Our shoot for BT Fall 14 took place in Red Hook, Brooklyn – the perfect backdrop for our fisherman-inspired knitwear. We wrote a bit about the neighborhood in our lookbook feature, and shot a companion video piece to go along with the article which we’re sharing today! The footage serves as a sort of visual journal of our own experience there – and sought to capture the character of Red Hook today. We’ve reposted the article below, too– hope you enjoy!

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Nineteenth-century engravings show Red Hook, Brooklyn as a blunt spade of land bristling with steeples and smokestacks, a lively, hardworking neighborhood south of the Brooklyn Bridge pulsing with human energy and industry. A hundred years ago, Red Hook was the busiest freight port in the world, handling all the goods being shipped down the Erie Canal and then beyond.

Today many of its handsome brick factory buildings and warehouses stand empty; the local shipping industry withered on the vine in the 1960s, bypassed by new patterns of global trade. The subway doesn’t run here, eighty percent of the residents don’t own cars, and the only ferry service to Manhattan belongs to the new and controversial IKEA. The point of land once prized for its strategic location at the gates of one of the world’s great cities became so isolated that few visitors or even residents of more affluent parts of Brooklyn ever set foot here. Underserved by city government, burdened with environmental waste from elsewhere, wracked by decades of poverty and its attendant scourges, half-drowned by Hurricane Sandy, Red Hook is now muscling back up toward the sun.

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Red Hook Circa 1875

 

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Wanting a nautical backdrop for this collection of fishermen’s sweaters, the Brooklyn Tweed team headed for Red Hook’s wharves and tiny beachfront. We couldn’t stop shooting photos of picturesque brickwork and peeling paint, faded advertisements and weatherworn doorways, maritime relics, fresh flowers pertly adorning a few windowboxes, street art and bright graffiti replacing decay. The mood of this place, its admixture of struggle and pride, hard times and hope, moved us deeply.

Lines that once secured great oceangoing ships lie rotting in the sun and salt air, neatly coiled by longshoremen who honored their work even on the last day of the job. That haunting sense of dignity pervades this corner of Brooklyn, and it spoke to our ideals as a company. America is full of Red Hooks. All across this land are towns that boomed on manufacturing, places where people invented and made useful things, forges of change that drew people from all over the world to work and live and invent anew.

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Brooklyn Docks 1916

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Too many of those towns have fallen into decline, their industries gutted by cheaper competition. Brooklyn Tweed went into the business of making 100% American yarn because we wanted to participate in the revitalization of proud manufacturing traditions as well as contribute to a crafting renaissance. Working alongside other young businesses and in partnership with a remaining few that have survived for centuries, we hope to lift and energize local industries. Small as our impact might be in the face of colossal challenges, we can be part of a rising tide to reinvest in local resources and skills. The grit and passion of Red Hook’s community leaders inspires us and reminds us what’s possible when we commit to doing business in a way that creates work and boosts artistry in our country.

Dear Knitters,

September! It’s always been one of my favorite months. While summer may be psychologically over when the school bells ring, the season just seems all the more golden as the fair weather lingers, mellows, and starts to offer that refreshing autumn crispness in the mornings. While the lazy liberty of vacation may be over, falling back into the year’s routine has its own productive pleasures, too. (There’s still the possibility of weekend camping trips, after all!)

Fisherman-inspired knits for Autumn

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Most importantly, as we well know, Knitting Season is officially open. It’s no longer too hot to contemplate taking up that big cardigan you didn’t finish last winter. Or even if it is, you start to think how good that pile of pieces in your workbasket is going to look at your favorite autumn wool festival (if you can just knit a second sleeve and a collar and sew them all together…). Motivation kicks in.

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BT Fall 14

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I can never resist the call to cast on new projects in September, and that’s why I’m excited to share our BT Fall 14 collection today: a whole fleet of garments and accessories inspired by the rich traditions of nautical knitwear. Our design team set out to reinterpret fishermen’s sweaters in ways we hope will surprise and delight you. From cables to geometric textural patterns to brioche, you’ll see classic elements enlivening completely modern shapes. Whether you like your sweaters generous or fitted, A-line or fashionably oversized, you’re likely to find something in the lookbook that will make your needles sing.

