theknitter_1812022

Create gorgeous autumn knits you’ll want to wear ever y day with our new pattern collection! Designs include a sideways knit sweater from Sanna Mård Castman on p68, a lace pullover in autumnal colours by Jacinta Bowie on p24, and a pair of neat cabled socks by Sarah Hatton on p75. Plus, discover the best yarns for your seasonal projects.

delights

explore the work of i n novative k n itwea r designer a nd a r tist Yu Mei Hu a ng, a nd bri ng you exper t adv ice on

H A P P Y K N I T T I N G ! from Ki rs ti e a n d Th e Kn i tte r tea m

IHDWXUHG GHVLJQHUê

Faï za Meba zaa

Sanna Mård Castman

Having begun her career working for Hay field, Jacint a is now a freelance knitwear designer who collaborates with yarn companies and magazines, and also teaches workshops This month, she has curated an autumnal colour palet te for her lacy striped sweater on p24

Paris based designer Faïza enjoys exploring colour, texture, shapes and construc tions for her cool, contemporar y knit s Her first design for The Knitter is a spec t acularly colour ful top with a wide, cropped silhouet te Find the pat tern in our special supplement

Swedish designer Sanna has been working in knitwear design since leaving school, and she loves to explore cables and lace pat terns and to incorporate beautiful det ails into her knit s Turn to p68 to find her sideways knit sweater with elegant textured motif s

by William Gibbons Distributed by Frontline

Jacinta Bowie

C O L A D I G G I N

Lif ted increases bring a decorative touch to the raglans

Mirage

T H I S R AG L A N top by Nicol a Dig g i n s h a s a n elega nt colou r work patter n k n itted i n a lovely Br it i sh 4ply wool blend. “T h i s wou ld m a ke a b eg i n ner f r iend ly st ra nded colou r work project, a s it u se s ju st t wo colou rs i n t he m a i n sect ion a nd a n ea si ly memor i sed patter n, ” says Nicol a “T he patter n sh i f t s f rom t r i a ngle s to d i a mond s t hen reverse s aga i n. It i s k n itted sea m le s sly f rom t he top dow n, so you ca n t r y it on a s you go T he neck i s worked back a nd for t h i n rows to ra i se t he back neck a nd g ive a com for t able f it ”

PAT T E R N N OT E

T he M 1 l i f ted i ncrea se s a re for med w it hout t w i st i ng t he l i f ted st itch, k n it i nto t he f ront of t he st itch to g ive decorat ive sm a l l hole s eit her side of t he ragl a n ‘ sea m ’

YO K E

Usi ng 3 25m m ci rcu l a r need le s, ya r n A a nd t he long t a i l met hod, ca st on 78 (78:8 4:8 4:86:8 8:8 8:8 8:94:94) st s D o not joi n

Note: T he neck sh api ng i s worked back a nd for t h i n rows w it h op en i ncrea se s eit her side of t he ‘ sea m ’ st itch T he sea m st itche s a re i ncluded i n t he cou nt for B ack a nd Front sect ion s

S H A P E N E C K

S e t u p row (WS): P2, pm, P 14 (14:16:16:16:

16:16:16:18:18), pm, P46 (4 6:4 8:4 8:50: 52:52:52:5 4:5 4), pm, P 14 (14:16:16:16: 16:16:16:18:18), pm, P2

S e t u p row 2 (R S, i n c f ron ts, sl e eve s, b a c k): K F B, M 1, K 1, sl m, M 1, K to nex t m rk, M 1, sl m, K 1, M 1, K to 1 st b efore nex t m rk, M 1, K 1, sl m, M 1, K to nex t m rk, M 1, sl m, K 1, M 1, K F B 10 st s i nc’d Nex t row: P u rl

I n c row (R S): K 2, M 1 L , *K to 1 st b efore nex t m rk, M 1, K 1, sl m, M 1, K to nex t m rk, M 1, sl m, K 1, M 1; rep f rom * once more, K to l a st 2 st s, M 1 R, K 2 10 st s i nc’d

Nex t row: P u rl.

Rep l a st 2 rows a f u r t her 8 t i me s 178 (178:18 4:18 4:186:18 8:18 8:18 8:194:194) st s; 66 (66:68:68:70:72:72:72:74:74) st s for B ack, 3 4 (3 4:36:36:36:36:36:36:3 8:3 8) st s for each Sleeve a nd 22 st s for each Front

Nex t row: Usi ng t he back wa rd s loop met hod, ca st on 3 st s onto L H need le, k n it t he se st s, *K to 1 st b efore nex t m rk, M 1, K 1, sl m, M 1, K to nex t m rk, M 1, sl m, K 1, M 1; rep f rom * once more, K to end, u si ng t he back wa rd s loop met hod ca st on 3 st s onto R H need le 14 st s i nc’d 192 (192:198:198:20 0:202:202:202:20 8:2 0 8) st s; 68 (68:70:70:72:74:74:74:76:76) st s for B ack, 36 (36:3 8:3 8:3 8:3 8:3 8:3 8:4 0:4 0) st s for each Sleeve, 26 st s for each Front

Nex t row: P u rl

J O I N I N T H E R O U N D

Usi ng t he back wa rd s loop met hod, ca st on 16 (16:18:18:20:2 2:2 2:2 2:24:24) st s onto L H need le, k n it t he se st s, *K to 1 st b efore nex t m rk, M 1, K 1, sl m, M 1, K to nex t m rk, M 1, sl m, K 1, M 1; rep f rom * once more, K to end P m a nd joi n to work i n t he r nd. 2 16 (2 16:2 24:2 24:2 28:2 32:2 32:2 32:24 0:24 0) st s; 70 (70:72:72:74:76:76:76:78:78) st s for each of Front/B ack, 38 (3 8:4 0:4 0:4 0:4 0: 4 0:4 0:42:42) st s for each Sleeve Nex t r n d: K n it

I n c r n d: *K to 1 st b efore nex t m rk, M 1, K 1, sl m, M 1, K to nex t m rk, M 1, sl m, K 1, M 1; rep from * once more, K to end of rnd. 8 sts i nc’d. Nex t r n d: K n it Rep l a st 2 r nd s a f u r t her 20 (20:20:2 3:24: 26:26:28:2 9:32) t i me s. 384 (384:392:416:428:448:448:464:480:504)

0:13 0:13

0:82:8

K 1, sl m, K to nex t m rk, sl m, K 1, M 1, K 1, M 1 L; rep f rom * once more, K to end of r nd. 8 st s i nc’d.

Nex t r n d: K n it

Rep l a st 2 r nd s a f u r t her 1 (3:4:4:4:4:5:5: 6:6) t i me s. 400 (416:432:456:468:488:496:512:536:560) sts; 120 (128:134:140:144:150:154:158:166:172) st s for Front/B ack, 80 (8 0:82:8 8:9 0:94:94: 98:102:10 8) st s for each Sleeve

N E E D L E S & A C C E S S O R I E S

2 75mm (U K 12/US 2) circular needles, 60 80cm long

2 75mm (U K 12/US 2) circular needles, 40cm long, for neckband

3 25mm (U K 10/US 3) circular needles, 60 80cm long

3 5mm (U K 9 10/US 4) circular needles, 60 80cm long

Set of 2 75mm (U K 12/US 2) double pointed needles (DPNs), or your preferred needles for working small circumferences

Set of 3 25mm (U K 10/US 3) DPNs, or your preferred needles for working small circumferences

Stitch marker s

Waste yarn

T E N S I O N

28 st s and 37 rounds to 10cm over st st using 3 25mm needles

28 st s and 28 rounds to 10cm over stranded colour work using 3.5mm needles.

R N S T O C K I S T S

The garment

worked

from the top down

D I V I D E F O R B O DY A N D S L E E V E S

Remov i ng m a rkers a s you reach t hem, k n it to f i rst m rk, sl ip nex t 80 (8 0:82:8 8:9 0: 94:94:98:102:10 8) st s to wa ste ya r n for L ef t Sleeve, u si ng t he back wa rd s loop met hod, ca st on 3 (5:5:5:6:6:7:8:10:10) st s, pl ace new b eg of r nd m rk, ca st on 3 (5:5:5:6:6:7:8:10:10) st s, k n it acros s 1 20 (1 28:13 4:14 0:14 4:150:15 4:158:166:172)

st s for B ack, sl ip t he nex t 80 (8 0:82:8 8:9 0: 94:94:98:102:10 8) st s to wa ste ya r n for R ight Sleeve, u si ng t he back wa rd s loop met hod, ca st on 6 (10:10:10:1 2:1 2:14:16: 20:20) st s for u ndera r m, k n it acros s 1 20 (1 28:134:140:14 4:150:154:158:166:172) st s for Front 252 (2 76:288:30 0:31 2:324:336:348:372:384) st s for B ody

K n it 5 r nd s

S E T C O L O U R W O R K

C h a nge to 3 5m m need le s a nd joi n i n ya r n B

Rou n d s 1 9: St a r t i ng a nd f i n i sh i ng r nd at st itch 10 (4:1:10:7:4:1:10:4:1) for you r si ze a nd rep eat i ng t he 1 2 st patt 2 1 (2 3:24:2 5:26: 2 7:28:2 9:31:32) t i me s a rou nd, work r nd s 1 9 of C h a r t A

Brea k ya r n A a nd joi n i n ya r n C Nex t 2 4 r n d s: (Work rows 10 to 15 of C h a r t A) 4 t i me s

Nex t 31 r n d s: Work rows 16 to 46 of

C h a r t A once

Nex t 2 4 r n d s: (Work rows 47 to 52 of C h a r t A) 4 t i me s.

C h a nge to 2 25m m need le s Brea k of f ya r n C a nd cont w it h ya r n B on ly.

K n it 1 r nd

S i z e s 1, 2 , 4, 6, 8 a n d 9 on ly

Nex t r n d: (K 1, P 1) to end

S i z e s 3, 5, 7 a n d 10 on ly

Nex t r n d: (P 1, K 1) to end

A l l si z e s

Work 15 more r nd s i n r ib a s set

C a st of f i n r ib

S L E E V E S

(b ot h a l i ke)

Wit h R S faci ng, u si ng 3 25m m DPNs a nd ya r n A, a nd b eg i n n i ng at cent re of u ndera r m ca st on st s, pick up a nd k n it 3 (5:5:5:6:6:7:8:10:10) st s acro s s second h a l f of ca st on edge for u ndera r m, k n it acros s 80 (8 0:82:8 8:9 0:94:94:98:102:10 8) st s for Sleeve, pick up a nd k n it 3 (5:5:5:6:6:7:8: 10:10) st s a long rem a i n i ng h a l f of ca st on edge for u ndera r m, d iv ide st s even ly b et ween t he DPNs, pm for b eg of r nd a nd joi n for work i ng i n t he r nd 86 (9 0:92:98:102:10 6:10 8:1 14:1 2 2:1 28) st s

K n it 10 r nd s

D e c r n d: K 1, K 2 tog, K to 3 st s b efore end, S SK, K 1 2 st s dec’d

K n it 5 r nd s.

