Archives for category: SHELTER

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: Welcome back, Kyoko! Thanks for agreeing to chat with me today.

KN: Hello Jared! It’s always a pleasure and thank you for inviting me back!

JF: We had you on the blog last November to talk about your WP6 design “Rook”. Your newest piece for Wool People 7 has such interesting construction that I felt we had to have you back to talk about this one, too!

Seine is a beautiful cardigan with draping fronts and a bold zigzag cable cutting horizontally across the entire body of the piece. Where did the idea for this cardigan spring from?

KN: Thank you! The main theme for the new ‘Seine’ design is modern simplicity with a fresh twist on cables. The name of the garment is perfect for reflecting the touch of French chic. The structure of the garment is very fun and knits into a versatile, modern-classic cardigan with beautiful drape. (After all, the excellent cut and drape of Frenchwomen’s clothes are what make them so classically stylish in my mind.)

Usually, cables are worked vertically, but during the design stage I thought it would be fun to have horizontal cables, which give a different look and feel to the garment. I’m quite keen on creating cardigans with a cleverly draped front for an appealing silhouette, possibly because I’ve just spent nine months with a baby bump! I wanted to design a versatile garment, which would be figure-flattering for all ages, shapes and sizes.

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JF: Come to think of it, it is a great maternity sweater too, isn’t it?

KN: Yes, absolutely. The width of each front section of the cardigan is the same width as the body, which means the cardigan would easily cover a bump during the cold season! It also makes for a discreet garment for breastfeeding, too, with the baby wrapped snugly inside the soft, bouncy wool!

JF: Although the cardigan is intended to be worn open – it seems to me that a nice shawl pin, vintage brooch or decorative fastener could easily be worn to add another styling method.

KN: Yes – you can wear Seine in a lot of different ways! It’s intended to be worn open to show the waterfall pleats, as pictured, but can also be worn with a leather belt to emphasise your waist (knitted belt loops could easily be added if a knitted belt was preferred,too), or with a shawl pin or pretty brooch to wrap the garment around the front. A knitter could further customize the look by adding a looped ‘buttonhole’ and a medium-large button in a matching or contrasting color at the front. There really are so many possibilities!

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JF: Aside from the garment’s obvious versatility, my favorite thing about it is the knitting process and construction. It’s an intriguing puzzle of a garment and seems like it would be very fun to work on. Can you explain the sequence of knitting that occurs throughout the pattern?

KN: Yes, the construction sequence of this garment is unique because different parts of the garment are knitted at 90 degree angles, allowing the zig-zag cable motif to extend around the entire body.

You start by working the sleeves from cuff to underarm, then placing them aside (leaving stitches live). The lower half of the Body is begun at center-back with a provisional cast on; the back is worked sideways from center out in two halves until the underarm gussets are reached.

At that point, the sleeves and lower back are joined onto a single circular needle to be worked concurrently to shape the upper body/yoke by way of a seamless raglan technique.

After the front raglan lines are shaped, stitches are picked up from the front raglan slopes and worked outward (together with the remaining live stitches from lower body) to create the draping fronts.

Finishing involves grafting the underarm gussets and working a garter stitch band around the entire cardigan opening.

JF: So, no seaming is required during finishing? Nice bonus!

KN: Except for the underarm gusset, no, you don’t need to seam during finishing at all.

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JF: In our last interview, you referred to yourself as a “creative puzzle-maker” and I think that is even more evident here with Seine. Do you have other garment “puzzles” that you are whittling away on behind the scenes? What is next for you?

KN: I am always drawing ideas in my little notebook from ordinary to completely unconventional garments and accessories. I always have a lot of weird-looking swatches building up in my studio that are still waiting to find their “home” in a new design.

My current project is a colorful baby collection of unisex projects for boys and girls. Im looking to break away from more expected pastel colors.  Since I’ve recently had my first baby, I wanted to make a very special collection that other mothers will enjoy seeing their ‘pride and joy’ wearing!  The designs are simple to knit and will give moms some stylish baby options with a contemporary twist.

JF: That’s great! No better time to be designing for babies than when you are living with one, right? I’m looking forward to seeing what you come up with.