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BT Fall 14

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Construction details and design features for each garment are highlighted directly within the new lookbook and give a great at-a-glance summary of what kind of knitting is in store for any given pattern. We’ve also included a new kind of written feature in this lookbook. Shooting the collection in Red Hook, Brooklyn got me thinking about our roots and mission as a company. Rather than just using Red Hook as an evocative backdrop, we felt compelled to share with you something of its history and its present. Feeling the energy that’s being generated there as community leaders try creative solutions to put their town’s unique resources and people back to work inspired all of us. It affirmed my own resolve to grow Brooklyn Tweed in a way that fuels local industry and helps keep American manufacturing traditions alive. I hope you’ll enjoy thinking about that aspect of our craft as you read our Red Hook essay and share your own reactions and ideas with us!

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BT Fall 14

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I’m also looking forward to showing some of our Red Hook footage in a new BT Vignette video next week, and to turning the spotlight on some of the designs in BT Fall 14, so stay tuned for more to come. If there’s a garment you particularly want to see featured, please let us know!

For the moment, I hope you’ve got a few moments to settle in with the lookbook, enjoy the new collection, and dream up possibilities for your own wardrobe.

.Happy fall!

JF_SIG_printed

The votes are in! Congratulations to the top three winners for our #Tweedback contest: @klmmm9, @dmwknits, and @pataunt!

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Tweedback Winners!

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We absolutely loved seeing all the humorous, inspiring and touching submissions shared here over the past few weeks. It’s been a great way to enjoy the last days of summer with a big smile.

Winners – we’ll be in touch with you tomorrow!

Tweedback Top 10

Our #tweedback Instagram Contest was a wonderful experience, and we were bowled over by more than 350 submissions! If you haven’t already, check out the hashtag #tweedback via Instagram for a nostalgic, wool-filled walk down memory lane!

Our in-house Design Team had a tough time choosing only 10 finalists from the entire pool, but were able to agree on the following images this morning after much hemming and hawing. The top three prizes in the competition will be awarded based on popular vote, so please cast your ballot in our poll below – voting closes on Sunday August 31st at 11:59pm, and we’ll announce our winners at the beginning of next week.


A big thank you to everyone who participated to make our first-ever Instagram contest a success! And though the contest is over, we hope the hashtag stays active as knitters continue to uncover vintage photographs of themselves or their loved ones in knits.

Happy voting!

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We’ve had a blast watching garments from our BT Kids collection being created throughout the summer. All the nostalgia of wool-clad children got us thinking about our own sweater-filled pasts. We asked our own BT team members to search their home archives for old photographs of themselves in knits and had a wonderful time looking at everyone’s images. Our inner-office image exchange inspired us to put together an Instagram Contest that would allow our friends and fans to join in the fun!

To celebrate the last month of summer, we’re kicking off our BT Tweedback Thursday Instagram contest.

Here’s how to play:

  1. Find photos of yourself or your family members in their childhood, clad in hand knits of any kind (hats, scarves, gloves, mittens, sweaters… the woolier the better!)
  2. Upload your photos to your Instagram feed before midnight on August 25, 2014, being sure to include the hashtag #tweedback in your caption.
  3. After the deadline, our in-house Design Team will choose 10 lucky finalists who will be entered into a poll for one of three yarn prizes.
  4. The top 3 prize winners will be chosen by popular vote from our friends and followers on social media!

Yarn Prizes (!):

  • Grand Prize: 10 skeins of BT yarn in color and yarn line of knitter’s choice
  • 2nd Prize: 2 skeins each of Shelter and Loft in colors of knitter’s choice
  • 3rd Prize: 2 skeins of BT yarn in color and yarn line of knitter’s choice
  • Finalists: Each of the 10 finalists will receive a free PDF copy of any pattern in our archive

Throughout the contest we’ll be posting our own photos (much to our parents’ delight) on Brooklyn Tweed’s Instagram feed, too. You didn’t think we’d ask for embarrassing pictures from your past without doing the same, did you? (Any guesses whose cheesy grin is pictured above?)

