Archives for category: Cables

Over the next two weeks, we’ll be presenting a series of designer interviews here on the blog that I have conducted with 6 selected designers from the Wool People 6 collection. I’ll chat with them a bit about their newest designs for BT, as well as what it is that gets their creative juices flowing. Today we start with long-time friend of BT, Gudrun Johnston. I hope you enjoy!  –Jared

JF: Good morning, Gudrun! I’m always glad to be able to chat with you about knitting – can you tell the readers where you are joining us from today?

GJ: Great to talk to you Jared! I am joining you from my home in the woods of Western Massachusetts!

JF: We’ve had the pleasure of working with you several times in the last two years that we’ve been publishing Wool People – you seem to have a knack for designing things with real wool that knitters love. Can you tell us a little bit about where you get your general design inspiration?

GJ: I find that ideas can strike from many directions but it is true that I often look to my Shetland roots first and foremost for inspiration.

JF: You live in Western Mass but are a native of the Shetland Islands in Scotland, one of the world’s great knitting “meccas”. How did your childhood in Shetland shape who you are as a designer?

GJ: Although I was born in Shetland I spent the majority of my childhood living elsewhere in Scotland. It has really been in the last decade that I have re-connected with Shetland, since my parents retired there. During that time I have had lots of opportunity to explore not only the physical beauty of Shetland but to also educate myself about the wooly traditions! As you already know my mother also designed knitwear in Shetland in the 1970′s. My siblings and I were clothed in her designs when we were very little. I even have a photo of myself as a baby in a traditional Shetland Hap (shawl)! So the connection to the rich knitting heritage was formed early on. My great grandfather was a Shetlander and I like to think some knitting mojo got passed on in the blood! It was only natural then for me to look to my Shetland background when I started to get into designing.

JF: When we first started talking about design ideas for Wool People 6, you had just finished knitting your son a beautiful prototype of Little Wave. How did the sweater come to be (before I begged for you to let us include it in the collection)?

GJ: Well it came to be because Sage (my son) was feeling a little put out that I hadn’t designed anything that he could wear! His sister ends up getting to wear a lot more of my work seeing as most of my designs are female oriented. So I promised him I would come up with something made especially for him! He LOVES it and looks very sophisticated when wearing it! [We've included photos below!] I ended up liking it a lot too so I’m glad that there will be another sample for me to wear. It also looks like I might have to knit one for David (my husband) too!

JF: David just might require one – I wore the men’s sample all throughout our September shoot (it was a foggy, chilly weekend – perfect for a shawl collar) and I have to say I got attached quite quickly! 

GJ: Well it’s true that David is also well overdue for a handknit garment from me, so yes, I think I will have to get one on the needles for him too! Although I have also been eyeing up your Timberline from the BT Men collection!

JF: You opted to design the sweater as a unisex garment, including graded sizes for both men and women. What kind of differences can knitters expect to find between the two?

GJ: The differences are fairly subtle to the overall design but I included a little waist shaping and adapted some of the measurements for a more feminine look.

JF: There are a lot of special details included in the sweater – it is one of those patterns that takes you on a bit of a journey. I know most knitters will learn at least 1 or 2 things as they are walked through. Can you elaborate on a couple of the details that might not be immediately apparent to people who have only seen a few images of the garment in the look book?

GJ: Well one of the first things knitters will encounter are the twisted stitches that are used to form that overall stitch pattern. I enjoy using textured stitch patterns that are worked a little differently from the norm but that aren’t necessarily complex to knit. The other detail that might not be obvious to many knitters is the construction of the yoke. I see it as part raglan, part set in sleeve and part saddle shoulder, but essentially it is Elizabeth Zimmerman’s Seamless Hybrid Method.  I think this was my favourite part to knit! Watching all the parts come together is truly like magic and extremely satisfying!

JF: I also have to interject that I love the knitted garter stitch “elbow patches”. They are a nice touch!

GJ: Thanks! Glad you like them! Of course they can easily be left out for those who prefer a simpler sleeve!

JF: What kind of design work are you plugging away on at the moment? Anything you can share that we can look forward to? 

GJ: Actually the current piece I’m working on will be for Wool People 7! After that the plan is to get going on a Shetland Trader Book 2 which I am very excited about!

JF: Great news for all of us – I look forward to seeing another self-produced book of knits by you! 

Well Gudrun, it’s been a pleasure – thanks for allowing me to bend your ear a bit this morning. Take care and thanks again for contributing this beautiful garment to our 6th installment of Wool People!