KN: Yes, living with my new baby is giving me so many ideas for better shapes and practical designs that are attractive and comfortable for everyday wear. I’m having a blast turning my ideas into real things to dress my little one…

JF: Thanks so much for spending some time with me today and sharing a bit about what you are working on, Kyoko! Best of luck in your upcoming endeavors (and congrats on your new status as mother!)

KN: It’s been a real pleasure. It will definitely be an exciting few years for me as a first-time mom! (I’m planning to knit the Seine cardigan again for myself in time for next winter). Thank you!

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It feels like spring has been such a long time coming here in the Northeast. Late April has finally begun rewarding us with warmer, lighter days as the long winter fades to memory. With a backdrop of blossoming trees and soft white flowers, we bring you the seventh volume in our ongoing Wool People guest designer series – a collection that was very much inspired by the color and light of spring.

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Wool People 7 lookbook

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My knitting friends know that I am somewhat of a hoarder of Japanese knitting books – I love their light, airy aesthetic and their precise visual approach to pattern writing. This clean, spare aesthetic has an essential quality to it that I love. My bookshelves are overrun with titles whose names I can’t even read – books I’ve collected over the years spent hidden among the quiet shelves at Kinokuniya.

These beautiful books from Japan served as the primary source of inspiration for Wool People 7  – with designers from 4 continents responding to our submission call for garments and accessories that are beautiful in their simplicity.

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This collection’s lookbook includes the addition of descriptive texts within the spreads that we hope share more about what lies “under the hood” of each pattern. We make an effort to pack as much value into your patterns as possible and know that sometimes not all of the details are apparent from photography alone. I hope that these additional descriptions will enhance your viewing experience and better inform you about which projects would give you the most satisfaction.

.Seacoast // Yane

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Over the coming weeks we’ll be introducing specific designs from the collection in more detail on our social media channels. I will also be conducting a series of interviews with seven of the collection’s contributing designers here on the blog (starting next week), which I’m very excited about.

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Vector // Merle

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For now, please enjoy paging through our newest lookbook – I hope you find something that you love!

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Resources: The Wool People 7 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.

Wee Levenwick

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Every once in a while, a design comes along that becomes an instant classic. It’s the perfect combination of wearability and knit-ability: both effortlessly flattering and at the same time so engaging to knit that you can’t put your needles down. Long-time Brooklyn Tweed collaborator Gudrun Johnston truly has a knack for this fine-tuned balance, and we knew the second we saw Levenwick – her sweater design for our very first Wool People collection – that it was a perfect example.

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We love the combination of classic Old Shale lace with clean, simple reverse stockinette in this sweater, and we’ve loved seeing the more than a thousand projects on Ravelry (!!) come off the needles over the last few years.  So when Gudrun approached us about adding a version for the wee ones in your life, we thought it was a brilliant idea!

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We’re happy to announce that Wee Levenwick, sized for children (ages 2-10 years), is now available through for download at Brooklyn Tweed as well as on Ravelry. We can’t wait to see all the adorable, pint-sized variations to come!

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Resources:

The Wee Levenwick pattern can be found on BrooklynTweed.com or Ravelry.com. Shelter yarn for this project is available for purchase online here.

Photos of Wee Levenwick in this post have been graciously provided by Gudrun Johnston/The Shetland Trader.

Amirisu released their fourth issue last week, which highlights Brooklyn Tweed as the magazine’s featured brand. We had a lot of fun working with Amirisu, contributing both design and written content throughout the issue. If you aren’t familiar with this online publication, it is the passion project of a Tokyo-based knitting/editing duo whose shared goal is furthering the online knitting culture in Japan. The magazine’s content is presented in both Japanese and English.

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Amirisu 4

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Last Fall, editor Meri Tanaka interviewed me about US-yarn production and my history as a designer. Within the article I talk a bit about how I got my start developing  and manufacturing yarns, as well as my start as a knitter. See pages 50-57 for the full article (excerpts shown below).

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I also contributed a short written piece for the magazine entitled “Elizabeth For Beginners”. Though Elizabeth Zimmermann is a national icon to us American knitters, Amirisu informed me that her work is not well-known in Japan and requested I contribute a piece that would act as a sort of gateway to EZ’s work. Within the article I give a very brief version of Elizabeth’s story and suggest some of her most beloved patterns for folks who are just discovering her work (pages 68-71).