.We hope you’ll play along – we can’t wait to see your images!

 

Contest Rules:

  • Pictures must be of children (ages 12 or younger) wearing a hand knit item
  • Eligible Images must be hashtagged #tweedback on Instagram only to be considered valid submissions. Submissions with or without hashtags on other social media outlets will not be considered.

 Don’t have an Instagram account, but want to play along?

They’re free and easy to set up! Just download the free app on your smartphone and follow a few on-screen instructions to set up your account.

 

 

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01_cable_spotlight

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Today we’d like to give you a closer look at some of the cabled designs in BT Kids: Jared’s Spore, Julie’s Bairn, Michele’s Arlo, and Véronik’s Vika. Our design team loves playing with the endless possibilities for cabled shapes and we hope you’ll have a lot of fun knitting these projects.

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02_spore_diptych

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If you just like to motor away on a satisfying knit with predictable pattern repetitions, try Spore. Jared set out to design a charming, coordinated hat and scarf suitable for an idyllic hike on the moors. He wanted a traditional cable motif with chunky dimensionality for maximum coziness. He worked the scarf first, then planned a matching hat with a quirky shape to add a note of whimsy and personality to the set. The crown shaping is integrated into the cable pattern and the hat is offered in four graded sizes, toddler to adult. The shape is roomy enough that even the larger children’s sizes can easily fit most grownups, too – so choose your size based on a silhouette you like to wear.

The Spore scarf is written in a single size, but can be knit to any length. The 49” sample took 2.6 skeins of Shelter, so procuring four skeins would ensure enough yarn to knit a long adult scarf.

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03_bairn_diptych

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Julie Hoover drew her inspiration for Bairn from her own family. Her three boys all loved their special blankets and would leave them lying all over the house, so she imagined a blanket handsome enough to fit into the décor of a stylish home—a kids’ item you wouldn’t need to sweep out of sight before company arrives. She knew cables and twisted stitches in the Bavarian tradition would provide that elegance. Julie saw Bairn as an exercise in balance and restraint, finding just the right measure of twisted and regular cabled stitches and resisting the urge to fill up all the space with cables. The ample reverse stockinette ground effectively draws the eye to the center motif and gives the blanket a modern and visually soothing quality. Julie heightened Bairn’s contemporary feel by eliminating the traditional border in favor of clean I-cord selvedges.

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04_arlo_diptych

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Michele wanted Arlo to be a truly unisex cardigan; the pattern gives instructions for gendered button placement if that matters to you, but the style suits boys and girls alike. She charted cables in X’s and O’s for a sweet touch, but by varying the number of stitches in the cables she achieved an organic and more sophisticated look. Arlo has stockinette panels along the sides to allow the knitter to adjust the width of the sweater as needed. This is also a great knit for fast-growing youngsters because the ribbed cuffs can easily be folded up for the first year and then down for the second.

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05_vika_diptych

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Vika lets a traditional Aran-style cable take center stage against a ground of textured stitches. On small garments, a single bold cable fills a lot of space—Vika looks intricate, but the knitting is simpler than it appears. And while many knitters prefer to work in the round to avoid seaming, there’s an advantage to flat pieces for cable work: you’re far less likely to cross your stitches a row too early or a row too late!

Check out some of the beautiful Vikas already finished on Ravelry:

And don’t miss kioto888’s handsome orange Arlo:

We can’t wait to see more of your interpretations of these garments!

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color_thoery_02.

On Tuesday we talked about some of the fundamental “rules” of color theory as it pertains to knitting stranded fabric with multiple colors of yarn. Today I want to share some of my own design swatches for the Atlas pullover/cardigan that illustrate these concepts.