Rep t he l a st 6 r nd s t w ice more

80 (8 4:86:92:96:10 0:102:10 8:1 16:1 2 2) st s

K n it 6 r nd s

C h a nge to 2 75m m DPNs

Work 8 r nd s i n K 1, P 1 r ib C a st of f i n r ib

N E C K B A N D

Wit h R S faci ng, u si ng ya r n A a nd 2 75m m ci rcu l a r need le s, 40 cm long, st a r t i ng at r ight back ragl a n sea m, pick up a nd k n it 1 st i n sea m st, 4 4 (4 4:4 6:4 6:4 8:50:50:50: 52:52) st s acros s back neck ca st on ed ge, 1 st i n sea m st, 14 (14:16:16:16:16:16:16:18:18)

…ideas, websites, pa tterns, events, inspiration and more!

M A KE & LOV E

The Fibre Co has launched an exciting new yarn brand called &Make, which has been carefully developed to of fer natural, sust ainable fibres at a more accessible price point for new and improving knit ters.

Choose from the plump, single ply Super Bulky, spun from Peruvian Highland wool; the Aran, which is blend of sof t alpaca and wool; and the DK, which combines wool and alpaca with linen for sof tness and stitch definition Read our review of &Make Aran on page 32. The yarns come in a palet te of 20 shades, including cheer ful, modern bright s and classic neutrals. The three accompanying pat terns a textured scar f, a hat, and a seamless yoked sweater can be knit ted in all three weight s To order or to find details of your nearest stockist visit w w w thefibreco com

&èQLVK PDJLF Folklore is a woollen spun treat from Blacker Yarns in shades inspired by the myths of Cornwall 4ply/DK £23 per 100g; www blackeryarns co uk

NATURE’S PALETTE

Caroline Bawn of Gorgeous Yarns shares her exper tise on dyeing with natural materials in her new book, The Natural Dyer’s Almanac The book will t ake you on a month by month journey into the world of natural dyeing, of fering advice on growing dye plant s, preparing and using natural dyes, dif ferent dye techniques, knit ting pat terns and more. It will be ideal for beginners wanting to explore the sust ainable ar t of natural dyeing £28 from w w w.gorgeousyarns.co.uk

Gingerbread is the festive new colourway of Signature 4ply, West Yorkshire Spinners’ popular sock yarn Knit up Christmas socks for all the family with Winwick Mum’s four free knitting patterns using cables, colourwork and textured stitches. w w w w yspinners com

Magazine 72

by Rowan

Rowan is celebrating the 20th anniversar y of it s Kidsilk Haze yarn by adding a st ag gering 39 shades to the palet te taking the total number of colours to 81. The yarn is also the st ar of Rowan’s latest seasonal collec tion, Magazine 72, which has 24 timeless pat terns which make use of this much loved yarn.

There are classic shapes for ever yday wear, such as rollneck sweaters, sleeveless tops, a ballet style wrap cardigan and a ribbed cardigan with contrast colour but ton bands

Showcasing the extensive colour palet te are striped cardigans, a colourblock jumper, and a leopard print cardigan by Mar tin Storey Kaf fe Fasset t paint s with 13 shades for his zig zag waistcoat, and Lisa Richardson’s ‘Daydream’ design is a long leng th water fall cardigan with blue and white stripes.

Accessories include a t ar t an wrap, and a long scar f with stripes of lace and colour Order a copy of the magazine for £13.50 or find stockist details at w w w knitrowan com

N E W B O OK S

T R A DI T IONA L NOR DIC K N I TS

by Johanna Wallin

The beauty of Nor way ’ s folk knit ting is on display in this delight ful book from Johanna Wallin

Taking inspiration from historic examples, she designed more than 40 handsome hat, mit ten, glove and sock projec t s for all the family, typically using traditional colour work motif s knit ted in two shades Each design is a lit tle gem, and will be a delight to knit, give or receive.

£19 95, Trafalgar Square Books

YA R N 14: E X PR E S SION

by Scheepjes

The latest edition of Scheepjes’ pat tern bookazine of fers a colour ful choice of knit and crochet projec t s with interesting construc tions, and creative yarn and colour combinations, of ten with beadwork and embroider y embellishment s for extra flair The garment s have been designed to be unisex and suited to most body shapes and sizes, and there are also fun homewares and quirky toys to make £9.95; available from Wool Warehouse w w w woolwarehouse co uk

A N I N DIG O SU M M E R

by Ellie Evelyn Orrell

This touching memoir by ar tist Ellie Evelyn Orrell explores how creativity can be a force for healing, and how a summer spent studying the ar t of indigo dyeing with her mother helped them both to mourn and recover from family tragedy. Ellie’s elegantly writ ten stor y will speak to anyone who appreciates the role craf t can play in our spiritual lives. £14 99, Universit y of Wales Press

Our pick of the best pattern collections and e books

knit + wear from Quail Studio

Quail Studio is the design team behind many of Rowan’s most popular pat tern collec tions, and it has launched a brand new range of knit ting kit s of fering timeless luxur y and style

The new scheme is c alled knit + wear, and customer s will receive a gorgeous kit delivered direc t to their door, cont aining their chosen pat tern and the yarn they’ll need to create something special These kit s c an either b e one of f purchases, or you c an treat your self by signing up for a quar terly subscription package receive a box ever y three months cont aining your chosen pat tern, yarn and a special editor’s gif t

The range has been launched with a choice of lovely c ardigans sized to fit bust s of 28in to 50in These include ‘Clay’, a V neck design knit ted in mist ake rib, and ‘Heath’, a raglan c ardigan with rolled hem det ails; both use Rowan’s Alpac a Sof t DK yarn There are also t wo c ardigan designs using Rowan’s Brushed Fleece for cosy warmth

Find more det ails at w w w knit andwear co

Our reader s c an get 20% of f a quar terly subscription box! To enjoy this of fer, simply use the of fer code knit ter20 at the checkout

T W EED YA R NS Tempting textures for your autumn projects

by McIntosh

T W E E D H A Z E by Rowan

Price £13 50 per 50g/120m; 40% mohair, 39% alpaca, 10% polyamide, 8% cot ton, 3% polyester

knit rowan com 01484 668200

A R R A N MOR E L IGH T

by The Fibre Co.

Price £19 50 per 100g/300m; 80% Merino wool, 10% cashmere, 10% silk

hefibreco com 017687 79 292

Have K AL fun with Black Sheep Wools

Fans of knit along projec t s will enjoy the brand new K AL from yarn store Black Sheep Wools, c alled ‘Another Day Out’, in which par ticipant s will be able to make a colour ful blanket using a variet y of knit ting techniques

Designed by Sarah Hat ton, the K AL will involve 11 pat tern inst alment s, which will b e released weekly st ar ting from 27 September Each inst alment will be available as a free download from the Black Sheep Wools website, with suppor ting videos from knit ting tutor Lynne Rowe on it s YouTub e channel

Yarn kit s are now available to order, in four dif ferent colour ways and using t wo dif ferent yarns Sirdar’s Countr y Classic Wor sted, and St ylecraf t’s Special Aran Find det ails at w w w black sheepwools com

)Dç VW\OH Gudrun Sjödén’s new autumn clothing collection is filled with comfortable layering pieces

Available in store and online; w w w.gudrunsjoden.com

THE JOY OF CABLES

The Tin C an Knit s design team’s gorgeous new collec tion, Lazy Sunday, celebrates the beaut y of c able knit ting Projec t s include the ‘Peregrine’ rever sible shawl (pic tured below), a top down raglan sweater, an Aran st yle c ardigan with chunky tex tures, a honeycomb c able sweater, plus hat s, mit t s and sock s A s always with Tin C an Knit s designs, the projec t s are suit able for all the family, and sizes range from newborn up to adult 6XL w w w tincanknit s com

Uradale Yarns’ newest knitting kit, ‘Aruna Carmina’, showcases the vibrant colours of its organic Shetland wool Viveka Velupillai’s design is knitted horizontally using two traditional Shetland lace motifs, and is finished with long tasselled fringes. It’s also available as a PDF pattern. £62 from w w w uradale com

Stitches on screen

The best online knitting videos

C A S T ON I DE A S

The online Knit School programme includes a guide to the pinhole cast on https://bit ly/Knitschoolpin

DE SIGN E R S TOR I E S

Erika Knight discusses her latest collaboration with The Fibre Co. https://bit ly/TFCerika

C OLOU R C RUSH

Sara of Black Sheep Wools reveals her new projec t using Scheepjes Terraz zo https://bit ly/saraterrazzo

BAC K I N T I M E

This 1964 archive film takes a look at Shetland’s fine lace shawl industr y https://bit ly/rewindshetland

Knit cosy treats with our giveaway!

Discover seasonal knit ting inspiration and learn new skills with our sp ecial prize pile, which c an be won by one lucky reader! We’re giving away t wo pat tern book s: Slow Knitting by Hannah Thiessen, and Modern Heritage Knits by Christina Danaee, along with a copy of Katrina Rodabaugh’s Make Thrift Mend, which explores darning, mending, and dyeing your handknit s using plant materials

Plus, we ’ ve included a selec tion of yarns, including Nellie & Eve’s BFL /G otland 4ply, Novit a ’ s 7 Veljest ä Rait a and Multirait a, L aneras Secretos, and DROPS Alaska

Enter our giveaway online at: w w w gathered how/competitions/ the knit ter competitions/

DI A RY DAT E S

Events and workshops to inspire your knitting

6-9 Oc tober London

The Knitting & Stitching Show

www theknittingandstitchingshow com/ london

8-9 Oc tober Lifton, Devon Woolly Weekend

www woollyweekend co uk

15 Oc tober Portsmouth

Bavarian Twisted Stitch Socks with Fiona Morris www seeded com 023 927 54217

22 Oc tober London

Steeking

www loopknitting com

25 Oc tober Bovey Tracey

Professional Finishing with Anniken Allis

www spinayarndevon co uk 01626 836203

I N!

V I P SU B S C R I BE R S!

Ever y month, three subscrib er s win a prize as a thank you for their loyalt y to The Knitter This month, the winner s (b elow) will each receive a copy of this gorgeous pat tern book, Knitted Animal Friends , by Louise Crow ther Create toys for your lit tle loved ones including coordinated out fit s Happy knit ting!

The Cambridge Yarn

Festival will be a great way to find inspiration for your next projec t! The online winter event, to be held on 7 10 November, will showcase fabulous yarn vendors and indie dyers, with Instagram Live events, Q&A sessions with ar tisan makers, and plenty of shopping oppor tunities

w w w cambridgeyarnfestival co uk

I N!

Immediate

WIN N ER S TH IS ISSU E!