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Last but not least – patterns and yarn! Brooklyn Tweed’s own Michele Wang and Leila Raabe contributed designs to the collection using BT yarns. Michele’s Tsubasa Top is a fun, spring-ready pullover worked in Shelter (color Blanket Fort) with arrowhead lace panels and dolman-style cap sleeves. Leila’s Preble Hat is worked in Shelter (color Snowbound) and features a woven texture pattern and twisted-stitch cable insertion. Both patterns can be downloaded directly from Amirisu (pattern info is also available on Ravelry).

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Tsubasa by Michele Wang | Preble by Leila Raabe.

A big thank you to the editors of Amirisu for featuring our work throughout the issue!

– Jared


I love a good cabled scarf in the winter. If I had it my way, I’d wear them year-round, though I no longer live in a climate where that is possible.

Frieze is my newest scarf design from the BT Winter 14 collection. Named for it’s relief-like texture and staggered motifs, the fabric reminded me of the ornate marble friezes I studied as a young art student living in Rome. I remember being drawn to these decorative, patterned entablatures that adorned Roman and Greek temples, with their curved lines and repeating motifs. I was struck by how such delicacy and lightness could be achieved in carvings using a material as unforgiving and solid as marble.

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When I wear scarves, I prefer a bit of volume. When it’s really cold, I like being able to burrow into a scarf, and use it as a sort of face mask to block the windchill when necessary. To me the perfect scarf looks good worn alone (simply, over a shirt, blouse, dress, etc. as shown) or paired with outerwear. The addition of buttons and buttonholes along the top and bottom edges is a fun detail that adds versatility to the item. When buttoned, the scarf becomes a loop that can be worn in multiple ways. By playing around with how many buttons are used, or which button-to-buttonhole pairing you choose, a wide array of styling options becomes available. Why not have a little fun with it?

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Frieze incorporates three large medallion cables – each nested with smaller, wrapped eyelet crosses (commonly seen in Japanese stitch dictionaries) – which are staggered over the length of the piece. Traditional 4-stitch “rope” cables are used as separators between the larger motifs as well as trimming the selvedge edges; these four cables are also mirrored over the center line of the scarf (cable crosses lean away from each other for perfect symmetry).

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In terms of knitting geekery: the reinforced buttonhole method used within the pattern is relatively new to me, and an incredibly exciting technique that I learned from my friend Catherine Lowe. I’ve never seen this method anywhere else before, and am not sure if there is an official name for it. After working the buttonhole bind-off row, the return row has you cast on the number of buttonhole stitches + 4 to a spare DPN (or cable needle), then work the pair of scarf stitches preceding and following the buttonhole together with the first and last two stitches of the cast-on row by way of directional double decreasing. Difficult to summarize here, but not at all difficult to execute, and the results are so worth it! Finished buttonholes remain both flexible and stable (more deftly avoiding the common problem of stretching out of shape after continued use).

It’s a fun knit for cable lovers, and one that I look forward to wearing myself!

– JF

 

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Resources:

The Frieze pattern is available for download at Brooklyn Tweed or on Ravelry. The Shelter yarn used in the photographed sample is available here.

 

 

The first weeks of January can sometimes be difficult; the holidays have passed, and along with them, the romance of early winter. The weather is cold and dark, and we feel cultural pressure to make resolutions in an effort to craft better versions of ourselves. For these reasons, I like to schedule things for this period that are really worth looking forward to. Positive anticipation is always a great antidote for those “slump” times!

When working on the 2014 calendar, I thought early January seemed like the perfect time to release our Design Team’s winter collection, hoping it could be just the thing to chase away some potential post-holiday blues.

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Our yearly winter collection is one of my favorites. It seems like the most appropriate time to indulge in any and all types of knitwear design, be it classic, modern, traditional, heavy-duty or lightweight. Anything goes when everyone needs something wooly to wear outdoors (and even indoors for those of us in drafty historic buildings)!

For this collection, we created pieces for two different stories. The first – Elements – focuses on clean, modern knits in a palette of neutrals (three of which are pictured below). These knits are cool and comfortable wardrobe items that can be dressed up or dressed down with ease. Casual sophistication is the name of the game here – from boxy, striped “boyfriend” sweaters (Benton at center) to luxurious cabled scarves that – with the simple addition of wooden buttons – convert to stylish and toasty cowls (Frieze at right).

