Archives for category: Sweaters

Since the launch of BT Fall 14, we’ve been getting some great questions streaming in over e-mail and social media. We thought it would be great to present a short Q&A today to answer some of the more common queries we’ve heard so far.

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BT Fall 14 Q&A

 

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The fashion world loves oversized sweaters these days, and we at BT appreciate their coziness (and also the extra large canvas for beautiful handwork). That said, we also know that these garments can be tricky to wear/style for many – so we’re focusing on that topic today (as well as the big question we’ve been getting from our male knitters!)

Q: I like my sweaters to have just a few inches of positive ease, creating a more classic fit. Which of the designs in BT Fall 14 can I knit, and how should I make adjustments if I need to?

A: Spinnaker, Docklight, Backbay, and Crosby are all designed for a standard fit bust circumferences down to 32-35”, which should allow even petite women a slim silhouette. Wake is also intended for 2-4” of ease, though we chose to show it worn with 6” for a more casual effect.

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Classic Fits from BT Fall 14

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Bellows and Zenith are styled in our lookbook with a lot of positive ease—9 or 10”. But again, the smallest sizes given are 35-36”, so even very slender knitters should be able to work up a sweater with a more traditional 4-5” ease. Keep in mind that both designs are intended as outerwear, with room for other layers beneath. If you are knitting a smaller size than is usual for you, consult the schematic closely to determine if you’ll need to add length, particularly in the sleeves.

Only Rowe is really intended for pure oversized drama; the smallest size in the pattern is 40¼” with the fronts touching…but don’t forget to picture those fronts overlapped and snugly bundled around you before you start plotting to scale it down even farther.

Q: I’m curious about oversized sweaters, but I’m not sure they flatter my body. How can I wear them?

A: Whenever you are increasing the scale of one garment, it’s usually a good plan to keep the rest of the outfit slim: pair wide-leg trousers with a tailored sweater or a boxy pullover with skinny jeans. Likewise, choosing a garment with slim sleeves and shoulders that fit you well will help keep a wide silhouette from looking simply baggy. Hawser and Ondawa both use this principle.

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BT Fall Styling Tips

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If you’re petite and large clothes tend to swamp your frame, consider an open-front cardigan like Rowe that can swing to reveal your slender shape within.

A few pitfalls to avoid: A garment that ends at the widest point of your body usually won’t be flattering. If, like many women, your hips are your widest point, make sure the hem falls at your high hip or extends to mid-thigh. Split-hem styles like Crosby may be flattering for you, too.

Q: What, no garments for men in a collection inspired by fisherman sweaters?!

A: Stay tuned – BT Men Volume 2 is in the works! In the meantime, Bellows is handsome for either sex, as are the scarves and hats in the Fall collection. And a variation on Wake could integrate into a contemporary masculine wardrobe with ease.

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We hope you enjoyed today’s Q&A session – please feel free to keep the questions coming. We love hearing from you!

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Today we’re talking about Ondawa, Michele Wang’s architectural cropped pullover from BT Fall 14. This piece is a wonderful mix of modern and traditional – with luscious stitch motifs adorning a clean, contemporary silhouette. Michele adopted panels of travelling twisted stitches and strongly linear cables found in some Aran-style sweaters and applied them all over her design to create a fabric that wants to move and fold. Even though the garment is cropped, the thoughtful arrangement of motifs and all those slanting lines draw the eye vertically and create lengthening, flattering shapes on the body.

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Love the sweater but not the length? Here are some suggestions for making the garment work for you:

We know cropped sweaters aren’t everyone’s cup of tea. You may feel more comfortable in a garment that reaches your high hip or even hangs to tunic length. But because the shapes are so simple, it’s very easy to lengthen Ondawa for a more traditional silhouette. A wide Bateau type garment is a simple rectangle – one of the easiest shapes to modify.

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After the ribbing of the front and back are complete and the cables are established, you’d simply work from the charts to a few inches shorter than your ideal total length and then finish off the piece with 1×1 twisted rib (worked at the top of the Body pieces) as indicated by the pattern. Ondawa’s geometric composition of two rectangles and a pair of trapezoids means you have great latitude in customizing the fit to your own dimensions, too. Since the width of the boatneck is determined by your seaming, you can adjust the way the garment sits on your shoulders after the knitting is complete. You can also easily mix and match torso and sleeve sizes to get a comfortable fit everywhere. Measure your arm circumference at the biceps to determine which size sleeve will give you a slender fit that’s not too restricting.