GJ: My pleasure! It was fun to chat!

It’s hard for me to believe that the calendar is already declaring our arrival at mid-November(!), and even harder still to believe that today we release the 6th volume of patterns in our ongoing Wool People series. These collections are always wrapped in a refreshing spirit of collaboration and mutual excitement from day one, but the best part comes today as we get to watch the new patterns make their way out to all of you knitters.

Our team gets so deeply involved in the process of nurturing design collections onward from start to finish that by the time we launch publicly, it feels almost impossible to see the work with objective, fresh eyes. But watching our friends and followers experience a new collection for the first time always brings back that thrill and enthusiasm that sparked the collection in the first place.

Not only that – I love seeing which patterns people respond to, which details strike your fancy, and best of all, the creative variations on each design that soon start popping up on Ravelry and in the blogosphere.

Wool People 6 is a perfect collection for late fall that focuses on cozy, intuitive-to-work sweaters. This time around, I asked the designers to think especially about the knitting process as they were generating their ideas. I was delighted to see so many submissions that were worked circularly, seamlessly, or both – and the majority of the sweaters in the final collection fall into one of these categories. (For you finishing fiends, we have a couple “assembly required” pieces as well!)

You’ll see a few familiar faces on the designer roster as well as some wonderful new-to-us names, too.

To photograph the collection, the BT creative team and I traveled to the beautiful Shawangunk mountains for a weekend at Losee Cottage in Cragsmoor, New York. With the increased altitude, the colors of the leaves on the timeworn oaks and maples were much further along in their metamorphosis in mid-September than our low-lying city trees were.

The collection look book is now on view below (or page through it here and download a free copy of the hi-resolution PDF to take with you on your device). Be sure to check out our new “Shoot Notes” feature at the end of the book: a photo collage of behind-the-scenes photos that will give you a peek at what shoot days look like “behind the curtain”.

In the coming weeks we’ll have some exciting collection-related content coming your way. On the blog, I’ll be hosting a series of conversations with selected designers from the collection for a more in-depth look at their new work. We’ll also be featuring new photos and notes from the collection on our Facebook, Twitter and Instagram feeds, too.

There’s always so much packed into a collection, we continue to seek ways in which we can tastefully share as many facets with you as possible.

As always, we hope you enjoy!

All my best,

Jared

_____________________

Resources: The Wool People 6 look book 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.

We wrap up this week’s blog posts with our third and final interview with Design Team member Véronik Avery. Véronik joined our design team in the Fall of 2012 – this collection marks her first year of working with us at BT. We got together this morning to chat a little about her Coal Cardigan design.

JF: Happy Friday, Véronik! Thanks for joining me today.

VA: Hi, Jared! Thank you for inviting me to join you here. I’ve been looking forward to it.

JF: I have always loved the way you combine a sensibility for traditional, classic knitwear with a modern (sometimes unexpected) twist. How would you describe your aesthetic when designing sweaters?

VA: I think my aesthetic is always evolving, but certain elements do return time and time again. I like having a sense of history as well as a story, which probably stems from my past costume design aspirations. Because of it, I don’t dress myself as much as I dress characters – whether real or imagined.

JF: What was your inspiration for the Coal Cardigan design?

VA: With the Coal Cardigan, I began as I often do with sketches. Sometimes a garment is already in mind before I pick up a pencil, but other times I simply start by playing with silhouettes and filling them in in various ways before an idea starts to take shape. With Coal, the idea was quite abstract and as the sketch started to take shape, it began to look like a knitted motorcycle jacket. Since I am not a big fan of literal renditions – especially knitted ones – I continued to strip it down to the elements which interested me most, such as the asymmetrical closure.

JF: There is some shaping on the back panel as well that contributes to the overall fit, yes?

VA: Yes there is – because I wanted to simplify the front shaping, I opted to flare out the back side seams, borrowing from shoulder shaping that is worked with twice as much angling in back so as to keep the front shoulder straight.

JF: Can you tell our readers a little more about the knitted details featured in the design?

VA: The traveling cables on the fronts necessitated several rounds of swatching; I tried increasing and decreasing, but my fabric formed such a bias that I worried that only enthusiastic blocking could straighten it. I then tried a more richly cabled surface knit with traveling stitches as in the final version, but all drape was lost. In the end, I opted for a more minimal amount of cabling and diagonal lines of knitted stitches against a reverse stockinette background.

JF: Where and how do you envision this garment being worn “in the wild”?