M Webb Leices ter

R Chappell Withernsea

J Houghton Brackley

27 Oc tober Warrington

Fair Isle & Steeking with Juliet Bernard

www blacksheepwools com 01925 764231

29 30 Oc tober Sedburgh

Kilim Cushion Weekend Workshop with Marie Wallin www mariewallin com

29 30 Oc tober Glasgow

Glasgow School of Yarn Festival

www glasgowschoolofyarn co uk

4-6 November Fermanagh

Yarn Together Island Retreat www inspiringyarns co uk/events

5 6 November Newton Abbot Stitch Fest South West

www stitchfest co uk 07919 178701

7 10 November Online Cambridge Yarn Festival

www cambridgeyarnfestival co uk

13 November Faversham

Top Down Sweaters

www theyarndispensary co uk 01795 533812

17 20 November Harrogate

The Knitting & Stitching Show

www theknittingandstitchingshow com/ harrogate

12 26 Januar y India

Knit for Peace Mysore Knitting Holiday with Jane Crowfoot

www knitforpeace org uk 020 7794 9835

Tell us about your event! theknit ter@immediate co uk

R E

J A C I N T A B O W I E

Mallard

This elegant, lace striped jumper captures the colours of autumn

The irregular stripe pat tern is worked in five colours

Mallard

C

Mallard

JAC I N TA B OW I E h a s combi ned colou r f u l st r ip e s of d i f ferent w idt h s w it h a n a l l over l ace st itch patter n to create t h i s aut u m n a l, v i nt age st yle ju mp er T he l ace st itch patter n for m s a sca l lop ed edge a rou nd t he b ottom of t he b o dy a nd sleeve s, a nd t he st r ip e patter n cont i nue s i nto t he r ibb ed neckba nd Jaci nt a ’ s ju mp er i s k n itted i n Sa nt a C r u z, a n orga n ic A rgent i n i a n Mer i no wool f rom Ju n ip er Moon Fa r m wh ich come s i n a pa lette of wa r m, heat hered sh ade s

S T I TC H PAT T E R N S C H A R T A

Usi ng ya r n A:

Rows 1, 3 a n d 5 (R S): *K 1, yo, K3, sk 2 p o, K3, yo; rep f rom * to l a st st, K 1.

Rows 2 , 4 a n d 6 (WS): P u rl

Usi ng ya r n B:

Row 7 (R S): Rep eat Row 1.

Rows 8, 10, 1 2 , 14, 16, 18, 2 0, 2 2 , 2 4 a n d 2 6

(WS): P u rl

Row 9: *K 2, yo, K 2, sk 2po, K 2, yo, K 1; rep f rom * to l a st st, K 1

Row 1 1: *K3, yo, K 1, sk 2 p o, K 1, yo, K 2; rep f rom * to l a st st, K 1.

Row 13: *K4, yo, sk 2po, yo, K3; rep f rom * to l a st st, K 1

Rows 15, 17, 19, 2 1, 2 3 a n d 2 5: K 1, K 2 tog, K 2, yo, *K 1, yo, K3, sk 2 p o, K3, yo; rep f rom

S

Z E

* to l a st 6 st s, K 1, yo, K 2, S SK, K 1

Usi ng ya r n C:

Row 2 7: Rep eat Row 15

Rows 2 8, 3 0, 32 , 3 4 a n d 3 6 (WS): P u rl

Row 29: K 1, K 2 tog, K 1, yo, K 1, *K 2, yo, K 2, sk 2 p o, K 2, yo, K 1; rep f rom * to l a st 6 st s, K 2, yo, K 1, S SK, K 1

Row 31: K 1, K 2 tog, yo, K 2, *K3, yo, K 1, sk 2 p o, K 1, yo, K 2; rep f rom * to l a st 6 st s, K3, yo, S SK, K 1

Row 33: K5, *K4, yo, sk 2p o, yo, K3; rep f rom * to l a st 6 st s, K6

Row 35: *K 1, yo, K3, sk 2p o, K3, yo; rep f rom * to l a st st, K 1.

Usi ng ya r n D:

Rows 37 3 8: Rep eat Rows 35 a nd 36 once more.

Usi ng ya r n A: Rows 39 42: Rep eat Rows 35 a nd 36 t w ice more.

Usi ng ya r n C: Rows 43 4 4: Rep eat Rows 35 a nd 36 once more.

Usi ng ya r n B: Rows 45 46: Rep eat Rows 35 a nd 36 once more.

Usi ng ya r n E: Row 47 (R S): *K 2, yo, K 2, sk 2po, K 2, yo, K 1; rep f rom * to l a st st, K 1.

Row 4 8 (WS): P u rl

Usi ng ya r n D: Row 49 (R S): *K3, yo, K 1, sk 2 p o, K 1, yo, K 2; rep f rom * to l a st st, K 1

Row 5 0 (WS): P u rl

Usi ng ya r n B: Row 51 (R S): *K4, yo, sk 2 p o, yo, K3; rep f rom * to l a st st, K 1

Rows 52 a n d 5 4 (WS): P u rl.

Row 53: K 1, K 2 tog, K 2, yo, *K 1, yo, K3, sk 2 p o, K3, yo; rep f rom * to l a st 6 st s, K 1, yo, K 2, S SK, K 1.

Usi ng ya r n E: Rows 55 5 8 (WS): Rep eat Rows 53 a nd 54 t w ice more.

Usi ng ya r n A: Rows 59 60: Rep eat Rows 53 a nd 54 once more.

Usi ng ya r n C: Rows 61 62 : Rep eat Rows 53 a nd 54 once more.

Usi ng ya r n B: Row 63 (R S): K 1, K 2 tog, K 1, yo, K 1, *K 2, yo, K 2, sk 2 p o, K 2, yo, K 1; rep f rom * to l a st 6 st s, K 2, yo, K 1, S SK, K 1

Rows 6 4, 66, 68 a n d 70: P u rl

Row 65: K 1, K 2 tog, yo, K 2, *K3, yo, K 1, sk 2 p o, K 1, yo, K 2; rep f rom * to l a st 6 st s, K3, yo, S SK, K 1

Row 67: K5, *K4, yo, sk 2p o, yo, K3; rep f rom * to l a st 6 st s, K6 Row 69: *K 1, yo, K3, sk 2p o, K3, yo; rep f rom * to l a st st, K 1.

Usi ng ya r n C: Rows 7 1 72 : Rep eat Rows 69 a nd 70 once more.

Usi ng ya r n A:

Rows 2 7 3 0: Rep eat Rows 2 1 a nd 22 t w ice

more

Usi ng ya r n D:

Row 31 (R S): Rep eat Row 2 1

Rows 32 a n d 3 4: P u rl

Row 33: *K 2, yo, K 2, sk 2po, K 2, yo, K 1; rep f rom * to l a st st, K 1

Usi ng ya r n E: Row 35 (R S): *K3, yo, K 1, sk 2 p o, K 1, yo, K 2; rep f rom * to l a st st, K 1

Rows 3 6 a n d 3 8: P u rl

Row 37: *K4, yo, sk 2po, yo, K3; rep f rom * to l a st st, K 1

Usi ng ya r n A: Row 39 (R S): K 1, K 2 tog, K 2,

Rows 73 74: Rep eat Rows 69 a nd 70 once more.

Rows 74 a n d 76 (WS): P u rl

Row 75: *K 2, yo, K 2, sk 2po, K 2, yo, K 1; rep f rom * to l a st st, K 1.

C H A R T B

Usi ng ya r n E:

Row 1 (R S): *K3, yo, K 1, sk 2 p o, K 1, yo, K 2; rep f rom * to l a st st, K 1

Row 2 (WS): P u rl.

Usi ng ya r n D:

Row 3 (R S): *K4, yo, sk 2 p o, yo, K3; rep f rom * to l a st st, K 1.

Rows 4 a n d 6 (WS): P u rl

Row 5: K 1, K 2 tog, K 2, yo, *K 1, yo, K3, sk 2 p o, K3, yo; rep f rom * to l a st 6 st s, K 1, yo, K 2, S SK, K 1

Usi ng ya r n B:

Rows 7 1 2 : Rep eat Rows 5 a nd 6 a not her t h ree t i me s

Usi ng ya r n D:

Row 13 (R S): Rep eat Row 5.

Rows 14 a n d 16 (WS): P u rl

Row 15: K 1, K 2 tog, K 1, yo, K 1, *K 2, yo, K 2, sk 2 p o, K 2, yo, K 1; rep f rom * to l a st 6 st s, K 2, yo, K 1, S SK, K 1

Usi ng ya r n E:

Row 17 (R S): K 1, K 2 tog, yo, K 2, *K3, yo, K 1, sk 2 p o, K 1, yo, K 2; rep f rom * to l a st 6 st s, K3, yo, S SK, K 1

Rows 18 a n d 2 0 (WS): P u rl.

Row 19: K5, *K4, yo, sk 2p o, yo, K3; rep f rom * to l a st 6 st s, K6

Usi ng ya r n B: Row 2 1 (R S): *K 1, yo, K3, sk 2p o, K3, yo; rep f rom * to l a st st, K 1

Row 2 2 (WS): P u rl.

Usi ng ya r n A: Rows 2 3 2 6: Rep eat Rows 2 1 a nd 22 t w ice more.

Usi ng ya r n E:

ge ne ra l a b b revi at i on s, see

4 rows, t hen ca st of f 8 (10:1 1:13:14:16) st s at b eg of fol l 2 rows

L eave rem 29 (31:31:3 3:3 3:3 5) st s on a holder for back neck

F R O N T

Work a s for B ack u nt i l work mea su re s 8 rows shor ter t h a n B ack to shou lders, end i ng a f ter a WS row

S

Note: Keep patter n cor rect, work i ng a ny pa r t i a l rep eat s i n stock i ng st itch

Nex t row (R S): Patt 32 (36:41:4 5:50:5 4), t u r n a nd cont on t he se st s on ly

C ont i n patt, dec 1 st at neck ed ge of ever y

row 6 t i me s

26 (3 0:3 5:39:4 4:4 8) st s.

Work even i n patt for 1 WS row

C a st of f 9 (10:1 2:13:15:16) st s at b eg of ever y

R S row 2 t i me s, t hen ca st of f rem 8 (10:1 1:13:14:16) st s on fol l R S row.

S

Wit h R S faci ng, sl ip cent re 17 (19:19:21:21:23) st s of Front to holder for f ront neck Joi n ya

to rem st s a nd patt to end

C ont i n patt, dec 1 st at neck ed ge of ever y

row 6 t i me s

26 (3 0:3 5:39:4 4:4 8)

st of f 9 (10:1 2:13:15:16) st

(10:1 1:13:14:16) st

S

at b eg of

O U T I K A T E R

Winterberry

“I H AV E u sed colou rs of ten fou nd i n t rad it ion a l Nord ic k n it wea r for t he se leg wa r mers, ” ex pl a i n s O ut i Kater. “T he patter n ca n b e conver ted i nto a shor t b oot topp er by om itt i ng t he leg sh api ng a nd i n stead work i ng rou nd s 4 16 of C h a r t B once more, b efore work i ng t he r ibbi ng ” T he de sig n ca n b e wor n w it h t he n a r row end at t he a n k le, or w it h t he w ider end at t he a n k le, a s i n ou r photos

L E G WA R M E R S

(m a ke 2 a l i ke)

Usi ng 2.75m m need le s a nd ya r n A, ca st on 84 (96:10 8:1 20) st s

P m a nd joi n to work i n t he rou nd, t a k i ng ca re not to t w i st s st s.