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Ondawa

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A word of caution, though: twisted ribs, cable motifs and wide shapes consume more yarn than the average sweater, so if you’re planning to lengthen Ondawa, make sure to plan on having plenty of extra yardage on hand!

We can’t wait to see how you’ll fit Ondawa into your winter wardrobe. There are already some beautiful interpretations taking shape on Ravelry!

[Read more about all the specifics of this pattern on Ondawa's information page!]

I wanted to take some time today to share a bit about Hawser – one of my new designs in BT Fall 14. When I first started working on this garment, I hoped to adapt some of the qualities found in traditional fisherman sweaters into a more modern and flattering wardrobe item for women.

Sometimes design ideas behave really well – doing exactly what you think they’ll do from concept to execution – while other times, it’s more like a wrestling match. Hawser was one of those, and went through a few different iterations on its journey. Perhaps sharing some info about the design’s evolution will give you some modification ideas of your own!

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Hawser

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An A-line silhouette is one of my favorite sweater shapes, especially for cozy, knock-around, fall and winter garments, so that’s where I began. The super-sized rope cables are quite large (A “hawser” is a thick rope or cable used for mooring or towing a ship, and is derived from the French word haucier – “to hoist”) and needed to be handled carefully to avoid overwhelming the wearer. I started with 4 – which immediately looked like too much, so took one out and went for a 3-cable arrangement. I originally drafted the garment with a traditional set-in sleeve yoke placing the two outer cables flush against the armholes. It turned out to be an unflattering, bulky fit at the shoulder, and looked to me like an awkward meeting of sleeve and body. So that idea was out. I wasn’t necessarily feeling like a raglan or round yoke would work here either, so took some time to chew on other ideas for a few days (giving an idea time to marinate is essential for me to find solutions to design problems, I’ve learned).

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To leave some extra room for the allover double moss stitch at the shoulder (rather than having the cable fall right on the seam line) – a drop shoulder seemed like a viable option, though I wanted to avoid the bulk of extra fabric at the underarm that a traditional drop shoulder provides. To make the upper yoke more fitted, I gave the shoulder line a more dramatic slope and added an outward-leaning slope on the armhole edge; with this new shape, the sleeve would join the body well below the shoulder, all the while avoiding an excess fabric problem of a standard drop shoulder. Things started feeling better at this point!

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The change for a (modified) drop-shoulder combined with the A-line shape threatened to created an overly boxy garment, so adding a slim sleeve that fits directly into the armhole seemed like an appropriate final touch for the fit. A bonus of having a sloped armhole opening also meant that no sleeve cap shaping would be required – the sleeve couldn’t be simpler! The results still hint at that boxy look, but with a more anatomically friendly silhouette. The final shape also allows the double moss stitch to go over the shoulder (see the photo #2 above), which kept that area of the garment from becoming a visual eyesore like it was in the original. The schematic below shows the final shape (and knitting direction) of the garment – which is worked circularly from hem to underarm with the front and back of the yoke worked flat; sleeves are worked circularly in their entirety.

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Aside from shape and fit (the foundation of every garment) – you know I love the subtle details! There are a few little things stashed away in this design that I thought I’d highlight, as they’re sometimes less apparent in photographs. There is continuation of the 1×1 hem ribbing running up along the sweater’s side “seams” in a band, creating a visual detail that also hide the garment’s A-Line shaping (double moss stitch can start looking a little messy when shaping is worked directly into the stitch pattern). You can get a little peek of that in photo #1 above – look just below the the lower portion of the left arm. The large cable crosses – occurring over a total of 17 stitches – utilize a special yarn over technique on crossing rounds to provide a little extra slack for the working yarn as it carries across the wide cable; this keeps the finished cable from distorting or buckling. Finally, a doubled collar (knit to twice the desired depth then folded in and tacked down to the inside of the garment) gives a sturdy finish to the wide crew neck and balances out some of the bolder effects of the deep hem and large vertical motifs.

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Hawser Design Swatch

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Here is a photo of one of my first swatches for the design, hanging out under another design swatch (this one didn’t make it into the final collection, but I have plans for her still!).

All in all, it was a fun process from start to finish. I hope you’ve enjoyed reading about this sweater’s journey, and I can’t wait to see what sort of variations start popping up out in the world!