When I begin a new design, the first major block of time is spent making several swatches. This is never truer than when I am combining color (where swatching may comprise over 50% of the entire design process!). Knitting stranded colorwork is a very specific applied use of color, and it takes a lot of practice to begin understanding how colors work together in this format. More often than not, a color choice you were sure would be perfect doesn’t come together the way you thought it would, or better, a combo that you didn’t feel too terribly excited about ends up working beautifully. The only way to know for sure is to knit up your motif and see what happens! (Bonus: Knit your swatches on varying needle sizes to test what kind of fabric options you have; remember that stranded knitting is virtually twice as thick as single-color stockinette, so a more relaxed gauge is often preferable.)

For Atlas, a total of seven colorwork swatches were made (6 of which are shown in the following image; the 7th is used as an example below to illustrate what doesn’t work).

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swatches_01.

Atlas’s yoke motif requires the use of 3 colors and is intended for use with three contrasting values of color: Light, Medium and Dark. For me, the choice of value is the first and most important step in choosing a trio of color, followed by the selection of hues. In this case I chose triads of color that live in similar color families (browns, blues, greys, etc.), but you can just as easily mix hues from all parts of the color wheel, as long as you keep the value relationship in place.

Swatches 04 and 06 were eventually chosen as final colorways for the knitted samples (click here to see the final result for each colorway), though most of these options would have made perfectly adorable finished garments for children.

Looking at the six swatches above – one of them jumps out at me as being slightly less successful than the others (at least relative to what my original goal was). Care to venture a guess? In my opinion, Swatch 05 is the least successful (though not a failure). Do the “squint test” at all 6 of the swatches above and see how the motif on Swatch 05 fades to darkness more readily than the others, particularly in the upper “elongated diamonds” section. This is because Colors 1 and 3 are closer in value to one another in Swatch 05 than they are in the others.

Another interesting item to note: in all six swatches, I prioritized the darkest value for Color 3, since it held the most “heft” in terms of defining the overall yoke motif. For Colors 1 (sweater color) and Color 2 (yoke contrast color), however, I played around with swapping the position of the Light and Medium values. For example, swatches 02 and 06 use the Light value as the sweater color, and the Medium and Dark values for the yoke motifs. The other swatches use the Medium value as the sweater color and have Light and Dark contrasting in the yoke. Both results are pleasing. The take-away: when your value structure is solid, you’ll find success in just about any configuration of Light, Medium and Dark (and! even more swatching possibilities)!

Below is an example of how quickly low-contrast color combos can turn muddy; I encountered this situation when I was swatching with shades of brown:

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hi_lo_contrast

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The upper swatch was my first attempt combining browns from our palette. Tuesday I mentioned that you’ll sometimes be surprised at how similar values can appear in the finished knitted fabric, even when they seemed sufficiently different “in the skein”. When you work two shades onto a “grid” of knitted fabric, mixing color stitch for stitch, the colorwork fabric puts the value relationship to the true test. In this case, “Nest” (color 1, which would be the body of the sweater) appeared plenty different from “Truffle Hunt” (Color 3, the darkest shade) when I held the skeins together, but looked much less so when knitted. (Try the Squint Test here too.) So, it was back to the drawing board.

The second brown swatch shows how dramatically different the motif is when just a single color was swapped out for a darker value. The High Contrast swatch subbed “Pumpernickel” for “Truffle Hunt”, a much darker shade of brown. The results speak for themselves!

I’d like to make one final comment about all of this before wrapping up today’s post. When it comes to design and color, I don’t mean to insinuate that there are hard and fast “rules” for success. As in any creative endeavor, that author/artist/designer’s vision and intention are what should guide the decision making process from start to finish. In some cases, a lower-contrast, tonal colorwork palette might be your goal and in that case, choosing colors with similar values can get the job done (in this case, I recommend choosing wildly different hues with similar values, which can result in some very interesting combinations). I’ve structured this post with a more traditional approach, assuming that the goal is to easily see and decipher the graphic motifs featured on Icelandic yokes – and with that goal in mind, a “light-medium-dark” approach will automatically give you a strong foundation to begin your color pairings.