R I B B I N G

Joi n i n ya r n B, a nd rep eat i ng 42 (4 8:5 4:60)

t i me s a rou nd, work C h a r t A once

N E E D L E S &

A C C E S S O R I E S

Set of 2 75mm (U K 12/US 2) double pointed needles (DPNs), or circular needles, 60cm long, for Magic Loop

Set of 3mm (U K 11/US 2 3) DPNs, or circular needles, 60cm long, for Magic Loop

T E N S I O N

R N S T O C K I S T S

C A L F

C h a nge to 3m m need le s Rep eat i ng 7 (8:9:10) t i me s a rou nd, work C h a r t B once

L E G S H A P I N G

Work i ng t he rep eat sect ion 5 (6:7:8) t i me s, work C h a r t C , not i ng t he decrea se s i n Rou nd s 1, 6, 1 1, 16, 2 1 a nd 26, worked a s: K 1, K 2 tog, patt to l a st 2 st s, S SK 72 (8 4:96:10 8) st s

A N K L E

Rep eat i ng 6 (7:8:9) t i me s a rou nd, work C h a r t D once.

R I B B I N G

Rep eat i ng 36 (42:4 8:5 4) t i me s a rou nd, work C h a r t A once C a st of f i n r ib u si ng ya r n A

F I N I S H I N G

Weave i n end s

Fol low i ng a ny ya r n ca re i n st r uct ion s on t he ba l l ba nd, gent ly i m merse i n lu

ly

out t he

The

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nt i l mo st of t he water

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Treat you r feet to a touch of lu

ith th is gorgeous sock ya rn from K n itti ng Need le L a ne. The blend of wool a nd nylon i ncludes 15% ya k for a pleasi ngly sof t touch that w i l l feel wonderf u l th is w i nter the ya rn wou ld a lso be a lovely option for specia l shawls. It’s ha nd dyed i n a ra nge of v iv id, jewel bright shades i nclud i ng blue, pi n k a nd pu r ple

E DE N C OT TAGE YA R NS Bowland Lace

British wool

Th is laceweight ya rn from Eden Cottage Ya rns w i l l be a beauti f

l choice for shawls a nd l ight as a i r ca rd iga ns It’s spu n from pu re British Bluefaced Leicester wool, a nd offers a n i mpressive l ightness, a good d rape, a del icate lustre a nd a gentle, wool ly feel Bowla nd L ace is ava i lable i n a tempti ng choice of ha nd dyed colou r ways.

VA L L E Y YA R NS Hampden

Shade pic tured Cloudy Sky (12)

Skein weight /leng th 50g/87m

Needle size 4mm (UK 8/US 6)

Tension 22 sts to 10cm

Fibre content 50% baby alpaca, 35% fine Merino wool, 15% mulberry silk

Care Hand wash RRP £6 99 Contac t w w w lovecraf ts com

The Va l ley Ya rns na me may be u n fa m i l ia r to ma ny British k n itters, but th is DK weight is wel l wor th consideri ng for its su mptuous feel It’s gorgeously sof t, tha n ks to its m i x of baby a lpaca, si l k a nd wool, a nd k n its up i nto a pleasi ngly bou ncy fabric use it for com f y sweaters a nd ca rd iga ns. The choice of heathered colou rs i ncludes sof t neutra ls a nd jewel tones

&M A K E

ran

Shade pic tured Smiley

weight /leng th 100g/150m

content 50% Peruvian Highland wool, 50% alpaca

Hand wash RRP £16.80

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nge, ca l led &Ma ke, wh ich has a lower price poi nt tha n its ma i n ra nge wh i le sti l l offeri ng lu xu rious a nd susta i nably sou rced fibres. The a ra n weight option is a blend of High la nd wool a nd a lpaca, a nd it is a real treat to k n it with, feeli ng soft and spri ng y, and giving wel l defi ned stitches. Choose from 20 bright, modern shades.

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INSTAKNITS

by M e l i s s a L ea p m a n

FOR T HO S E t i mes when you ’ re look i ng for qu ick k n it grat i f icat ion whet her it’s a gi f t to ma ke for a loved one, or somet h i ng to wea r to a n upcom i ng ya r n show t h is book f rom Mel issa L eapma n w i l l be ha ndy to have i n you r col lect ion, a s it’s packed w it h speedy projects you’l l wh ip up i n no t i me!

T he much loved designer shows how we ca n create beaut i f u l accessor ies a nd sweaters even i f we have l i m ited k n itt i ng t i me Mel issa’s col lect ion of 24 projects is d iv ided i nto chapters ba sed on t he average t i me com m it ment needed to complete t hem whet her t hat’s a bit of lu nch hou r k n itt i ng over t he cou rse of a week, or a long weekend of bi nge k n itt i ng i n f ront of t he T V T he book’s t it le, In staKni ts, refers bot h to t he i n sta nt grat i f icat ion t he projects w i l l prov ide, a nd a lso the fact that they have been designed to be Instagra m friend ly k n its wh ich you ca n show of f w it h pr ide to Mel issa a nd ot her k n itters on socia l med ia, by u si ng t he i nd iv idu a l ha shtags prov ided w it h each project

K n its t hat w i l l t a ke less t ha n f ive hou rs to complete i nclude a st r iped hat a nd a spi ra l lace hat i n chu n k y ya r n s, a cabled bea n ie,

colou rblock m ittens, a nd a long sca r f w it h a n a rch itectu ra l textu red patter n

I f you have f ive to ten hou rs spa re, you ca n wh ip up t he ‘L i me Cr u sh’ shor t sleeved ca rd iga n w it h ga r ter mesh det a i ls, si zed to f it bu sts of 34i n to 54i n T here’s a rol l neck poncho w it h lace st r ip es, a cowl w it h a t wo colou r cable a nd sl ip st itch patter n, a sideways k n it sleeveless ca rd iga n, a nd a pa i r of long lace m itts designed to show of f a specia l skei n of ha nd dyed ya r n

Projects for a long weekend i nclude t h ree lace shawls, a nd a choice of sleeveless tops w it h si mple yet elega nt det a i ls to f it bu sts up to 62i n We l i ke t he ch ic ‘A rabel la’ sweater, w it h its deep cowl neck a nd cable pa nels, a nd t he f itted ‘G em ma ’ sweater w it h eyelet ba nd s a long t he ragla n sea m s

T he most compl icated projects w i l l ta ke a rou nd 20 30 hou rs to k n it, a nd t hese i nclude a generou sly si zed shawl w it h pa nels of st r ipes, lace a nd mosa ic patter n i ng T h is sect ion i ncludes a t wo colou r br ioche sca r f, a lace mesh shoppi ng bag, a sw i ng y ca rd iga n w it h a n a i r y openwork patter n, a nd a textu red hoody k n itted i n a super chu n k y ya r n

T he book a lso ha s a sect ion explor i ng essent ia l k n itt i ng tech n iques a nd of fer i ng adv ice to nov ice a nd i mprov i ng k n itters

In staKn i ts i s publ i shed by St ackp ole B ook s Order a copy for £20 95 (i ncludes f ree sta nd a rd U K del iver y) f rom w w w sea rchpre ss com or ca l l 01892 510 850

Don’t have a lot of knitting time? This book is filled with speedy projects to make for yourself or as gifts for friends and fam ily

N A D Y M

Slim stripe details are worked on the sleeves and along the raglans

Arianne

S I Z E

89

YA R N

Rowa

Rowa

D

U

alpac

x50g BALL

x50g BALL

x50g BALL

A S I M PL E eyelet l ace patter n i s u sed for t he b o dy of t h i s ju mp er de sig n by Ok sa n a D y myd, wh i le t he re st of t he ga r ment i s worked i n a cont ra st i ng colou r, w it h n a r row st r ip e det a i l s to decorate t he ragl a n edge s a nd sleeve s. T he b ody i s k n itted i n Rowa n ’ s smoot h C otton Gl acé ya r n; t he loose sleeve s, mea nwh i le, a re worked i n a me sh l ace st itch u si ng a l aceweight a lpaca blend ya r n T he t w i sted r ib cu f fs a nd cent ra l st r ip e det a i l s a re a l so k n itted i n C otton Gl acé Na r row shou lder st rap s a re worked a s pa r t of t he neckba nd

S T I TC H PAT T E R N S

T W I S T E D R I B

Row 1 (R S): *K 1tbl, P 1; rep f rom * to l a st st, K 1tbl

Row 2 (WS): *P 1tbl, K 1; rep f rom * to l a st st, P 1tbl

Rep eat t he se 2 rows for patter n

E Y E L E T PAT T E R N

Row 1 (R S): K n it

Row 2 (WS): P u rl.

Row 3: K3, *yo, S SK, K6; rep f rom * to l a st 3 st s, yo, S SK, K 1

Rows 4 6: Work i n st st.

Row 7: K3, *K3, yo, S SK, K3; rep f rom * to l a st 3 st s, K3

Row 8 (WS): P u rl.

Rep eat t he se 8 rows for patter n

S L E E V E M E S H PAT T E R N

Row 1 (WS): Usi ng a 3m m need le i n you r

lef t h a nd a nd a 6.5m m need le i n you r r ight

h a nd, *K 1tbl, P 1; rep f rom * to l a st st, K 1tbl

Row 2 (R S): Usi ng a 6 5m m need le i n you r lef t h a nd a nd a 3m m need le i n you r r ight h a nd, *K 1tbl, P 1; rep f rom * to l a st st, K 1tbl

Rep eat t he se 2 rows for patter n

B AC K

Usi ng 3m m need le s a nd ya r n A, ca st on 1 13 (1 2 1:131:137:14 5:155) st s.

Work 7 rows i n Tw i sted R ib, end i ng a f ter a R S row.

D e c row (WS): P 1 (0:5:3:2:5), K 2 tog

1 (0:1:1:1:1) t i me, *P9 (9:8:1 1:1 2:10), K 2 tog;

rep f rom * 9 (10:1 1:9:9:1 1) t i me s more, P0 (0:4:2:1:4)

102 (1 10:1 18:1 26:13 4:142) st s.

C h a nge to 3 5m m need le s a nd ya r n B **

B eg w it h a R S row, work i n st st u nt i l work mea s 38cm, end i ng a f ter a WS row

C ont i n st st, ca st of f 1 2 st s at t he b eg of nex t 2 rows 78 (86:94:102:1 10:1 18) st s.

S H A P E R AG L A N

C ont i n st st, dec 1 st at each end of nex t row a nd ever y fol l a lt row 1 (7:8:13:14:18) t i me s,

t hen ever y fol l 4t h row 10 (8:9:8:9:9) t i me s 54 (5 4:58:58:62:62) st s

Work 2 rows more i n st st Brea k ya r n a nd leave st s on a holder

F R O N T

Work a s for B ack to ** 102 (1 10:1 18:1 26:13 4:142) st s.

Work i n Eyelet Patter n u nt i l Front mea s 38cm, end i ng a f ter a WS row.

C a st of f 1 2 st s at b eg of nex t 2 rows 78 (86:94:102:1 10:1 18) st s.