Thanks for reading and all my best,

Jared

 

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!

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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 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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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.

School’s out in North America, and for many families that means a long summer stretches clear to the horizon. Summer can be languid or packed with adventure, but even for those of us grown-ups who still have to work, the pace usually feels gentler and more elastic this season. With any luck it’s even punctuated by vacations and free time to cast on new projects. We always like to release a design series in June to give you some fresh ideas for your summer knitting as you take advantage of a “lazier” timeline.

Knitters have been asking me for years if Brooklyn Tweed would ever do a children’s collection. Kids’ garments can be especially satisfying knitting, accomplished with small quantities of yarn and in less time, but with all the pleasurable details of adult-size projects. They make great gift knitting. And who can resist the aesthetic double whammy of a beautiful handknit sweater on a cute child?

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BT Kids // Lookbook

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Today I’m excited to answer a resounding yes(!) with the release of the first ever BT collection for kids. Our design team has spent just under a year planning and knitting the samples for this collection, so it feels especially gratifying to see things going public this morning.

We began with the notion of drawing on iconic knitwear from around the globe, styled for modern kids in the city or the country. Inspired by the Icelandic lopapeysa, Scandinavian stranded colorwork with steeks, cabled fishermen’s sweaters, delicate vintage cardigans of lace and cables, and more, we started sketching and swatching. We even added nods to classic stuffed toys and to the current intarsia animal trend as well.

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Berenice | Magnus | Atlas

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Our hope is that there is something for every knitter in this collection—sweaters worked in the round, sweaters worked in pieces and sewn together, hybrids of the two, innovative shoulder shaping, cables, lace, stranded colorwork, intarsia colorwork, home accent pieces, blankets, accessories, even hats sized up to adult dimensions if you don’t have any children to knit for. (We think you might even be tempted to scale up some of the designs for yourself, too!)

Essentially, we can’t wait to see what you all do with BT Kids.

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Bairn | Humphrey | Spore

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The garments in the collection are sized for young ones aged two to ten years. The new lookbook pairs each pattern with descriptive text that calls attention to construction details you might wonder about or possibilities that might get your creative gears spinning. You’ll also find some advice on choosing sizes and musings on the potency of crafting for your family from our house writer.

In the next few weeks we’ll use our social media avenues to visit clusters of designs from the collection—those with cables, those with colorwork, etc.—for a closer look, as well as delve into some of the practical aspects of knitting for children.

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Our whole team is excited about this new dimension for Brooklyn Tweed, and we hope you’ll thoroughly enjoy leafing through the lookbook.

Happy summer!
– Jared

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Resources: The BT Kids lookbook is now available for viewing on our website here, or download the free PDF for viewing on your tablet or device.

Each pattern in the collection is available for instant download here, or on Ravelry.com. Brooklyn Tweed yarns used in the collection are available for purchase online, or at one of our 16 flagship retail locations.

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JF: Hello Yoko! Welcome to the blog – so glad to have you (all the way from Tokyo!)

YH: Hi Jared – thank you for inviting me.

JF: You’ve led quite a long and successful career in Japan as a hand-knitwear designer – can you tell our readers a little more about your history as a designer?

YH: I started working in the early ’70s, when many women began entering careers in design, advertising and fashion. They looked so independent – it was inspirational to me. Eiko Ishioka (who designed many costumes for Hollywood movies), was becoming a well-known art director, and I wished that I could be working with a creative purpose like her.

I chose to study design for my degree at Musashino Art University, but my schooling fell amidst the middle of the major political movements among students at the time and I eventually dropped out of the program in hopes to pursue my creative vision on my own.

I always liked to make things with my hands, even as a young child. I began crochet & crochet lace-making first when I was very small, then picked up knitting in high school. My first knitted garment was a U-neck vest – at the time I could only knit and purl, so stockinette (or reverse stockinette) were the only fabrics I was using!

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I began designing by making garments for myself, because my budget for clothing was small, yet I desperately wanted an interesting wardrobe, regardless.

After dropping out of college, I started making knitted garments and brought them to the boutiques in Harajuku. I also had purchased a knitting machine to make my garments more quickly.

After a while, one of my friends introduced me to a hand knit designer who was regularly publishing in pattern books and magazines. She put me in touch with her editors and shortly after I started publishing patterns for hand knitters – this was in 1973.