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alt_atlas_colorways

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Though only two colorways made it into the final BT Kids collection, I wanted to post a few more options here for anyone who may have seen a combo featured today on the blog that they might want to run with – on Atlas, or any other 3-color stranded project you might be planning. We’ll also be posting these alternate colorways on Atlas’s pattern page for reference as well.

I hope you’ve enjoyed this little soirée into color theory for knitters! It’s a subject I love talking about — many thanks for letting me indulge!

– Jared

 

 

color_thoery_01

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I always jump at the opportunity to design a new Icelandic pullover or cardigan. After returning from my summer trip to Iceland in 2012, my love of the traditional Lopapeysa has been at an all-time high. My first swing at a traditional Icelandic sweater design was Grettir in our BT Winter 13 collection, with a more recent follow-up design – Atlas – in BT Kids.

One of the most enticing aspects of Icelandic sweater design is the opportunity to play with color. It’s truly amazing how a wide range of results can be produced from a single colorwork chart, based solely on the use (or abuse!) of hue and value. Choosing yarns for colorwork, however, can be discouraging if you aren’t familiar with a few fundamental rules about color theory. This week I wanted to share some tips with you that every colorwork knitter (or designer) should have in their arsenal.

In today’s post (Part 1), I’ll talk about the difference between hue and value and how these two attributes of color are intimately linked to the success of your final project. On Thursday (Part 2), I’ll show you how these theories were applied (with varying degrees of success) during my own design process for the Atlas pullover and cardigan. My hope is that these simple colorwork rules will keep you from the heartbreak caused by muddy, hard-to-see colorwork motifs in your knitting.

Hue & Value

When talking about color, there are two important terms to understand: Hue and Value. Every color under the sun (with the exception of  pure black and pure white, depending on who you ask) has a hue and a value. These two words describe the two basic “ingredients” of color, and understanding their distinction is key to successfully combining color in knitting.

Hue refers to the attribute of a color by virtue of which it is discernible as red, green, blue, etc. The word “hue” is often used interchangeably with the word “color”.

Value refers to a color’s relative degree of lightness or darkness.

The easiest way to think about value is by visualizing color on a greyscale spectrum. Remember that every color has a value – though it may sometimes be difficult to discern depending on how saturated a color’s hue is. The diagram below shows a range of values from pure white to pure black, with equal intervals in value from one shade to the next.

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Value Scale

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Why is value important? Because it helps our eyes discern between colors by way of their contrast. The greater the difference between two colors’ values, the more contrasting they appear to our eyes and hence the easier they are to “read”.

Using Value When Choosing Color

With stranded knitting, value is especially important because colors are “mixed” as the fabric is created, with single stitches of one color neighboring single stitches of another. (Value is less of an issue with broad stripes or colorblocked fabrics because the surface area of a single color is large, making it easy for the eyes to distinguish between even subtle shifts of hue and value. Not so with stranded colorwork. If your value structure is not sound, all your careful handwork may result in a muddy motif that is difficult to see (and appreciate!).

Your best course of action is to “value test” your colors before you begin knitting. The easiest way to test your values is with the squint test. Place your potential colors on a flat, well-lit surface and huddle them next to one another. Squint your eyes and study how squinting causes the colors to become more or less similar in value. When squinting, values are easier to recognize. If – once squinting – your colors become MORE similar, you likely are working with colors that are too similar in value and should consider pulling in something with more contrast.

The second, more high-tech method, is to take a snapshot of your colors on a digital camera (smartphones are wonderful for this purpose) and convert the image to greyscale. A black and white image removes all hue information and leaves only the values of each color to compare. This is a fantastic trick that takes all the guesswork out of the equation. 

Below, I’ve shown two different color schemes for a 3-color Icelandic yoke. The photograph on the left shows the colors as they appear to our eyes; the photograph on the right has taken all hue information away, leaving only values to be contrasted. It’s pretty easy to tell right away which of these two color groupings would make a more successful finished piece:

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Value_01

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Value Combination 1 uses colors “Woodsmoke”, “Tent”, and “Artifact” and represents a true light-medium-dark value relationship. (Squint at the screen and look at the greyscale image on the right – the values become even more obvious than they are to the naked eye).

