on something which will be released whilst I am away from my office. We began plotting this almost eight months ago. It is crazy how quickly time flies. The photo shoot happened earlier this week - you can see the beautiful Glasgow tenement buildings to the left. Ah, don't let the winter sunshine fool you. It was bitterly cold.

But let us talk a bit about knitting. It's a bit of a ramble from here on in.

Earlier this week, I met a talented girl who had designed and knitted a 4-ply jumper for a client. The client had asked the girl to supply the yarn as well as design/knit it. I asked how much the girl had charged?

An entire 4-ply (fingering-weight) jumper from design conception to finished item and including the yarn. £35. Let me repeat that: thirty-five pounds.

When I asked her why she'd charged that little, she shrugged and replied: "Because the client didn't want to pay anything more and even baulked at £35". I got very, very angry at this stage. I didn't get angry at the girl because she was obviously just trying to make a little money. No, I got angry at a marketplace which so devalues hand-knitting to the point where a customer baulks at paying more than £35 for a custom piece (including materials!) and manages to get away with it. Make that a marketplace in which the customer manages to get away with it again and again because I have heard the same story many times.

That is not okay.

Why is it that hand-knitting is so devalued? Skilled artisan-makers like the girl I met are paid pennies when they should be earning pounds. Is it because hand-knitting is predominantly female-centric? Is it because history has taught the marketplace that hand-knitting is something poor people do to make ends meet and poor people can be exploited? Is it because hand-knitting is perceived as being 'a hobby' that people do between their 'real' jobs? I looked at hand-knitters and I am amazed at their skills, patience and talent. Maybe I am wrong - certainly the marketplace tells me so.

I have never knitted for money -  but I do get asked an awful lot if I am willing to take on commissions. Usually the punter wants me to whip up an aran cardigan because a machine-knitted acrylic version is deemed too expensive. When did we move from "mass produced" = inferior to "mass produced" = superior? To my mind, a one-off piece created by a skilled artisan using excellent materials should always be considered more valuable. How do we change this perception?

I am not an artisan maker and while I hesitate to label what I do, I'm probably more of an artisan makar. "Makar" is an old Scottish word for "poet" or "bard" - and I think of my knitting designs as a way of telling stories with stitches. I care about how hand-knitting is perceived and treated. I know exactly how much time and skill go into designing and writing a pattern - what does that say about my time and skill that Ravelry currently holds 122,147 free patterns? How could I possibly add value to a pattern (and price it at £3) when 122,147 patterns are free?

It's a weird job I have chosen and it is a strange industry too. All I can do is hope that you'll like my collaboration with Lilith (note: it involves an essay about cholera, false teeth and William Morris). I'll be back with a gift-buying guide for the knitters in your life. Treat them well: they are super-skilled and deserve a treat.

Wool Week Travels

It is Wool Week here in the UK and as a result my working week is somewhat frantic. This year the emphasis seems to be wool as fashion and that ties neatly into some blog posts I have been working on. Wool School asked budding fashion designers to design woolly jumpers with the best designs being snapped up by retailers. It is a different approach to previous years' campaigns which were more focused on wool as product. I applaud the decision to shift focus - it cannot not have been an easy decision - and hopefully by asserting wool as fashion we can start to have that particular discussion. More on this when I get a chance to post my blog series.

The Knitter features my Doggerland collection this month and I was slightly stunned to find myself sharing a page with Steph Pearl-McPhee, Alana Dakos, Jean Moss, and Kaffe Fassett. No pressure, Karie. However, that does bring me to what's going on with Doggerland. The next pattern is a 4ply shawl called Vedbaek - I really love it and it's a real comfort knit. The trouble is that I have about six or seven strings to my bow and I am a bit overwhelmed with work. So, Vedbaek is sitting 75% finished on my harddesk and I am as frustrated as everybody else that I cannot just dig into it and get it published. Hang in there with me. Besides Vedbaek, there are two more Doggerland patterns to go. I cannot wait to show you.

(this does go back to one of my concerns pre-release that my portfolio was going to drag me away for lengths of time. I need a time-turmer)

But at least being busy and travelling gives me time to do some work knitting (see photo!). I finished knitting my Bute cardigan (or did I? Oooh, there's a story..) and I began knitting Orkney. It is going to be a long-term project because I'll only be able to work on it now and then - but it is so pretty. I am changing the colours completely: from the beige/purple/turquoise original to a darker, more muted version in brown/green/red. Ravelry is full of wonderfully reimagined Orkney cardigans: Doodle's Orkney, Grebe's Orkney, Pletynka's Orkney, and Whitecotton's Orkney. I am blessed to be able to spend a bit of my work time of knitting - I don't think I will have time to do so going forward, though.

And so it is time to depart. Enjoy Wool Week - I will probably enjoy it most when it is all over for another year! Shhhh...