JF: When did you first begin publishing patterns in the US? Does your process change at all when designing for foreign knitters, rather than your design work in Japan? Do you think there are certain trends that are more popular in Japan than elsewhere in the world?

YH: My first design in the US was for “Crochet Today” in 2007, I think. After that I began gradually submitting more work for Vogue Knitting and other US magazines.

Nothing much changes about my design process for US publication vs. Japanese publication. The difference is mainly the yarns and colors that the editors choose, which can sometimes be unexpected, though it often turns out as a pleasant surprise.

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JF: Do you study trends in Japan to inform your work?

YH: In general, I prefer classic and timeless design with high-quality yarns (to me these things are never out of style!). Especially when it comes to hand knitting, the yarn choice is the absolute key. If you choose quality yarn, your hands will be happy as you work.

JF: Natsumi” is your fourth design for Brooklyn Tweed (you’ve also contributed “Ando” for WP3, “Tilda” for WP4, and “Fleur” for WP5). Can you talk a bit about your design inspiration for your new pullover?

YH: The main feature of this design is a sideways knitting construction and a curved hemline. The garment utilizes both increasing and decreasing concurrently to create the silhouette as you work. A wide cable stands out in simple stockinette stitch, and the zigzag eyelet gives a touch of lightness, which seems very appropriate for this yarn/fabric.

The garment is virtually seamless, as both sleeves and hemline are picked up and worked in the round directly from the finished body.

JF: You are an incredibly prolific designer. I’m always in awe of the amount of work you produce every season in Japan. Can you tell us a little more about what kind of design process is required for such high output?  

YH: In Japan I regularly contribute to many different magazines, books, and yarn companies. This is only possible due to my highly capable and trustworthy team of knitters who help me create my designs after I get the concepts into a usable form.

I have several knitters who have worked with me for a long time – they understand my work and the fabrics I try to achieve – that is a huge advantage for me.

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JF: Do you tend to lean more towards simplicity or complexity with your work?

YH: I always try to make pattern relatively easy to knit or crochet, though I do enjoy working on complicated designs for special occasions. To me it is important to find ways of making fashionable, quality clothing that is still accessible to a wide range of skill levels among knitters. I find that even people who can knit very complicated work often like to have something simpler to work on as well, if they need to really relax during their knitting. If I or my sample knitters don’t enjoy making something – I take that as a sign to really question if it is worth putting out in the world. The knitting experience is very important to the overall success of a garment.

JF: Yoko, this has been fantastic – thank you again for sharing with our readers more about who you are as a designer and your inspiring story!

YH: It is my pleasure – I love talking with other creative people. Thank you.

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JF: Hi Olga! Thanks for joining me today – glad to have you!

OBK: Hi Jared! I am really excited to join you and thank you so much for having me!

JF: You are well revered in our industry as an innovative designer with a signature style. Everyone knows when they are looking at “an Olga”, which I think is a great testament to both your vision and your skill. Can you tell us a little bit about your regular sources of inspiration?

OBK: First of all, thank you! These kind of statements always baffle me when I hear them from others, especially from well-established designers like yourself. I truly admire your meticulous work and your genius behind the BT brand.

Throughout the years I think I have found better ways of collecting and recording the inspiration sources via various means of modern technology, but I think a lot of my inspiration has to deal with my thought process. Being a highly observant person I see inspiration all around me, from the most mundane objects of every day life – tile patterning on the floor or the texture of a paper napkin – to other design cross-disciplines like architecture and industrial design.

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Travel is also hugely inspirational. I like to think when we travel away from our regular environment our minds are more receptive to new information and new inspiration. This was the case for me when I moved to Japan over 4 years ago. Though every city is different, Japan filled me with so much inspiration, almost to the point of oversaturation. Their different “non-western” way of thinking had a profound impact on me and gave my mind a staggering wealth of ideas, which is proving well for filling my notebooks, even years later.

JF: As a designer, I often think about the balance between concept and utility – the purity of the idea and how it will translate into everyday use as clothing. Your work plays with geometry, architecture and form – how do you approach the conceptual side of your work in reference to the end user, or in our case, the finished pattern? 

OBK: That is a really great question! I know we all have our own methods, but the way this process works for me is a bit backwards. Since a lot of my inspiration comes not from clothing or knitwear related areas, I usually start with the (often seemingly unrelated) source. The first step is to attempt to find or design from scratch a stitch pattern that resembles the actual inspiration in the most accurate and interesting way. This process probably takes the longest, at times even years and at least a dozen swatches. Some ideas work out, some don’t, some need more time to sit in my ideas bank or binder until I can look at it with a different set of mind.