By contrast, Value Combination 2 uses three colors that look beautiful together upon first glance (“Thistle”, “Wool Socks” & “Homemade Jam”), but when the hue information is stripped away, these colors look virtually the same. (Squint again to double-check.)

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Value_02

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If both color combinations were used to knit the same colorwork motif, you would quickly notice  a drastic difference in the overall effect on the finished fabric. Combination 1 would have a graphic effect that enhances the angular motifs found in Icelandic yokes, while Combination 2 would cause the motifs to fade into a much less discernible configuration.

When choosing colors for colorwork patterns, the assessment of value should always be your starting point. I keep a trusty snapshot of our BT Shade Card – converted to greyscale – readily available. When I begin a new colorwork design and start pulling potential color combinations, I assess their value before deeming them worthy of swatching.

You can see below how quickly the palette separates itself into light, medium and dark values with a simple black and white conversion:

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Shade_Card_01

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In the next post, we’ll take these fundamental rules for a test drive by looking at my design swatches for Atlas – examining why some are more successful than others due to their internal value relationships.

Stay tuned for more colorwork geekery later this week!

– Jared

 

This morning we’d like to introduce you to three of the colorwork designs in BT Kids: Jared Flood’s Atlas, Véronik Avery’s Magnus, and Julie Hoover’s Carson. These very different garments offer a chance to sink your teeth into techniques you may not have tried, so we’re glad to have the chance to talk about them in more detail. We thought you might also like to learn about the designers’ inspiration for these pieces.

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BT Kids: Colorwork Spotlight

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A visit to Iceland two summers ago cemented Jared’s love for the lopapeysa, the quintessentially Icelandic patterned yoke sweater, and led him to design Atlas. The lopapeysa tradition isn’t as old as you might imagine—it was invented in the 1950’s as a vehicle to bring the distinctive Icelandic wool and bold design sense of Icelandic artisans to an international market. The sweaters are so beautiful and useful that they quickly became iconic. Viewed from above, the yoke creates a sunburst effect that lets the designer play with simple combinations of shape and color. Jared loves how effortlessly lopapeysa sweaters come together—they’re seamless, with a lot of meditative stockinette, and just when you start feeling you could really handle something a little more interesting, along comes the glorious colorwork yoke, which is neatly finished before you feel overwhelmed by it. The lopapeysa is traditionally worked with bulky-weight wool, though Jared has always wanted to try one in a fingering weight. BT Kids seemed like the perfect opportunity, especially because the yoke motif could then be scaled back up for larger sizes just by substituting heavier yarns.

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Atlas by Jared Flood

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Atlas is offered as a pullover for knitters who want a seamless garment that’s quickly finished, but Jared added a cardigan variant for those who prefer more versatile styling options. The knitting process doesn’t change, but if you’re working the Atlas cardigan, you’ll cast on extra stitches to form a steek at the center front and then cut the fabric open when the sweater is complete. This clever shortcut is part of the knitting tradition across Scandinavia, the Shetland Islands, and Iceland, and it lets knitters create stranded color patterns while always looking at the right side of the work and never having to carry floats in front while purling—a slower and more awkward process for most of us.

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Magnus by Véronik Avery

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Steeks can be used to open the whole front of a sweater, as in Atlas, but they can also be used for shorter spans like armholes and neck openings. That’s how Véronik employed them in Magnus, her handsome interpretation of traditional Scandinavian handknits. If you’ve never tried a steek before, Véronik recommends cutting a swatch of your project yarn—it doesn’t even have to be a stranded swatch. If you’re nervous about the cut edge unraveling or if you’re using a non-wool fiber, a line of machine stitching ensures that nothing will come undone. (Tip: Place a piece of tissue paper under the knitted fabric for stability so the machine’s feed dogs won’t stretch out the seam.)

Véronik thinks the design quality of Scandinavian knits is particularly well suited to children, being both modern and traditional. Magnus is intended to be truly unisex, perfect for handing down through the family. The hood is a modern touch, added for the simple reason that kids love hoods!