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Our second design story – Shingle and Copse – was inspired by walks on a winter coastline. While I love a beautiful summer day on the beach soaking up the sun just as much as the next person, a solitary walk on that same beach during winter is my true love. The muted color palette, the powerful winter waves, the atmospheric horizon line – these things make my introspective heart go pitter-patter.

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These knits are intended to be thrown on with other layers for a cozy, bundled-up style that is perfect for windy walks (be they city or country). Our creative team traveled to beautiful Cedar Point, Long Island for the shoot where both models and crew got to test the effectiveness of these knits in the brisk conditions of the coastal marshlands there.

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The full collection releases today, with each pattern available for instant download via Brooklyn Tweed or Ravelry. Our newest lookbook features extensive photography of the design collection, as well as detailed pattern diagrams and descriptions, a special essay written for us by Portland author Sarah Pope, and peeks behind the scenes from our days shooting in Cedar Point.

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Throughout January, we’ll be sharing more stories and details about this collection here on the blog, as well as our Facebook, Twitter and Instagram pages, so stay tuned. For now, though, I invite you to pull up a chair and enjoy exploring the lookbook!

I hope this collection brings you inspiration as we look forward to the coming year.

–Jared

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Resources: The BT Winter 14 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.

JF: Hi, Bristol! We work together every day at BT, but it’s fun having a “public” chat about your design work – thanks for joining me here this morning.

BI: Hey Jared! My pleasure – I promise to keep my normally ridiculous emoticon usage to a minimum. :) (Okay, couldn’t help that one.)

JF: Let’s jump right in – you are obviously interested in exploring non-traditional construction methods in your designs, and Svalbard is no exception. Can you give our readers a summary of how this garment is created from a construction standpoint?  

BI: Of course! Svalbard technically works like a normal top-down raglan cardigan, with a slight tweak: the fronts are removed at the start.  So, if you were to take a bird’s eye view of a raglan, it would look like four wedges (front, two sleeves, and back) radiating from the neckline, with 8 increases every other row.  Svalbard looks like three wedges (two sleeves and back), with only 6 increases every other row.  Once those increases are complete, you pick up and knit along the raglan line at the front edges, and those stitches become the fronts.  You put the sleeves on holders, you add gussets under the arm, and the fabric naturally creates the wide swoop you see in the finished sweater.  It’s entirely seamless, and everything is finished off with a wide mitered border that ties it all together.  I’ve found this shape is a great way to create a bit of drama and drape while still maintaining some serious wearability.  The Wool People 6 samples were here at our office for a bit, and I kept snagging this one when I got cold!

JF: I agree that it creates a nice balance of “flare” and wearability. The shaping detail at the center back is a really special moment on this garment. Early on you told me that you wanted to play with some of the shaping ideas that you began exploring with your last Wool People design contribution, Thorn. How are these two pieces related?

BI: One of the things I love about designing my own garments is the ability to integrate shaping within a stitch pattern or to make one pattern flow into another.  I love those little couture moments in knitting, where a lace pattern flows directly from the ribbing, or the decreases at the crown of a hat flow seamlessly from the cables in the body.  I’ve had a LOT of fun exploring this synchronicity in terms of increases and decreases in my design work, especially in pieces like Winnowing, Thorn, and now Svalbard.

JF: Ah, yes! Winnowing is a great example of this as well.

BI: Haha, Winnowing is an increase dork-out to a crazy degree.

With Thorn, the increases that form the curve of the shawl are hidden within the garter rib of the body, rather than sitting on the edges as you’d see in most traditionally shaped shawls.  With Svalbard, I had originally planned to work the back with typical raglan shaping and have a small decorative increase motif in the center, but when I figured out I could build the increases needed into that decorative panel, all bets were off. The increases in the back use a chevron shape to gradually change the stitch pattern from stockinette, to 1×1 rib, and finally to cartridge rib to match the rest of the body, just as the ribbing in Thorn gradually widens over the course of the shawl as stitches are increased in a radial within it.  This motif is repeated in the underarm gussets, which give the fronts of the sweater the ease and drape they need.  It was a really fun challenge to design!

Left: The Thorn Shawl from Wool People 4  |  Right: The Winnowing Shawl from Wool People 2

JF: Do you feel like you make your best discoveries in the middle of the process? I think it’s interesting how different designers approach their work – some like to refine and think through every aspect before they start creating with their hands. Others seem to get the general idea formed, then jump right in and let themselves be surprised by the discoveries they make. Where do you fall on that continuum?