JF: This all sounds so similar to my own process. Sometimes the best ideas have been sitting on your side table for months (or even years) and they all of a sudden seem new and exciting again.

OBK: You never know when you will get the right one. Call this the puzzle game I love solving (when I can). Once I am happy with the swatch, I think of the yarn and what fibers it needs to contain and what color and dye technique used for the pattern to complement each other. Only then do I start thinking of what this newly created fabric is going to be – an accessory or a garment or something else.

The planning for the actual item is the second biggest and time-consuming stage because there is a list of pro and cons for a certain design to veto. Maybe I take this part a bit too seriously, but the blueprint is such an important element. And the closer I get to finalizing the construction is when I start getting ideas for perfecting finishing details.

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JF: What are you general thoughts about finishing?

OBK: I don’t like to over-complicate construction; if there is a certain technique I use here or there, it always has a list of reasons backing it up. I also love using techniques that can educate knitters; if you can learn a new technique from a pattern that is such an added value.

It turns out that, within the entire design process, knitting takes me the least time!

JF: I think that says so much about you as a designer, and is one of the reasons your work really stands out!

After the design is formed – then comes the pattern writing. How do you approach that?

OBK: The pattern writing is an entirely different dimension. I think every knitwear designer should be commended on their pattern-writing skills as it’s another facet to the job, as it is a mixture of creative and technical writing that needs to stay laconic yet clear.

JF: I completely agree – talk about double duty!

OBK: It has taken me years and yet still my patterning process is evolving as I learn new ways to perfect my writing (English is my second language, so that is a factor as well).

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JF: Coda” is such a cool pullover. I love that it looks like a classic raglan when seen from the front, and the arched yoke at the back gives you such a surprise when it is revealed. How and when was the seed for this design planted?

OBK: Ever since I saw the emerging trend for convertible clothing items several years back, it has been my goal to create more knitwear transformable garments when possible, or, as I call them, transforms. Versatility is the drive behind all of those for me. It covers a lot of present-day aspects – from downsizing one’s wardrobe to fewer but functional pieces, helping to reduce the need for more clothing, thus becoming environmentally conscious. And, since living in the Internet age we have less time to spend crafting, I think when you can style your finished knitted garment more than one way is a bonus. Same way “Coda” has emerged. The idea for front and back being interchangeable is what started this “Coda” puzzle. I love using Shelter, for it gives great stitch definition for cables. I was aiming for a minimalistic-style pullover with delicate cabled trim, the purpose of which was to accentuate the actual lines of the construction. Since this time it was a construction puzzle, I spent days agonizing about the best possible way of making it work. I believe I have gone through three possibilities, but the one that was actually used came to me almost in a dream. You know how they speak of the cusp of almost falling asleep but not dreaming yet? Afraid of sounding a bit like a cliche, but upon releasing the grip on my mind it sprung back with this idea of literal puzzle. So relinquishing control worked out great in this case. “Coda” consists of only two pieces that merge just like two pieces of a puzzle and connect with one continuous seam.

JF: The sweater is reversible, too! Do you have a preference for which direction it is worn? 

OBK: I really love how you photographed Coda in a way that it is actually a surprise when she turns the back. I like seeing cable-accentuated raglan lines flanked by a tiny bit of the eyelet working almost as vents – it adds texture to the overall look. But having come across so many body types and knowing that some people just can’t wear raglan shaped sweaters and some do, Coda’s reversibility or interchangeability will work just great for that purpose. For example, from personal experience for those of us who are a bit chesty will benefit by wearing raglan as front, but others who have wide shoulders know that raglan only brings attention to that part of their figure, so wearing arched as front will not only take away the unwanted attention from the shoulders, but will visually soften the squareness of the shoulders, as well.

To me, this sweater gives the wearer options that can be chosen on both their needs and likes. That’s my hope, anyway!

JF: It’s always an inspiration working with you – thanks for your time this morning, Olga!

OBK: And it’s always exciting to be part of Wool People and work with such talented people as yourself! Thank you so much for having me over and giving me a chance to share my work and inspiration with your readers.

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JF: Hello, Joji! Welcome and thanks for joining me this morning from Argentina!