VA: Oh, there are so many options! One could style it in a streetwise way, and pair it with a slim fitting skirt or pants – perhaps leather ones. I know my daughter will probably wear it with one of her several pair of brightly colored mens-style trousers once it returns home and perhaps a pair of white Doc Martens.

JF: And how about styling for yourself?

VA: Were it in my size, I’d probably opt for an interesting skirt and tall leather boots. 

JF: Versatility is such a great quality in knitwear – it’s one of the things I love about the genre.

The design is great – thanks again for chatting more about it with me today, V!

VA: Anytime, Jared. Have a great day!

Today we continue our Design Team Conversations series with Julie Hoover. Julie joined our team in the Fall of 2012 and has been designing regularly for Brooklyn Tweed since. Today Julie and I talk a little bit about her design aesthetic and her new garment Jules from our Fall Collection.

JF: Good morning, Julie! Thanks for joining me in blog land. Ready to talk shop a bit?

JH: Good morning, Jared! I’m ready – fire away!

JF: You definitely bring a clean, sophisticated aesthetic to our team. When it comes to designing knitwear, how would you describe your style?

JH: While the answer is somewhat nuanced in my head, I would say my style is the intersection where modern meets classic.  To me, that translates to a style that feels very fresh and contemporary but will still remain at home in your closet over time.

A minimal aesthetic reads consistently throughout all my work – whether it’s putting together an interior space or designing print packaging – and clearly, this translates into my knitwear designs: simple, perfected details, nothing too fussy or overcomplicated.

JF: Jules is a fantastic shape and both comfortable and flattering when worn. What was your inspiration for this piece?

JH: I love how Jules came together.  My starting point for this piece was the cocoon shape.   I’ve been somewhat obsessed with non-traditional hemline treatments as a design feature, and I think the cocoon shape is one of the most flattering on most figures.  I’ll experiment more with this shape, for sure.

Even though I envisioned short sleeves, I also wanted to create a piece that could be worn from fall through winter, so I chose to go with Shelter instead of Loft to create a warmer fabric.  Even with the short sleeves, it’s still warm enough to be worn alone.

The cable detail was also part of my original plan, although it wasn’t until I started thinking in terms of construction that I decided to put some of the shaping inside (between) the cables to enhance the silhouette. Visually, it widens the cables from hemline to shoulders rather than having them travel straight up vertically.

JF: I love that detail. It works as a sort of slimming optical illustion too, which is great on a boxier shape like this. We all knew you loved this garment from the very beginning – you were psyched to get started on it in our initial concept meeting for the collection.

JH: Any garment I’m keen to give my own nickname has to be a personal favorite, right!?

JF: You like designs that feature a healthy amount of wearing ease, and often have an oversized fit or feel. Can you talk a little bit about that?

JH: Oh yes, guilty.

If you were to look in my closet, the majority of my wardrobe fits into two camps. I have dozens of tailored button-up shirts, men’s style slacks and skirts from my agency work days. I also have a large pile of casual linen tops and boyfriend jeans for my mom and work-from-home life.  When it comes to my collection of knitwear, those pieces create the perfect opportunity to bridge the gap between those two worlds – easily layered, stylish, comfortable, and appropriate either place.  An oversized fit just works for putting a tick in all of those checkboxes. It’s the fit I gravitate toward, almost every time.

JF: (You’re preaching to the choir here – you know I love a good oversized woolly sweater, too!)

Our collections often include subtle details that can sometimes be overlooked or missed when viewers are looking at the images alone. Are there special details about the Jules pullover that you’d like to highlight for our readers?

JH: I think the photos used for this collection capture the details of Jules very well.  Perhaps the only thing that doesn’t come across is the dolman sleeve shaping.  The same goes for Idlewild.  If the model had been captured in a pose with her arms outstretched, it would have given a better idea of the width and shaping through that area that doesn’t translate with her arms close to her body.  The ribbing bands with tubular bind-offs are a thing of beauty, too.  And of course, photos can never capture the awesome smell of the wool…

JF: If only!

This has been great – thanks so much for taking some time to share more about your process with our readers, Julie!

JH: My pleasure, Jared. Happy fall knitting to everyone!

 

 

This week I’ll be conducting a few short Q&A sessions with our design team to allow them to talk candidly about some of their new pieces from the Fall collection. Today we start with Michele Wang who has been a member of our in-house design team since Fall 2011.

JF: Hi, Michele! Thanks for hopping on the blog today to share a bit about your work with us!