S H A P E R AG L A N

C ont i n Eyelet Patter n, dec 1 st at each end of nex t row a nd ever y fol l a lt row 1 (7:8:13:14:18) t i me s, t hen ever y fol l 4t h row 10 (8:9:8:9:9) t i me s. 54 (5 4:58:58:62:62) st s

Work 2 rows more i n st st. Brea k ya r n a nd leave st s on a holder

R AG L A N E D G I N G

Wit h R S faci ng, u si ng 3 5m m need le s a nd ya r n A, pick up a nd k n it 49 (52:58:6 4:70:79) st s a long one ragl a n edge [1 st for ever y row i nclud i ng a r m hole ca st of f rows, plu s 2 (1:1:1:1:2) ex t ra st s at t he ‘ cor ner ’ of t he top row. I f pick i ng up 2 ex t ra st s t he se ca n b e created by work i ng K F B i nto t he cor ner]

mea s 42cm, or 8cm shor ter t h a n de si red leng t h to u ndera r m, end i ng a f ter a WS row

C h a nge to 3 5m m need le s a nd ya r n A

Dec row (RS): K 2 (5:8:0:3:6), *K 2 (2:2:3:3:3), K 2 tog; rep f rom * 22 t i me s more, K3 (6:9:0:3:6)

74 (8 0:86:92:98:10 4) st s

S l i p s t row: P 1, *Sl 2 w y ib, br i ng ya r n to f ront, sl ip 2 st s back to lef t need le, P 1; rep f rom * to end of row, P 1. Work Sl ip st row 3 t i me s more

Work 4 Sl ip st rows u si ng ya r n C .

Work 4 Sl ip st rows u si ng ya r n A

C h a nge to 3m m need le s a nd ya r n D

Nex t row (WS): K 2 (5:8:0:3:6), *K3 (3:3:4:4:4), M 1 P; rep f rom * 22 t i me s more, K3 (6:9:0:3:6)

97 (103:109:1 15:1 2 1:1 2 7) st s

St a r t i ng w it h a R S row, work i n Sleeve Me sh Patter n u nt i l Sleeve mea s 50 cm or de si red leng t h to u ndera r m, end i ng a f ter a WS row

Keep i n patt, ca st of f 1 2 st s at b eg of nex t 2 rows 73 (79:8 5:91:9 7:103) st s

C ont i n Sleeve Me sh Patter n for 14½ (16:18:19 ½:2 1½:24) cm or u nt i l sleevehead mea s sa me a s B ack a nd Front ragl a n Brea k ya r n a nd leave st s on a holder

M A K I N G U P

N E C K B A N D

Usi ng 3m m need le s a nd ya r n A, w it h R S faci ng, pick up a nd k n it 5 st s f rom r ight back ragl a n ed ge, k n it 54 (5 4:58:58:62:62) f rom held B ack st s, pick up a nd k n it 5 st s f rom lef t back ragl a n ed ge, acro s s held st s of lef t sleeve: (K3tog) 24 (2 5:28:2 9:8:8) t i me s, k n it 0 (2:0:4:4:4) st s toget her 0 (1:0:1:17:19) t i me s, K 1 (2:1:0:5:3); pick up a nd k n it 5 st s f rom lef t f ront ragl a n edge, k n it 54 (5 4:58:58:62:62) f rom held Front sts, pick up a nd k n it 5 st s f rom r ight f ront ragl a n edge, acros s held st s of r ight sleeve: (K3tog) 24 (2 5:2 7:2 9:9:9) t i me s, k n it 0 (2:4:4:4:4) st s toget her 0 (1:1:1:16:18)

t i me s, K 1 (2:0:0:6:4) st s 178 (18 4:193:196:205:205) st s

Row 1 (WS): *K 1, P 1tbl, K 1; rep f rom * to l a st st, K 1

F E A T U R E

S Y M PHON I E S OF C OL OU R

Innovative designer Yu Mei Huang blurs the boundaries

as Janine Sterland discovers

T H ROUGH H E R dyna m ic combi nations of colou r a nd a play f u l use of u nconventiona l materia ls, designer Yu Mei Hu a ng ’ s scu lptu ra l pieces celebrate k n itwea r as wea rable works of a r t Rad ica l ly tra nsform i ng ex h ibition spaces with tacti le a nd thought provok i ng designs, she has captu red the attention of aud iences th roughout the world as a renow ned texti les a r tist a nd d i rectiona l k n itwea r designer Yu Mei has ex h ibited i n London, Ta iwa n a nd Japa n, a nd has col laborated w ith accla i med Japa nese a r tists Iwaya Ka ho a nd Nora h i Ukabu, wh i lst her workshops a re popu la r w ith lu xu r y bra nds i nclud i ng Michael Kors a nd Sa lvatore Ferraga mo She a lso conti nues to be a n ex h ibitor at w idely respected events i n London Cra f t Week, a nd her designs were featu red i n London

Fash ion Week as a n emergi ng ta lent du ri ng 2017. In spea k i ng w ith Yu Mei from her texti les stud io i n Ta iwa n, we d iscussed her u n ique processes a nd experi menta l k n itwea r concepts.

Have you a lways wa nte d to b e come a k n itwe a r de signer a nd texti le a r ti st?

“I was i nterested i n bei ng a fash ion designer from the ver y begi n n i ng, a nd completed my degree at Fu Jen Cathol ic Un iversity i n Ta iwa n, fol lowed by a texti le ma nagement excha nge progra m i n Sweden at Borås Un iversity I lea rned most of the texti le tech n iques such as weav i ng, k n itti ng, a nd pri nti ng i n the fi rst yea r, a nd decided to focus on k n itwea r design i n the fol low i ng yea r of my BA

“A f ter gradu ation, I worked at Japa nese k n itwea r bra nd Motoh i ro Ta nji, whose designs a re ver y icon ic i n terms of

Yu Mei explores what is possible with knit ted textiles

Yu Mei’s work is elegant, ar tistic and inspiring

Art and design

thei r complex ity of k n itti ng textu re a nd str uctu re. I lea rned a lot about the developi ng process of col lections, as wel l as how to ma n ipu late k n itti ng tech n iques a nd how a n i ndependent k n itwea r stud io operates I then worked as a texti les designer at a suppl ier to Polo Ra lph L au ren, Bu rberr y a nd Reiss Fol low i ng th is experience, I went to the Roya l Col lege of A r t to complete a n M A i n Womenswea r K n itwea r ”

How d id you r exp er ience s at the Roya l C ol le ge of A r t develop you r sk i l l s i n k n itwe a r?

“A s k n itti ng is a rea l ly speci fic d iscipl i ne from fash ion, the cou rse encou raged me to explore my identity not on ly as a designer but a lso as a texti le a r tist Du ri ng my stud ies, I was encou raged to push the bou nd a ries between fash ion a nd texti le a r t from trad itiona l k n itwea r to wa l l based a r twork ”

How do you f i nd the ba la nce b e twe en we a rable fash ion a nd contempora r y a r t?

“For me, it’s i mpor ta nt to develop from conceptu a l a r t at the begi n n i ng a nd fi nd the wea rable/com mercia l elements then tra nsform them i nto wea rable pieces I wou ld n’t say it’s necessa r y to develop ever y work i nto com mercia l pieces, but it’s great to see my work i n the com mercia l aspect wh ich ca n open a d ia log ue w ith d i fferent aud iences a nd engage them to u ndersta nd more about the i n itia l concept ”

C a n you tel l u s ab out some of you r most memorable col lab oration s a nd ex h ibition s?

“The col laboration w ith awa rd w i n n i ng si nger Yoga L i n a nd set design for h is concer t was a n a ma zi ng experience! I’ve a lso enjoyed work i ng w ith Coca Cola on a n a r t i nsta l lation, as wel l as ex h ibiti ng my work at Cork Street Ga l ler y London, Yi ri A r t Ga l ler y a nd 182 A r t Space i n Ta iwa n as wel l as a recent Sof t Dia log ue ex h ibition as pa r t of London Cra f t Week ”

Tel l u s ab out you r exploration s i nto the a re a of a r t therapy

“A s pa r t of my work w ith i n A Therapeutic Space, I resea rched A DHD a nd a r t therapy; I have a lways wa nted to r u n a th ree way workshop w ith a r t therapists, patients a nd mysel f as a n a r tist In my resea rch I have fou nd that a r t therapy workshops of ten use d raw i ng or cera m ic tech n iques but as a k n itter, it is i nteresti ng to u ndersta nd how my work cou ld be prov ided as med ia for a workshop env i ron ment.”

C a n you tel l u s ab out the d i fferent te ch n iq ue s you u se?

“I sta r ted lea rn i ng to k n it from a domestic mach i ne, a nd then ju mped i nto ha nd k n itti ng. At the begi n n i ng it was rea l ly d i fficu lt, but a f ter repetitive k n itti ng, I fou nd the ma k i ng process is genera l ly rela x i ng a nd med itative ha nd k n itted texti les a lso bri ngs a n orga n ic look to the outcome

“I l i ke to play w ith pu rl a nd k n it stitches wh ich ca n be used for pu rl ridge stitch, reverse ridge stitch, ti le squ a re stitch a nd basket weave stitch; these create stripes and a squarish textural appea ra nce i n my work My stud io i n Ta iwa n a lso i ncludes k n itti ng mach i nes, l i n k i ng mach i nes, sew i ng mach i nes, weavi ng looms, tu f ti ng g u ns a nd natu ra l dye faci l ities ”

W hat ty p e s of ya rn s c a n we f i nd w ith i n you r col le ction s? “The most i nteresti ng materia l I work w ith is upcycled bubble w rap th is is i n la id w ith elastic ya rn wh i lst k n itti ng on a dubied mach i ne Recently I have been work i ng w ith natu ra l fibres such as wool, cotton a nd si l k, but I have a lso worked w ith a lot of polyester ya rns i n previous col lections; th is requ i red synthetic fibres i n order to showcase colou r v ibra ncy th rough heat press pri nti ng tech n iques ”

W h ich pa r t of you r cre ative proce ss do you enj oy the most?

“I rea l ly enjoy experi menti ng w ith d i fferent materia ls, a nd k n itti ng sa mples is my favou rite pa r t i n the development process I get to k now more about the cha racters of ya rns a nd u ndersta nd how d i fferent materia ls work w ith each other ”

W hat’s i n the pip el i ne for the re st of 2 022 a nd b eyond?