BI: I almost always have the majority planned out before I start knitting, but there’s often-times a lot of tumbling the idea around in my brain before anything is settled.  When I first started thinking about the construction on Svalbard, I was doing a lot of treadmill running and I used thinking about knitwear design as a way to get my mind off what my legs were suffering through! And even after that point, the final shift to the integrated back shaping happened when I was working up my grading spreadsheet for all the sizes prior to starting knitting (you know my love of spreadsheets!).  So there’s a lot of exploration of technique and construction in my designs, but the crazy ideas typically get hashed out in my head before the yarn even touches needles.  Then, if need be, I start peeling some layers away as I knit; lines will sometimes simplify and clarify as I work on the sample.  It’s funny what becomes clear as the knitting progresses!

JF: I know that when I stumble upon a design idea or motif that really intrigues me, I like to explore ways of using it differently across a range of pieces. Do you feel this way about the radial shaping that is featured in both Svalbard and Thorn? Is there still more experimentation ahead?

BI: Oh my gosh, I will never get sick of radial shaping.  There is still so much more I want to do with it! Each new project I do leads to another awesome “what if?!” moment, and is pushing the boundaries of what I thought was possible with knitting.  And while these light-bulb moments aren’t always viable, the fact remains that knitting is an amazingly malleable and organic art form, as well as a concrete and tactile method of exploring geometry and spatial reasoning.  It’s so inspiring, and it’s such a logic puzzle.  I’ll never stop loving that about it.

JF: You’re preaching to the choir…

BI: Knitting nerds unite!

JF: Thanks, Bristol! I know I’m not alone in being excited to see what you dream up next. Keep up the good work!

BI: Thanks so much, Jared – it’s a huge honor to be part of the Wool People collections!

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JF: Welcome, Dianna! Glad to have you on the blog today! 

DW: Thanks for having me!

JF: Your design work seems heavily inspired by Scandinavian traditions and culture. Can you tell us a little bit about that? Do you have a family history in that region of the world?

DW: There’s definitely a lot of Scandinavian influence, but I don’t have any family background in that part of the world! I’m just drawn to it, for whatever reason. I have several friends from Norway who I initially met online, some as long as a decade ago, and they initially got me interested in it. The language drew me in first, and then the more I learned about the culture, the more I fell in love with it. I’ve been fortunate to travel to Scandinavia several times now, and meet those friends who I still keep in touch with.

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JF: Can you give me some back story about the design of Sundottir? I know when we first started talking about a design submission you had an old, beloved version of the sweater that you were wanting to refine into a finished pattern. When and how did the idea begin?

DW: I knit that old, beloved sweater in 2010. I’d been working on stranded colorwork for awhile, but only on accessories. So I decided, being so into Scandinavian design and culture, I really wanted something along the lines of the beautiful traditional sweaters from Norway and Iceland. Looking back, I think I wanted something a little more modern, too, that felt more like me, because none of the patterns out there were jumping out at me. So I decided to come up with a design myself. It’s been a thrill to return to that design and work on how to turn that idea into a pattern.

JF: I am always a fan of mixing the modern with the traditional – I think that’s what works so nicely about this design. A classic yoke motif, fluffy wool and traditional color combo paired with a fitted shape that feels current. The other nice thing about this sweater is that making custom alterations is pretty straight forward. Any tips for knitters who might want to tweak the garment slightly to suit their own body types and ease preferences?

DW: Absolutely! The yoke chart begins on a multiple of 8 stitches, so as long as the number of stitches on the needle is a multiple of 8 when it’s time to start the colorwork section, almost anything else goes. Some folks may want to eliminate the waist shaping – I’d use the number of stitches after the bust increase section as the number of stitches to cast on. Others may want more defined waist shaping, in which case adding decrease rounds and increase rounds would be pretty straightforward. Knitters could also turn it into a cardigan by steeking and picking up stitches to knit button bands. Or you could use multiple contrast colors in the yoke for a more colorful sweater. There’s a lot of possibility there. Seeing the modifications that creative knitters make is one of my favorite parts of publishing patterns!

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JF: Are there any specific details in the pattern that you might like to point out to our readers? Anything that might not be immediately obvious from looking at the photos? 