MW: Hello there! I love this opportunity to be able to talk about the work I’m able to contribute to our team. Very exciting!

JF: To me your knits are always recognizable. You definitely have a “signature” quality in your sweater designs, particularly in your use of texture and ornamentation. Can you talk a little bit about that?

MW:  Texture is something I’ve always tried to work into my art.  When I painted, I love to incorporate huge dollops of paint to add more life to the surface. When I would sketch on newsprint, I loved to crumple up the paper first, then draw on it using the hills, valleys and bends in the paper to lend some direction.  For me, texture not only adds interest visually, but also tactilely.   So when it comes to hand knitwear, I think building texture into a piece is especially exciting.  Not only do you get to appreciate it when it’s worn, but as the knitter, you can experience it as you’re creating, too.  I often find myself running my fingers over my fabric as it comes off of the needles every inch or so.

JF: We’ve been calling your Stonecutter pullover a “Symphony of Cables” around the studio. Can you share a bit about your inspiration for this piece and the process you underwent to execute the design?

MW:  I had started noticing elements of biasing in knitwear design.  I don’t know if this is something new, or just something I have been tuned into lately.  But, what was catching my eye was the creative use of biasing on one portion of a garment to exaggerate shaping, or to give a contrasting drape to a particular section of a design.  With cabling in mind, I wanted to use biased cables to change the shape of the pullover’s silhouette, instead of traditional increasing, decreasing or short rows.

I had a lot of false starts with Stonecutter.  The angle of the cable was either too steep or too flat, or the cable wasn’t beefy enough, or it was too thick and unflattering.  The biggest challenge was finding the right fabric for the areas below and above the biasing.  I knew I didn’t want anything overly flared at the sides like a traditional peplum silhouette, and my first attempts were just that.  So when I thought about which stitch patterns bring in and control fabric, I decided to simply carry up the 2×2 ribbing.  A classic example of overthinking a problem, only to arrive at the simplest solution.

As for the center panel, I initially wanted a cable motif that would fit between the start of the biased cables.  My main concern was the pattern writing.  After working out the angles and the sloping, however, I knew the center motif would have to grow out of the biasing in the same way the the side cables did.  This added a layer of complexity to the pattern writing, and how we were going to best express that.  In the end, I’m so happy that I didn’t let the challenge of the writing get in the way of the design.

Overall, what I really wanted was a symphony of cables.  A pullover that was completely adorned with twists and turns, keeping your eyes and hands busy while knitting, viewing or wearing. (Charting the design was obviously a huge help!)

JF: And at the risk of sounding like a complete nerd, the charts within the pattern are completely beautiful in and of themselves!

MW: OK, let’s nerd out. I love love love that chart. I love it almost as much as the sweater itself.

Usually, I do a lot of swatching, then I hit Illustrator and build out the charted fabric, and  finally knit it up. This sweater, however, required me to go back and forth quite a few times. When working on a chart, I (and I suspect most designers) am so focused on each stitch and row. Once I was able to sit back and look at the chart in its entirety, though, I honestly did a little jiggle in my chair out of sheer excitement. There is something so satisfying in seeing a technical rendition of the stitches in black and white. It’s second only to seeing the stitches come alive while you’re knitting.

JF: Stonecutter has already been a big hit with knitters on Ravelry. What design details do you think make this sweater special?

MW:  I do love the biased cable detail.  It gives just a touch of flair and waist shaping that I find so flattering.  I also love the rollneck.  It’s not very unique or different, but I had originally planned to do a simple 2×2 ribbed neckline.  Once I got to the top, though, I realized the simple tubular shape of the rollneck itself would mimic a cable and that was really the only way to go.

It’s also no secret that I like faux cables.  With increases and decreases you can easily imitate the shifting of stitches as if you were performing traveling cables.  But, how does one imitate a twist?  By using a smocking detail when two traveling cables meet, the illusion of a twist appears by wrapping the yarn around those stitches.  It’s only used once in the center panel, and I love it because it’s a little hidden gem the knitter will come across when they get to that row.

JF: Any tips to share with knitters who would like to undertake this project?

MW:  One tip, which would go for any project, is to read over the entire pattern and take a look at the charts.  The main chart is very large and can seem intimidating, but it’s really straightforward, and the knitting is quite easy.  The two sides of the chart are mirrored, which makes memorizing the chart much easier than you might think. If you’ve cabled before, you won’t have any problems.   (And if you’ve never cabled without a cable needle, this would be a good project to start!)