JL: Hello Jared, it is an honor, thank you for having me!

JF: This was my first time working with you and it’s been such a pleasure. You started self-publishing knitting patterns in 2008 and have been quite active as a designer on Ravelry since then. Can you tell us a little bit about your history with knitting and designing?

JL: I got really hooked with knitting when I was in my mid-twenties… At that time I was improvising my projects with the help of my mother, trying to copy things that I had seen in magazines or movies. Being an Argentine knitter, we did not have access to beautiful pattern books, or special yarns, so we were making the best with what we had, until the internet arrived and knitting blogs and groups became popular here too.

I think that in a way, learning to knit like that helped me to be free. I was never afraid of working with a different gauge, or type of yarn, or to modify patterns to my taste.

However, publishing my own patterns was something that I would have never dreamt of doing. I think it was quite unexpected. My first published pattern was a tiny cardigan I made for one of my boys while I was pregnant. I published it just for the fun of it, but I never thought people would actually knit it! I guess that’s when I learned what a big world of knitters we really are.

Since then, all I can say is that I have been having more fun than I could ever have imagined.

JF: I notice that trend over and over in our industry – many now-established designers started off on the fringes of knitting, either not having access to patterns, or proper instructional materials, but making it work for themselves only to find later that they had gained invaluable skills later on. For me, it was similar – when I started knitting I couldn’t find any mens patterns that I really wanted to make, so I just started figuring out how to carve my own way. 

I think for a lot of designers, once they get the taste for that creative independence, it’s hard to go back to following someone else’s instructions. 

JL: Absolutely!  But it is always a good thing to go back to someone else’s pattern every now and then.  It helps you see things from different perspectives…

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JF: Your design work seems to favor clean and simple silhouettes with a modern feel. How would you explain your personal design aesthetic?

JL: Thank you! I think I am still trying to find a personal aesthetic. I struggle with two different trends when I design: On one hand I love minimalism and classic lines. I don’t think there’s anything more chic than an elegant woman dressed in the simplest clothes.

On the other hand, the fun about knitting is showing off your skills and techniques. So things are always more exciting when you work with a beautiful yarn that has a story to tell (a striking color or texture), when you add an edgy stitch pattern, or a cool construction.

I guess that my designs still reflect a mix between these two: the minimalist chic woman and the always curious crafter.

JF: Seacoast is a great example of your clean, minimal leanings – where did your inspiration and ideas for this design come from?

JL: When I closed my eyes and tried to find inspiration for a design for this collection, all the images that came to my mind were about a girl walking on the beach. The breeze moving the tips of her hair, bare feet, relaxed… I imagined her reaching for her dearest clothes before going out: some comfortable trousers and her favorite basic sweater.

I wanted to create a pullover that was very simple, but that still had a few secrets in its construction.

JF: Can you tell us a little bit about how the garment is put together?

JL: Seacoast is a classic sweater with a circular yoke, but new stitches are added to the yoke as you work, creating a series of vertical columns of slipped stitches. As I was working on it, I couldn’t help notice that these lines reminded me of those found in little shells in the sand. I guess it was all about the beach and the sea after all…

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JF: The sweater is worked from the top down as well. What made you decide to work the garment in this direction?

JL: I think there is a big part of the knitting community who have opted to work their sweaters always this way, and I think I have been very influenced by this preference.   I enjoy any kind of construction: bottom-up, top-down, seamed and seamless.  They all have their pros and cons.

But the great thing about top-down construction is the possibility of trying on the garment as you work on it from the very first stages.  You can decide whether you like the fit, whether the size you chose is the right one for you.  In this particular design, with its relaxed fit, I think it’s great that you can choose to make longer/shorter body or sleeves just by knitting to the desired length, without any alterations of the pattern.

JF: You said you started with a visual of a woman on the seashore. Do you use these types of visual stories a lot at the beginning of your design process?

JL:  Yes, almost every time.  I didn’t notice I worked this way at first, so it was rather unintentional.  Now I try to always make a visual image of who is wearing the garment, what other clothes he/she is wearing, where he/she is…  I find that the designs I love the most are the ones where the garment really is the way I pictured in this first image.

JF: It’s always so interesting hearing how different people work through the process of design. Thanks for sharing a little bit about your method of working with us today, Joji!

JL: Thank you so much, Jared, for this lovely interview!  It’s been an honor to be part of Wool People for the first time.

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