“I have col laborated w ith Japa nese a r tist Nora h i for her solo ex h ibition wh ich w i l l be showcased i n Japa n a nd Ta iwa n, a nd I’m work i ng on a project w ith eco friend ly k n itted shoe bra nd i n nok n it I’m a lso developi ng my solo ex h ibition for next yea r ’ s London Cra f t Week It’s great to see my work w ith i n i m mersive a nd i nteractive envi ron ments these a l low aud iences to rad ica l ly rei magi ne what ya rn ca n do ”

w w w y umei huang com/portfolio

1 Yu M ei’s design s for London Fashion Week 2 + 4 She c reates wearable fashion pieces as well as conceptual ar t 3 This piece was in spired by Yu M ei’s researc h into ar t therapy for ADH D

Her work includes a range of bags

Join us this October for six days of wellness combining the physical and mental health benefits of both knitting and yoga in a wonderfully relaxing retreat Located at Eaton Manor Countr y Estate, which is nestled in the beautiful South Shropshire Hills within an Area of Outstanding Natural Beauty The estate is close to Church Stretton fondly known as “Little Switzerland”

Eaton Manor offers luxur y accommodation set in a range of barn conversions in idyllic, private grounds, with large enclosed gardens and uninterrupted views of the Wenlock Edge

All of the ten bedrooms are ensuite and have flexible set ups available All meals are included, with the emphasis on healthy food, however there are modern fitted kitchens complete with range cookers should you wish to prepare your own food during your stay Large reception rooms provide a warm and practical area for eating, chatting and relaxing, opening out to private patios and gardens

The perfect retreat for knitters, crocheters and crafters that also enjoy gentle yoga, all levels welcome The combined knowledge and expertise of your hosts Tina and Sue will ensure that your stay is a truly positive experience Yarn based activities such as spinning, dyeing, felting and furthering your knitting skills will ensure that you leave full of enthusiasm and revitalized

Sue has worked in health and wellbeing for over 30 years as a nurse and health lecturer, now specialising in teaching yoga

Tina is an extremely talented fibre artist who was a finalist in the Knitted Textile Awards, 2014 Until recently she ran her own wool shop with a passion for all things crafty, teaching up to seven classes a week

G

H I S C L A S S I C long sleeve sweater h a s b een de sig ned by G eorg i a Fa r rel l. Worked m a i n ly i n stock i ng st itch, t he sweater feat u re s a rou nd neck l i ne, ragl a n sleeve s, side vent s, a nd a cu r v i ng, wave l i ke pa nel a rou nd t he lower b o dy, wh ich i s worked i n r ibbi ng Rowa n ’ s b eaut i f u l C otton C a sh mere ya r n of fers i ncred ible sof t ne s s a nd st itch def i n it ion, a nd i s ava i l able i n a ra nge of 22 muted, ton a l sh ade s.

PAT T E R N N OT E

Row 7: K 2, P2, K4, r ib to l a st 8 st s, K4, P2, K 2.

Row 8: P2, K 2, P 1, M 1 P, P3, r ib to l a st 8 st s, P3, M 1 P, P 1, K 2, P2

Row 9: K 2, P2, K5, r ib to l a st 9 st s, K5, P2, K 2

Row 10: P2, K 2, P 1, M 1 P, P4, r ib to l a st 9 st s, P4, M 1 P, P 1, K 2, P2.

Row 1 1: K 2, P2, K6, r ib to l a st 10 st s, K6, P2, K 2

Row 1 2: P2, K 2, P 1, M 1 P, P 1, K 2, P2, r ib to l a st 10 st s, P2, K 2, P 1, M 1 P, P 1, K 2, P2

Rows 13 to 2 0 : A s rows 5 to 1 2

Rows 2 1 to 2 7: A s rows 5 to 1 1.

86 (94:10 6:1 14:1 26:13 4:14 6:15 4:166) st s

Row 2 8: A s row 2

Row 29: A s row 1.

T he se 29 rows complete sh ap ed r ib b order (B ack shou ld mea s approx 10½cm )

Pl ace m a rkers at b ot h end s of l a st row.

B eg a nd end i ng rows a s i nd icated, now work i n patt f rom C h a r t A (A:A:A:B:B:B:B:B)

a s fol l s (see patter n note):

Row 1 (R S): P2, K 2, P2, patt 74 (82:94:102:

1 14:1 2 2:13 4:142:154) st s a s row 1 of C h a r t

A (A:A:A:B:B:B:B:B), P2, K 2, P2

Row 2 : K 2, P2, K 2, patt 74 (82:94:102:

1 14:1 2 2:13 4:142:154) st s a s row 2 of C h a r t

A (A:A:A:B:B:B:B:B), K 2, P2, K 2

T he se 2 rows set t he st s 6 st s at each side ed ge i n r ib a nd a l l ot her st s i n patt f rom ch a r t A (A:A:A:B:B:B:B:B)

Row 6: P2,

P2, M

2,

P,

C ont i n patt a s set u nt i l ch a r t row 40 h a s b een worked, end i ng w it h R S faci ng for nex t row

Now work i n patt a s fol l s:

Row 1 (R S): P2, K 2, P2, K to l a st 6 st s, P2, K 2, P2

Row 2 : K 2, P2, K 2, P to l a st 6 st s, K 2, P2, K 2

T he se 2 rows for m patt 6 st s at each side edge i n r ib a nd a l l ot her st s i n st st

C ont i n patt a s set u nt i l B ack mea s 37 (37 ½:38:3 8½:39½:4 0:40:4 0 ½:41) cm, end i ng w it h R S faci ng for nex t row

S H A P E R AG L A N A R M H O L E S

Keepi ng patt cor rect, ca st of f 4 st s at b eg of nex t 2 rows. 78 (86:98:10 6:1 18:1 26:13 8:14 6:158) st s

Si ze s 1, 2 , 3 a nd 4 on ly

Nex t row (R S): P2, K 1, Sl 1, K 1, p s so, K to l a st 5 st s, K 2tog, K 1, P2 Nex t row: K 2, P to l a st 2 st s, K 2. Nex t row: P2, K to l a st 2 st s, P2 Nex t row: K 2, P to l a st 2 st s, K 2

L a st 4 rows set t he decrea se s.

Rep l a st 4 rows 6 (5:1:0: : : : : ) t i me s more 64 (74:94:10 4: : : : : ) st s.

Si ze s 5, 6, 7, 8 a nd 9 on ly

Nex t row (R S): P2, K 1, Sl 1, K 1, p s so, K to l a st 5 st s, K 2tog, K 1, P2

Nex t row: K 2, P 1, P2 tog, P to l a st 5 st s, P2 tog tbl, P 1, K 2.

L a st 2 rows set t he decrea se s

Rep l a st 2 rows ( : : :2:3:8:10:15) t i me s more. (

A l l si ze s

Work i ng a l l ragl a n a r m hole decrea se s a s set, dec 1 st at each end of nex t a nd ever y

fol l a lt row u nt i l 42 (4 4:4 4:4 6:4 6:4 8:4 8: 4 8:48) st s rem.

Work 1 row, end i ng w it h R S faci ng for nex t row

S H A P

Nex t row (R S): P2, K 1, Sl 1, K 1, p s so, K 2 a nd t u r n, leav i ng rem st s on a holder. 6 st s.

Work each side of neck sepa rately

Nex t row: P2 tog, P2, K 2 5 st s

Nex t row: P2, Sl 1, K 2 tog, p s so. 3 st s.

Nex t row: K 2 tog, K 1 2 st s

Nex t row: P2 tog tbl a nd fa sten of f

Wit h R S faci ng, sl ip cent re 28 (3 0:3 0:32:32: 34:34:34:34) sts onto a holder for neckba nd, rejoi n ya r n a nd K 2, K 2 tog, K 1, P2 6 st s

Nex t row (WS): K 2, P2, P2tog tbl. 5 st s.

Nex t row: K3tog, P2 3 st s

Nex t row: K 1, Sl 1, K 1, p s so 2 st s

Nex t row: P2 tog a nd fa sten of f.

F R O N T

Work a s g iven for B ack (see patter n note)

u nt i l 60 (62:62:66:66:70:70:70:70) st s rem i n ragl a n a r m hole sh api ng

Work 1

D ec 1 st at neck edge on nex t 6 rows, t hen on fol l 2 (2:2:3:3:4:4:4:4) a lt rows a nd AT

T H E SA M E T I M E dec 1 st at ragl a n a r m hole edge of 2 nd a nd fol l 4 (4:4:5:5:6:6:6:6) a lt rows 5 st s

Work 1 row, end i ng w it h R S faci ng for nex t row.

Nex t row (R S): P2, Sl 1, K 2 tog, p s so 3 st s

Nex t row: P 1, K 2

Nex t row: P 1, P2tog tbl. 2 st s.

Nex t row: K 2

Nex t row: P2 tog tbl a nd fa sten of f

Wit h R S faci ng, sl ip cent re 22 (24:24:24: 24:24:24:24:24) st s onto a holder (for neckba nd), rejoi n ya r n a nd K to l a st 5 st s, K 2 tog, K 1, P2

D ec 1 st at neck edge on nex t 6 rows, t hen on fol l 2 (2:2:3:3:4:4:4:4) a lt rows a nd AT

T H E SA M E T I M E dec 1 st at ragl a n a r m hole edge of 2 nd a nd fol l 4 (4:4:5:5:6:6:6:6) a lt rows

5 st s

Work 1 row, end i ng w it h R S faci ng for nex t row

Nex t row (R S): K3tog, P2 3 st s

Nex t row: K 2, P 1

Nex t row: P2 tog, P 1 2 st s

Nex t row: K 2

Nex t row: P2 tog a nd fa sten of f

S L E E V E S

Usi ng 3 25m m need le s, ca st on 34 (3 8:3 8:42:42:42:42:4 6:46) st s.

B eg w it h row 2, work i n r ib a s g iven for B ack u nt i l Sleeve mea s 6cm, end i ng w it h R S faci ng for nex t row a nd i nc 1 (0:1:0:0:1:1:0:0) st at each end of l a st row 36 (3 8:4 0:42:42:4 4:4 4:4 6:46) st s

C h a nge to 4m m need le s

B eg w it h a K row, now work i n st st a s fol l s:

I nc 1 st at each end of 7t h (7t h:7t h:7t h: 5t h:5t h:5t h:5t h:5t h) a nd ever y fol l 6t h (6t h:6t h:6t h:4t h:4t h:4t h:4t h:4t h) row to 46 (52:62:70:50:58:70:78:90) st s, t hen on ever y fol l 8t h (8t h:8t h:8t h:6t h:6t h:6t h:

6t h:6t h) row u nt i l t here a re 62 (66:70:74: 78:82:86:9 0:94) st s.

C ont st ra ight u nt i l Sleeve mea su re s 4 4 (4 5:4 5:4 6:4 6:4 6:4 6:4 6:46) cm, end i ng w it h R S faci ng for nex t row.

S H A P E R AG L A N

C a st of f 4 st s at b eg of nex t 2 rows. 54 (58:62:66:70:74:78:82:86) st s

Nex t row (R S): P2, K 1, Sl 1, K 1, p s so, K to l a st 5 st s, K 2tog, K 1, P2

Nex t row: K 2, P to l a st 2 st s, K 2

Nex t row: P2, K to l a st 2 st s, P2.

Nex t row: K 2, P to l a st 2 st s, K 2

L a st 4 rows set t he decrea se s

Work i ng a l l ragl a n decrea se s a s set, dec 1 st at each end of nex t a nd fol l 4 (4:4:4:4:4:3:3:2) 4t h rows, t hen on ever y fol l a lt row u nt i l 16 st s rem.

Work 1 row, end i ng w it h R S faci ng for nex t row.

L E F T S L E E V E O N LY

D ec 1 st at each end of nex t row, t hen ca st of f 3 st s at b eg of fol l row 1 1 st s

D ec 1 st at b eg of nex t row, t hen ca st of f 3 st s at b eg of fol l row 7 st s

Rep l a st 2 rows once more

R I G H T S L E E V E O N LY

C a st of f 4 st s at b eg a nd dec 1 st at end of nex t row 1 1 st s

Work 1 row

C a st of f 3 st s at b eg a nd dec 1 st at end of nex t row 7 st s

Work 1 row

Rep l a st 2 rows once more

B O T H S L E E V E S

C a st of f rem 3 st s.