Carson by Julie Hoover

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And if you’re too impatient to wait until the yoke for your colorwork, try Carson. Julie had been playing with this diamond motif for a long time, auditioning it for at least two different collections before it found the perfect home in BT Kids. She cleverly placed the colorwork at the hems and cuffs of the pullover so knitters can work it in the round without worrying about steeks, and all that eye-catching detail in the lower portion of the piece invited some special treatment at the top for balance. Julie’s answer was to expose the seams where the sleeves are set in, which makes the seam visually prominent, and that drove her decision to work some unusual shaping through the yoke as well. She used a combination of full-fashioned decreases and a sloped bind-off to create a saddle shoulder in the front and an innovative hybrid shape in the back. She says it does take extra care to ease the sleeve into the front yoke correctly—you may want to use safety pins or split-ring stitch markers to secure at least the seam ends and the point of the shoulder before you start to sew. Julie also advises wet-blocking both the individual pieces and then the finished pullover for the most successful result.

Thanks for stopping by today to meet Carson, Magnus, and Atlas! Jared will be back next week with a post on choosing colors to help you take the next step if you’re considering any of these designs.

Today, guest author Sarah Pope shares some special tips on making the most of knitting for little ones – we hope you enjoy!

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Reveling in the delights of the new BT Kids’ collection, my mind went right to casting on—Berenice for my daughter in Blanket Fort or Postcard! Arlo in Hayloft or Button Jar for my son!—I expect many of us dove straight into fantasies of seeing our own little ones at play in those beautiful garments. Some of us may even have experienced an alarming itch to produce or “borrow” a child just for the pleasure of knitting these designs. But even though I have a pair of recipients at the ready, I’m going to take a moment for some savvy planning, because knitting for kids is an investment of time and capital and also something of a gamble.

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Saavy Knitting for Kids

 

Children are notoriously fickle giftees. The garment may be too hot. It may be too scratchy. It may be the wrong color—some kids let their favorites box the compass, while others remain faithful to purple or green for years at a time. The older they get, the more many children tend to fall in line with trends amongst peer groups. A child’s willingness to wear handknits may be utterly squelched for a few years if popular fashions have strayed in another direction.

The fact is, gifting a handmade item always means letting it go. It may be cherished or abandoned to the thrift shop. You’ve had the pleasure of the crafting it; this must be enough. But there are some clever moves you can make to position your handknits for a happy ending.

The best tactic I know is to involve the child herself in the planning and execution of the knitting. Let her hold the hank of yarn to her neck and judge the itch factor. A worsted-weight sweater may simply prove too warm for an active child in a temperate climate, so talk with her about the garments she likes to wear and make notes on their properties. She’ll probably be frank about style preferences.

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Savvy Knitting for Kids

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You’ll need to accept that a kid may not want to wear what you’d most like to knit. If your youngster lives in hooded sweatshirts, you’ll probably have to make him a plain zippered cardigan with a hood. It may bore you to tears, and your reward will be to see it dropped at the muddy sideline of the soccer pitch. But if your sweater receives this shockingly offhand treatment, you can pat yourself on the back. It has passed muster; the child has adopted it into his wardrobe and made it his own.

If the child is close by and old enough to learn, why not let him actually knit on his sweater during a plain stockinette section? Most children become deeply invested in things they’ve had a hand in making and will be proud to point to their wool-clad tummies and announce, “I knitted this part right here.” If they’re too young to knit, let them help wind the yarn, or give them a none-too-precious ball from your stash and some blunt needles to stab at it as they make believe they’re knitting alongside you.

Knitting for children—like pretty much every other aspect of life with them—involves ceding a certain amount of creative control. That can be hard for those of us with strong creative visions. (If I can’t sell my almost-four-year-old on the idea of Berenice, I’m just going to quietly cast it on for myself, in Shelter rather than Loft.) But seeing what strikes her in the collection, watching her form her own taste, is part of the fun of knitting for her. If I can produce something she really loves, my happy ending will be to listen to her bragging at preschool, “My mama made this for me!”

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