DW: Like many of my designs, Sundottir is completely seamless, right down to the underarms. Everything is worked in the round, and when the knitting is done, the underarm stitches are grafted together using Kitchener stitch (there are instructions in the pattern for those who haven’t used Kitchener before). Fit-wise, one of the differences between the pattern and my original prototype was the addition of short row shaping to dip the yoke in the front, so that the neckline fits more comfortably.

JF: You live and work in Seattle, Washington – are you a native or a transplant? 

DW: I’m a transplant! I grew up in North Carolina and moved out here in 2009.

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JF: How does the weather and lifestyle of the city affect your design work?

DW: In general, I love the weather and the lifestyle of this city, and I can definitely see it influence my work. For one thing, some years you can wear wool year round!

JF: As a Washington native, I sometimes miss that! 

DW: Like many people in this city, I tend to gravitate toward clothing that’s practical and functional, and I see that in my knitwear, but I also want it to look good, too. I design things I’d want to knit for myself, because that’s how I got started, so I’m always thinking about how I’ll actually wear or use a design. I’m not always designing things I could wear on my bike commute to work in the rain, but it’s nice when my design work does fit that bill.

Being in Seattle keeps the Scandinavian influence up front, as well, because that’s a big part of this city’s history. There were so many Scandinavian immigrants to this city and this part of the world. My studio is in Ballard, which was historically the Scandinavian neighborhood, just down the road from the Nordic Heritage Museum (which puts on the Nordic Knitting Conference every two years). There’s a parade every year for Syttende Mai, Norway’s Constitution Day, and it’s the biggest one outside of Norway. Being in a community with that kind of heritage means I’m always thinking about it.

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JF: What was your dream job as a child? 

DW: I grew up in classical ballet and for a long time I wanted to do that professionally. I still take classes, from time to time, but I got really burned out by the end of high school. I think I gave up on that dream around the time I started high school, actually, which was around the same time I hit six feet in height. Most ballerinas aren’t anywhere near that tall, which makes it hard to be in a corps de ballet. I think I always had an internal struggle between my creative side and wanting to pursue creative pursuits on the one side and going a much more straight-laced stable route on the other. My mother has certainly always supported my creative pursuits – she started my hometown’s city arts program – but she also encouraged routes that would lead to more financial stability than a career in the arts. That’s a struggle that I still feel sometimes.

JF: This has been great – thanks for taking the time to chat a bit this morning, Dianna!

DW: Thank you for the opportunity! I’m truly honored to be a part of the collection.

JF: Hi, Kyoko! Thanks for joining me today on the blog for a chat about your new sweater design.

KN: Hi, Jared! Thanks for inviting me to this chat. I’m so excited!

JF: This is your first contribution to a Wool People collection (and I think it’s a great one) – can you tell our readers a little bit about your design philosophy? What interests you about designing for handknitting, specifically?

KN: I really enjoyed working on Rook for WP6. My core design philosophy is to offer unique knits which have timeless style.

I also think of myself as a “creative puzzle-maker”, and it pleases me to think that those who knit my patterns will enjoy the making process, on top of creating something that they love to wear (or giving it to someone they care about).

I really enjoy using my creativity to come up with each unique, new design, then writing up the patterns in a way that is thoughtful for knitters.

JF: I think that is so key – to think of a design not only as an end product that looks good and fits well, but also as an experience for the maker. The experience should be thoughtful and appropriate. This is unique to handknitting design.

KN: Yes! My aim is always to pleasantly surprise knitters. First visually, when they see my designs, and then through the creative process of knitting them. I’m always happy and humbled to see how many people knit my designs – not just for themselves – but also for their children, relatives and friends. This is one of the key motivations as a hand-knitting designer.

JF: You started your brand of knitwear design for handknitters, Cotton and Cloud, in 2009. What would you say is your brand mission?

KN: My brand mission is to keep surprising knitters and provide fresh inspiration that fits with a fun, ethical and creative outlook. I want to design unique knits which are timeless in style. This could include incorporating unusual or novel techniques, adding some quirky new patterning, or designing a uniquely shaped garment.

In terms of my specific interests, I love to work with yarns from independent companies. I am deeply committed to contribute to a better future for our children, by supporting the independent suppliers of eco-friendly and ethical raw materials. In a world where there is so much cheap, mass-produced clothing available, I want to share and spread the idea of living a happier, ‘slow life’ – even in a busy city like London – by creating a garment you love stitch by stitch.