My other tip, which is also universal, is to swatch – and make a big swatch.  When fabricating a garment, there is nothing more important than making a swatch and accurately measuring gauge.  It would break my heart hear that someone had to frog this sweater because it came out too big or too small. Along those same lines, when determining which size to make, always err on the side of more positive ease, rather than less.  Cabling makes for a very thick and bulky fabric and you’ll also probably be wearing a layer underneath.

JF: Great advice, for everyone really. Thanks again Michele for joining me today!

MW: Thank you for having me! We should definitely do this more often.

– – –

Stay tuned this week on the blog for more conversations with our in-house design team!

Have I had lace and cable combinations on the brain? Yes. Yes, I have.

When designing, I like thinking about macro versus micro: how the small details (which are often the original fodder for a concept) co-exist within a larger “environment”. In garment design this often involves thinking about how shape, silhouette and fit integrate with smaller details (be they technical or aesthetic) in order to achieve harmony across the whole. The process always feels like a negotiation to me: the further along a design gets, reigning in small details in service of the whole (or vice versa) is often a requisite process.

With Bray we have what I like to call a “three bears” situation: one large cable, one medium cable, and one small lace motif, combined in a single fabric and arranged in a way that applies to a broader “macro” application within a garment. The larger cables are placed along “suspender” lines and are the boldest vertical element, while the medium horseshoe and small lace insertions fill the remaining areas. I love how the heaviness of the cables is in contrast with the see-through eyelet columns, which contrast a feeling of lightness against the chiseled horseshoe cables.

The sleeves are worked in reverse stockinette to keep the focus on the body fabric (without overwhelming the wearer with texture overload). The yoke of the garment is a hybrid between a raglan and saddle shoulder: the first two-thirds of the sleeve cap is shaped as a true raglan until the width of the saddle is achieved. At that point the saddle is worked back and forth and shaped at the very top with a graduated bind off to give a more graceful curve to the finished neckline. The upper body pieces are also fashioned with two different sloping rates. This shaping keeps the shoulders from becoming too pointy or angular, as is sometimes the case with a saddle that does a 45° turn over the shoulder. (I’ve included the schematic below to show these different areas.)

On Wednesday I wrote about falling in love with a stitch pattern and not feeling “done” with it after finishing a single iteration of a design. This situation definitely applied to the Bray design as well. After wrapping up work on the pullover, my play with this fabric still felt incomplete, so I translated it into a hat design as well. Such fun!

Scarves can often seem like glorified swatches, and really that’s what they are in the beginning. You fall in love with a specific stitch pattern (in this case a beautiful combination of lace and cables) and want to let it shine on the blank canvas of a scarf or wrap. That being said, I don’t think scarves need to be relegated to the simple or boring category. To me, there are always subtle ways to elevate them beyond their “deluxe swatch” status: a thoughtful selvedge, a polished tubular cast-on, mirrored/symmetrical composition, and so on.

For Afton, each half of the scarf is worked from a ribbed hem towards the centerline of the piece, where it is grafted using Kitchener stitch. By creating the piece in this way, the pattern motifs (which have a clearly visible vertical orientation) are mirrored on either side when the scarf is worn. A tailor-made tubular cast on at the hem edges flows directly into a broken rib pattern as well as the corded selvedge, which continues throughout the remainder of the scarf creating a clean, flat finish at each side edge.

I also enjoy playing with arrangements of a stitch pattern to create multiple sizes for pieces like this. After all, each of us has our own opinion about how much fabric is too much or too little when draped around the neck and shoulders, and having options is great. Afton’s patterning lent itself beautifully to three sizes – an oversized scarf (at left, in “Fossil”), a standard scarf (at center, in “Homemade Jam”), and a more dramatic wrap (at right, in “Soot”) – all of which are included in the pattern.

Both scarves were knit with two strands of Loft held together. By working with doubled strands of a fingering weight yarn, stitch definition is more crisply pronounced and texture is highlighted beautifully; the slightly denser fabric is also a great at handling even the coldest days of winter. For the wrap version, however,  a single strand of Shelter was used for a softer, more gentle fabric that had drape and warmth, and kept the larger dimensions of the wrap from feeling heavy in any way.

To take it a bit further, why stop at only three versions? What about a shawl version worked in laceweight? Or a blanket worked in a bulky yarn? Theme and variation definitely keeps knitting interesting, doesn’t it?