M A K I N G U P

Block piece s gent ly, fol low i ng a ny ya r n ca re i n st r uct ion s on t he ba l l ba nd Joi n b ot h f ront a nd r ight back ragl a n sea m s u si ng back st itch, or m att re s s st itch i f prefer red

N E C K B A N D

Wit h R S faci ng a nd u si ng 3 25m m need le s, pick up a nd k n it 13 st s f rom top of lef t sleeve, 14 (14:14:17:17:18:18:18:18) st s dow n lef t side of f ront neck, K acros s 22 (24:24:24: 24:24:24:24:24) st s on f ront holder, pick up a nd k n it 14 (14:14:17:17:18:18:18:18) st s up r ight side of f ront neck, a nd 13 st s f rom top of r ight sleeve, 3 st s dow n r ight side of back neck, K acro s s 28 (3 0:3 0:32:32:3 4:3 4:3 4:34) st s on back holder, t hen pick up a nd k n it 3 st s up lef t side of back neck 1 10 (1 14:1 14:1 2 2:1 2 2:1 26:1 26:1 26:1 26) st s.

B eg w it h row 1, work i n r ib a s g iven for B ack

S

N B R O W

Rhodri

F O R M E N who l i ke to wea r a bit of colou r, t h i s mo sa ic patter ned sweater by Si â n Brow n shou ld app ea l! Si â n h a s u sed t wo d i f ferent sl ip st itch patter n s i n sh ade s of tea l a nd si lver on t he b o dy a nd sleeve s, to create a n i ntere st i ng fabr ic. T he sweater i s k n itted i n D ebbie Bl i s s ’ s B aby C a sh mer i no ya r n, wh ich i s a sup er sof t wool ca sh mere blend t h at ca n b e m ach i ne wa shed at 30°C , a nd come s i n a choice of 49 sh ade s

PAT T E R N N OT E

B AC K

Work

Row

f rom * to l a st 6 st s, (Sl 1, K 1) 3 t i me s

Row 2 : Usi ng ya r n B, (K 1, y f, Sl 1, yb) 3 t i me s, K7, *y f, Sl 1, yb, (K 1, y f, Sl 1, yb) 4

t i me s, K7; rep f rom * to l a st 6 st s, ( y f, Sl 1, yb, K 1) 3 t i me s

Row 3: Usi ng ya r n A, K6, Sl 1, (K 1, Sl 1) 3 t i me s, *K9, Sl 1, (K 1, Sl 1) 3 t i me s; rep f rom * to l a st 6 st s, K6

Row 4: Usi ng ya r n A, K6, y f, Sl 1, yb, (K 1, y f, Sl 1, yb) 3 t i me s, *K9, y f, Sl 1, yb, (K 1, y f, Sl 1, yb) 3 t i me s; rep f rom * to l a st 6 st s, K6

Row 5: Usi ng ya r n B, (K 1, Sl 1) t w ice, K5, Sl 1, K5, *Sl 1, (K 1, Sl 1) t w ice, K5, Sl 1, K5; rep f rom * to l a st 4 st s, (Sl 1, K 1) t w ice

Row 6: Usi ng ya r n B, (K 1, y f, Sl 1, yb) t w ice, K5, y f, Sl 1, yb, K5, *y f, Sl 1, yb, (K 1, y f, Sl 1, yb) t w ice, K5, y f, Sl 1, yb, K5; rep f rom * to l a st 4 st s, ( y f, Sl 1, yb, K 1) t w ice

Row 7: Usi ng ya r n A, K4, Sl 1, K 1, Sl 1, *K5, Sl 1, K 1, Sl 1; rep f rom * to l a st 4 st s, K4

Row 8: Usi ng ya r n A, K4, y f, Sl 1, yb, K 1, y f, Sl 1, yb, *K5, y f, Sl 1, yb, K 1, y f, Sl 1, yb; rep f rom * to l a st 4 st s, K4

Row 9: Usi ng ya r n B, K 1, Sl 1, *K5, Sl 1, (K 1, Sl 1) t w ice, K5, Sl 1; rep f rom * to l a st st, K 1.

Row 10: Usi ng ya r n B, K 1, y f, Sl 1, yb, *K5, y f, Sl 1, yb, (K 1, y f, Sl 1, yb) t w ice, K5, y f, Sl 1, yb; rep f rom * to l a st st, K 1.

Row 1 1: Usi ng ya r n A, K 2, Sl 1, K 1, Sl 1, K9, *Sl 1, (K 1, Sl 1) 3 t i me s, K9; rep f rom * to l a st 5 st s, Sl 1, K 1, Sl 1, K 2.

Row 1 2: Usi ng ya r n A, K 2, y f, Sl 1, yb, K 1, y f, Sl 1, yb, K9, *y f, Sl 1, yb, (K 1, y f, Sl 1, yb) 3 t i me s, K9; rep f rom * to l a st 5 st s, y f, Sl 1, yb, K 1, y f, Sl 1, yb, K 2

Row 13: Usi ng ya r n B, K5, Sl 1, (K 1, Sl 1) 4 t i me s, *K7, Sl 1, (K 1, Sl 1) 4 t i me s; rep f rom * to l a st 5 st s, K5

Row 14: Usi ng ya r n B, K5, y f, Sl 1, yb, (K 1, y f, Sl 1, yb) 4 t i me s, *K7, y f, Sl 1, yb, (K 1, y f, Sl 1, yb) 4 t i me s; rep f rom * to l a st 5 st s, K5

Row 15: Usi ng ya r n A, K 2, Sl 1, K 13, *Sl 1, K 1, Sl 1, K 13; rep f rom * to l a st 3 st s, Sl 1, K 2

Row 16: Usi ng ya r n A, K 2, y f, Sl 1, yb, K 13, *y f, Sl 1, yb K 1, y f, Sl 1, yb, K 13; rep f rom * to l a st 3 st s, y f, Sl 1, yb, K 2

Rows 17 18: A s rows 13 14

Rows 19 2 0: A s rows 1 1 1 2. Rows 2 1 2 2: A s rows 9 10 Rows 2 3 2 4: A s rows 7 8

Rows 2 5 2 6: A s rows 5 6. Rows 2 7 2 8: A s rows 3 4 T he se 28 rows set t he patter n a nd a re rep eated. Work st ra ight i n patt u nt i l B ack mea su re s 45 (4 6:4 6:47:47:4 8:4 8:49) cm f rom ca st on edge, end i ng a f ter a WS row. S H A P E A R M H O L E S C a st of f 7 (9:1 1:13:15:17:19:2 1) st s at b eg of nex t 2 rows 133 (14 5:157:169:181:193:205:2 17) st s

Nex t row (R S d e c): K 2 tog, patt to l a st 2 st s, skp o 2 st s dec’d Nex t row: Patt to end. Rep t he l a st 2 rows a not her 6 (9:1 2:15:18:2 1: 24:2 7) t i me s 1 19 (1 2 5:131:137:14 3:149:15 5:161) st s.

C ont st ra ight u nt i l a r m hole mea su re s 20 (2 1:2 2:2 3:24:2 5:26:2 7) cm f rom b eg of sh api ng, end i ng a f ter a WS row

B L O C K I N G D I A G R A M

(53½:59:64:69½:75:80:85½) cm

(49:49:49:49:49:49:49) cm

Nex t row (R S): Patt 34 (36:3 8:4 0:42:4 4:

6:4

Nex

1 st dec’d

(WS

Nex t row (R

st dec’d

Rep

(3 0:32:3 4:36:3

Work

tbl, patt

Patt to

S H A P E L E F T B AC K N E C K

The mosaic pat tern on the sleeves has a checkered look

row

st

(15:16:17:18:19:20:2

(15:16:17:18:19:20:2 1) st s

Work 1 row st ra ight.

C a st of f rem st s

a st of

Wit h R S faci ng, pl ace cent re 51 (5 3:5 5:57: 59:61:63:65) st s on a holder, rejoi n ya r n to rem st s, a nd patt to end 34 (36:3 8:4 0:42:4 4:4 6:4 8) st s.

Nex t row (WS d e c): Patt l a st 2 st s, P2tog

1 st dec’d.

Nex t row (R S d e c): K 2 tog, patt to end

1 st dec’d

Rep t he l a st 2 rows t w ice more. 28 (3 0:32:3 4:36:3 8:4 0:42) st s

Work 2 rows st ra ight, end i ng at shou lder edge

S H A P E L E F T B AC K S H O U L D E R

C a st of f 14 (15:16:17:18:19:20:2 1) st s at b eg of nex t row 14 (15:16:17:18:19:20:2 1) st s.

Work 1 row st ra ight

rem st s

Work a s g iven for B ack u nt

l Front mea su re s 53 (5 5:56:58:59:61:62:6

Nex t row: Patt to end.

E C K B A N D

nex

14 (15:16:17:18:19:20:2 1) st

Work 1 row st

ight C

st

S

st

Usi ng 3m m need le s a nd ya r n A, ca st on

82 (86:94:98:10 6:1 10:1 18:1 2 2) st s

R i b row 1: K 2, (P2, K 2) to end

R i b row 2 : P2, (K 2, P2) to end

T he se 2 rows set r ib

Work a f u r t her 8 rows, end i ng a f ter a WS row, a nd

nc 1 st acros s l a st row

83 (87:95:99:107:1 1 1:1 19:1 2 3) st s

C h a nge to 3 25m m need le s

Work i n patt a s fol l:

Row 1 (R S): Usi ng ya r n A, k n it to end

Row 2 : Usi ng ya r n A, k n it to end

Row 3: Usi ng ya r n B, K 1, (Sl 1, K 1) to end

Row 4: Usi ng ya r n B, K 1, ( y f, Sl 1, yb, K 1) to end

Gansey Impressions

This

P A T M E N C H I N I

Z E

Gansey Impressions

T

del ight

mpt

lb

KC C ol lect ion. T h i s i s a n i ndu lgent ly sof t blend of baby a lpaca a nd mu lb er r y si l k, ava i l able i n 10 soph i st icated sh ade s. Pat h a s b een i n spi red by cl a s sic ga n sey st itch patter n s, a nd her top feat u re s neat d i a mond tex t u red mot i fs a nd a lower pa nel of l a rge cros s cable s.

S T I TC H PAT T E R N S

C R O S S C A B L E PA N E L (worked over 16 st s)

Row 1 (R S): T4F , P8, T4B .

Row 2 : K 1, P3, K8, P3, K 1

Row 3: P 1, T4F , P6, T4B , P 1

Row 4: K 2, P3, K6, P3, K 2.

Row 5: P2, T4F , P4, T4B , P2

Row 6: K3, P3, K4, P3, K3

Row 7: P3, T4F , P2, T4B , P3.

Row 8: K4, P3, K 2, P3, K4

Row 9: P4, T4F , T4B , P4

Row 10: K5, P6, K5.

Row 1 1: P5, C 6F, P5

Row 1 2: A s Row 10

Row 13: P4, T4B , T4F , P4.

Row 14: A s Row 8

Row 15: P3, T4B , P2, T4F , P3

Row 16: A s Row 6.