JF: That concept resonates strongly with me as well, and I am noticing a broader movement away from “fast fashion”. As handknitters, this already seems second nature, but it is a very important topic in our society at this time, don’t you think?

KN: Definitely. We live in the most ‘throw-away’ society in history. And this applies to many products from food to fashion clothes. But as a consumer myself, I know how hard it can be to resist the temptation to throw away stuff that’s cheap and easily available. As one of millions of global knitters, I feel very lucky to have the skill to design and make useful and stylish garments by hand from high-quality, eco-friendly yarns. I think the ‘slow life’ movement is very important in encouraging a happier and more balanced way of living for the individual and families; as well as having a hugely positive impact on society in general.

JF: You are Japanese born but live and work in London. Can you talk a little bit about how each of these places has shaped who you are as an artist and designer?

KN: Japan is such a beautiful country and the language we speak and write is, to me, very visual. I first learned how to knit as a small child, using Japanese patterns which are generally chart-based.

I came to the UK when I was 12 and have been living in England, more recently in London, for the past 15 years. Being away from my family from a young age has made me resourceful. Being creative in any subject was appreciated by those around me and I was given the freedom to explore novel and different hobbies, which I really enjoyed.

So the mix of experiences from my childhood, and then my adult life in Japan and London, have left me with a very versatile approach to designing.

I can mix logical and rule-based methods with my own original thinking, without being afraid to break new ground and create innovative designs that haven’t been seen before.

JF: Sounds like a knockout combination to me!

KN: :) Well, I hope so, because I try to offer knitters something fresh and interesting in my design collections.

JF: Rook is a pullover I’m sure a lot of women would like to wear, and also one that I think is very fun to knit. Can you talk a little bit about how the garment is created on the needles?

KN: When you first see the sweater it looks quite traditional. When you look more closely, however, you realize that the construction for the round yoke is a noticeable break from tradition.

This sweater is created with a top-down, seamless construction, knit circularly. In order to create a height difference between the front and the back neck, you use a ‘wrap and turn’ short-row technique to work more rows at the back and sleeves first, before eventually joining to work the remaining yoke in the round. This adds a subtle depth to the front neck which to me is perfect for a garment that is cosy and winter-proof, as well as versatile enough to style with different undershirts (like a crew-neck top or a collared shirt underneath, as pictured).

The increases for the yoke shaping are worked in between the cable patterns. The textured diamond motif is encircled by stockinette stitch instead of a vertical line of purl stitches, to keep the whole design clean and simple. In addition, the cable pattern never changes in size or placement during the yoke shaping and throughout the sweater, giving an attractive visual illusion.

JF: Any special tools needed in working this type of yoke?

KN: The use of stitch markers is essential in this pattern, as they will help guide your correct positioning within the pattern, especially during yoke shaping. Once the yoke shaping is done, the rest is straightforward and will be an enjoyable knit for everyone, I hope!

JF: It’s definitely a fun and different approach to knitting a pullover that I think knitters will enjoy. For me, good design is directly related to the amount of thought that goes into it – you clearly think a lot about your work as you are designing and that is much appreciated! 

KN: Thank you, Jared! I do spend a lot of time on the planning stage of each new garment design.

First of all, I do a mental run-through of the ideas that I’m considering and then start to focus on one in particular.

I then think about the design from the point of view of the knitter, to ensure my patterns are always accessible and enjoyable to make. For example, when my design is going to contain a new technique that may be unfamiliar to most knitters, I try to shape the design carefully to ensure the new technique is only used at the beginning of the project. After that, I make sure the rest of the knitting pattern is straightforward to do, which is what I did for Rook.

When I was designing Rook, I had in mind the short-row neck shaping technique and a special pattern placement to create an interesting visual illusion. The texture and density of Shelter was perfect for the effect I had in mind. When all the technical ideas and the yarn were put together with a traditional sweater-shape with a double-folded neckline, it all seemed to come together really well!

JF: Thanks again, Kyoko! It’s been a pleasure getting to work with you and I hope to do so in the future! 

KN: Thank you, Jared! It’s been great fun for me, too. And I’m looking forward to sharing more new designs through BT in the future!