Yesterday was the first time in several months that I reached for a scarf on my way out the door. As I was walking down my city block I noticed that several long-buzzing air conditioners on a neighboring building lay silent, with apartment windows thrown open instead.

These subtle, almost imperceptible changes in my morning routine gave me a rush of deep satisfaction, knowing that the bewitching weather of autumn has finally begun creeping in. In just a few weeks, I’ll be deliberating between sweaters in my closet rather than the tired short-sleeve shirts I’ve been dutifully pulling from the shelves all summer.

At BT, the arrival of fall casts a spell over everyone in our office. It’s easy to observe a similar effect on the broader knitting community, too. It seems that a love of autumn is just in our blood.

Launching a new design collection to kick off the season is one of our very favorite tasks, and today we’re so glad to finally be able to share the BT Fall 13 collection with you, which features fourteen new knitting patterns from our in-house design team.

Last winter when I started putting together some rough ideas for this collection, imagery of the woods kept coming to mind. Growing up in the Pacific Northwest, camping in the forest was always a favorite fall activity and that story seemed like the perfect inspiration for a new design challenge.

Within my vision of a woodland campsite I imagined a pile of wooly cable knits: classic, go-to garments and accessories that could be worn while cooking around a campfire or sloshing through the shallows in search of smooth river stones.

Later, I shared my idea of a fantasy camping trip with the design team, which seemed to almost instantly provoke a burst of ideas from each of us. After that, we were off and running.

The final collection has a sprinkling of everything (swingy, relaxed cardigans, a knockaround pullover with a cozy cowl neck, a dramatic and quick-to-knit cabled hat, an intricately textured wrap) and hopefully will get you into the spirit of autumn, if the weather preview hasn’t been enough already!

Our newest look book features colorful images of the collection alongside photos from our creative team’s woodland camping adventure in Saugerties, New York.  We really got into the spirit of the outdoors for this one…

 

Whether you’re a crazy fall fanatic like me or not, I hope you enjoy knitting your way through the season of changing leaves. – Jared

_________________________

Resources: The BT Fall 13 look book can be viewed on our website here, or download the free PDF for viewing on your tablet or device.

Each pattern 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.

The Hugo pullover is a modern take on the traditional fisherman’s gansey – with its low-relief allover cable motifs paired with handsome moss stitch. The traditional layout of cables contrasts more modern elements like the slashed ribbed turtleneck and updated silhouette.

Hugo‘s proportions sit closer to the body than a traditional pullover for a slimming effect; the long sleeves cover the full wrist while the body falls just below the belt line. This stylish silhouette creates an eye-catching update to the historic ganseys we all know and love.

Véronik chose to work up her design in Shelter‘s “Stormcloud” colorway – a rich, warm grey that features undertones of both brown and blue. A surprisingly versatile color, it pairs with both warm tones (as photographed), or cooler blue and grey shades (any shade of denim).

The slashed ribbed turtleneck has a garter stitch placket with snap closures, though it can be easily modified to feature traditional buttons/buttonholes, or knit circularly as a more traditional stand-up collar.

Today feels like a very “full-circle” experience for me as we release our very first collection of knitting patterns exclusively for men.

It doesn’t feel like so long ago that I was a new knitter, searching for male sweater patterns that suited my own tastes, needs, and abilities. Though the absence of such patterns was perhaps the single most influential factor in my path towards knitwear design, I’ve always remembered the frustration I felt as a result of my limited options.

Knitting has taken me on quite an unexpected and wonderful journey since then, and all along the way I’ve daydreamed about creating patterns for men that might help those knitters who find themselves in the same place that I was then – be you a male knitter yourself, or any knitter with a husband, brother, son, partner or friend who has at one time or another made that sacred request for a handknit sweater or accessory.

Last year, when I pitched the idea of a men’s collection to the design team, an immediate excitement engulfed. That fervor stayed strong all throughout the process – we’ve had a great time putting all the puzzle pieces of this collection together. In designing, we set out to create knits that were understated and easy to wear, but maintained details that made them special (and enjoyable to make by hand).

Selfishly, I loved having the excuse to design and create some of the pieces that I’ve been been wishing were in my own closet for quite some time!

The look book features the entire collection – 8 garments and 5 accessories – that cover a range of skill (and commitment) levels, from beginner to advanced.

 

;

We hope you enjoy our first small contribution to the genre of men’s knits!

_________________________

Resources: The BT Men look book can be viewed on our website here, or download the free PDF for viewing on your tablet or device.

Each pattern 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.