Row 17: P2, T4B , P4, T4F , P2

Row 18: A s Row 4

Row 19: P 1, T4B , P6, T4F , P 1.

Row 2 0: A s Row 2

Row 2 1: T4B , P8, T4F

T he se 2 1 rows complete t he C ros s C able Pa nel

YA R N

G A N S E Y PA N E L

(worked over 19 st s)

Row 1: P 1, T W2, P 1, K7, P 1, K7

Row 2 a n d a l l WS rows: P 19.

Row 3: A s Row 1

Row 5: P 1, T W2, P 1, K6, P 1, K 1, P 1, K6

Row 7: A s Row 5.

Row 9: P 1, T W2, P 1, K5, P 1, (K 1, P 1) t w ice, K5

Row 1 1: A s Row 9.

Row 13: P 1, T W2, P 1, K4, P 1, (K 1, P 1) 3

t i me s, K4

Row 15: A s Row 13.

Row 17: P 1, T W2, P 1, K3, P 1, (K 1, P 1) 4 t i me s, K3

Row 19: A s Row 17.

Rows 2 1 a n d 2 3: A s Row 13

Rows 2 5 a n d 2 7: A s Row 9

Rows 2 9 a n d 31: A s Row 5.

Row 32: P 19

T he se 32 rows for m t he G a n sey Pa nel.

B AC K

Usi ng 4m m need le s, ca st on 105 (1 17:1 2 5:137:147:159) st s

B O T T O M B O R D E R

Row 1 (R S): P2, *Sl 1 w y i f, P 1; rep f rom * to l a st st, P 1

Row 2 : P u rl.

Row 3: P 1, *Sl 1 w y i f, P 1; rep f rom * to end Row 4: P u rl

Rep l a st 4 rows once more.

Nex t row (R S): K n it, i nc 0 (0:1:1:0:1) st at end of row.

105 (1 17:1 26:13 8:147:160) st s

N E E D L E S &

A C C E S S O R I E S

1 pair 3mm (U K 11/US 2 3)

knit ting needles

1 pair 3 25mm (UK 10/US 3)

knit ting needles

1 pair 4mm (U K 8/US 6)

knit ting needles

C able needle (cn)

2 stitch holder s

T E N S I O N

22 stitches and 26 rows to 10cm over Gansey Panel using 4mm needles

Nex t row: K3 (9:5:1 1:7:5), *P 1, M 1 P, P 1, K 10, P 1, M 1 P, P 1, K3; rep f rom * a not her 4 (4:5:5:6:7) t i me s, P 1, M 1 P, P 1, K 10, P 1, M 1 P, P 1, K3 (9:5:1 1:7:5). 1 17 (1 2 9:14 0:152:163:178) st s

P L AC E C R O S S C A B L E PA N E L

Row 1 (R S): P3 (9:5:1 1:7:5), *work Row 1 of C ros s C able Pa nel, P3; rep f rom * a not her 4 (4:5:5:6:7) t i me s, work Row 1 of C ros s C able Pa nel once more, P3 (9:5:1 1:7:5)

Row 2 : K3 (9:5:1 1:7:5), *work Row 2 of C ros s C able Pa nel, K3; rep f rom * a not her 4 (4:5:5:6:7) t i me s, work Row 2 of C ros s C able Pa nel once more, K3 (9:5:1 1:7:5)

Work i n patt a s set u nt i l Row 2 1 of C ros s C able Pa nel h a s b een completed

Nex t row (WS): K3 (9:5:1 1:7:5), *P3, K 2 tog tbl, K6, K 2 tog, P3, K3; rep f rom * a not her 4 (4:5:5:6:7) t i me s, P3, K 2 tog tbl, K6, K 2 tog, P3, K to end 105 (1 17:1 26:13 8:147:160) st s.

Nex t row: K n it

Nex t row: P u rl, dec 0 (0:1:1:0:1) st at cent re 105 (1 17:1 2 5:137:147:159) st s.

Work Rows 1 4 of B ottom B order once more, t hen Rows 1 3.

S i z e s 1, 2 a n d 5 on ly

Nex t row (WS): P u rl.

S i z e s 3, 4 a n d 6 on ly

Nex t row (WS): P ( :62:68: :79), M 1 P, P to end

A l l si z e s 105 (1 17:1 26:13 8:147:160) st s

RT by Pat Mench

from Wool Warehouse 0800 505 3300

S P E C I A L A B B R E V I AT I O N S

M1 P: Pick up and purl into back of horizont al strand lying before nex t st

T W2: Slip nex t stitch knit wise, K1, pass slipped st over st just knit ted and knit into back of it.

T4F: Slip nex t 3 st s on cn and hold at front of work, P 1, K3 from cn

T4B: Slip nex t st on cn and hold at back of work, K3, P 1 from cn

C6F: Slip nex t 3 st s on cn and hold at front of work, K3, K3 from cn.

For ge ne ra l a b b revi at i on s, see p89

The panel of cross cables contrasts well with the delicate gansey stitch pat terns

C a st of f rem 6 (7:10:1 1:10:1 1) st s

Wit h R S faci ng sl ip nex t 29 (31:3 4:36:39:42) st s (cent re st s) to a holder a nd set a side

Rejoi n ya r n to 38 (4 3:4 6:51:5 4:59) st s for R ight Neck a nd Shou lder a nd patt to end.

D ec 1 st at neck edge on nex t 5 rows, t hen on fol l 3 R S rows.

30 (3 5:3 8:4 3:4 6:51) st s

Patt 8 (10:1 2:14:16:16) rows w it hout sh api ng, end i ng a f ter a R S row.

S H A P E S H O U L D E R

C a st of f 6 (7:7:8:9:10) st s at b eg of nex t row a nd t he 3 fol l WS rows

Work 1 row st ra ight C a st of f rem 6 (7:10:1 1:10:1 1) st s.

TO M A K E U P Joi n lef t shou lder.

N E C K B A N D

Usi ng 3m m need le s a nd w it h R S faci ng, k n it acro s s held 45 (47:50:52:5 5:58) st s for B ack, pick up a nd k n it 22 (24:2 5:2 7:2 9:2 9) st s even ly dow n lef t side of neck, k n it acros s cent re 29 (31:3 4:36:39:42) st s, f i n a l ly pick up a nd k n it 23 (2 5:26:28:3 0:3 0) st s even ly up r ight side of neck 1 19 (1 2 7:13 5:14 3:15 3:159) st s

C h a nge to 3 25m m need le

1 (WS): P

2 :

1, (Sl

(Sl

end

st st,

st

nge to 3m

Row 1 (R S): K3 (9:4:10:5:2), work Row 1 of G a n sey Pa nel 5 (5:6:6:7:8) t i me s, P 1, T W2, P 1, K3 (9:4:10:5:2)

Row 2 a n d a l l WS rows: P u rl

C ont work i ng i n patt a s set, rep eat i ng Rows 1 32 of G a n sey Pa nel u nt i l piece mea s 57 (58:60:60:61:62) cm f rom ca st on ed ge, end i ng a f ter a WS row

S H A P E S H O U L D E R S

C a st of f 6 (7:7:8:9:10) st s at b eg of nex t 8 rows, t hen 6 (7:10:1 1:10:1 1) st s at b eg of nex t 2 rows

Sl ip rem 45 (47:50:52:5 5:58) st s to a holder a nd set a side

F R O N T

Work a s for B ack u nt i l Front mea su re s

20 (2 2:24:26:28:28) rows fewer t h a n B ack up to st a r t of shou lder sh api ng, end i ng a f ter a WS row

S H A P E N E C K

Nex t row (R S): Patt 38 (4 3:4 6:51:5 4:59), t u r n

C ont on t h i s g roup of st s for L ef t Neck a nd Shou lder

D ec 1 st at neck edge on nex t 5 rows, t hen on fol l 3 WS rows 30 (3 5:3 8:4 3:4 6:51) st s Patt 8 (10:1 2:14:16:16) rows w it hout sh api ng, end i ng a f ter a WS row

S H A P E S H O U L D E R

S E T G A N S E Y PA N E L S H I N G

C a st of f 6 (7:7:8:9:10) st s at b eg of nex t row a nd t he 3 fol l R S rows

Work 1 row st ra ight

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The Yarn Dispensary

Cutting costs, cakes and wedding dresses!

The magic of a local yarn store is that it’s more than just a shop It’s a community hub, a safe haven, an inclusive space where everyone is welcome It’s a place to untangle knots both literal and metaphorical It’s a place for guidance and companionship and laughter and warmth

This winter is particularly challenging for everyone: that’s why we’ve launched our Warm and Woolly initiative to do what we can to help both with our customers and our wider community

Community matters

Come into store and you’ll find a place to sit and stitch, with fresh water or perhaps a pot of tea if I’ve got the kettle on While away some time browsing patterns, get some help with a project, or just sit and breathe in the yarn fumes

This winter we’re doing something a little different Donate yarn or blanket squares to us and we’ll turn them into blankets to give to families in fuel poverty this winter Or drop in, enjoy a cuppa, and help us make them! We’re trying to make yarn as accessible as possible by not passing on price increases for as long as we can In addition we

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have day on a Wednesday and are offering student discounts We are trying to help keep children cosy with a discount on selected yarn for kids’ projects

This autumn we’re hosting a swap shop inviting people to come with unwanted yarn, patterns or books and mix and match to create new combinations and giving a new lease of life in a new home

Our weekly sit and stitch nights and monthly coffee mornings remain free, with complimentary hot drinks. While not a class per se, they are a great source of support and someone will always help you if you’re stuck Just a few weeks ago we helped bride Kayleigh Taylor on her quest to surprise her wife and grandma with her own hand knitted wedding dress We assisted her in resizing it by chopping it in half and adding waist shaping before showing her how to graft the two parts back together

And that’s what an LYS is: more than just a shop, we’re helping to weave moments, make memories, and soothe souls one stitch at a time. And you know what? It’s a privilege we will never take for granted

Slow fashion

Caroline Bawn ref lects on why knitting is a sustainable and ethical clothing choice

I F YOU’V E been fol low i ng the k n itti ng d ia r y of my ‘Zigg u rat’ sweater over the past fou r issues, you won’t be su r prised to lea rn that I’m a n advocate of ‘slow fash ion’ Th is term is trend i ng right now, a nd wh i le some people m ight assu me it refers to a lways buy i ng second ha nd, or from cha rity shops, th is isn’t the case Ha nd k n itti ng has actu a l ly a lways been the epitome of ‘slow fash ion’, a nd here’s why I bel ieve so!

1. Cost. Ha nd k n itti ng isn’t cheaper tha n a factor y made a lternative, but i n terms of £ per wea r, it’s more cost effective A ma n made fibre ju mper from a h igh street store may look good for a few washes a nd wea rs, but w i l l it sti l l look as good i n two, five, ten yea rs ’ ti me? High street fash ion is i ntended to be d isposable; cyn ica l ly, it keeps you goi ng back to the store to spend more money How much d id that ga rment cost you? Say it was £25, it lasts two yea rs, then you buy a nother, repeat fou r ti mes that’s £100 a nd you have fou r ju mpers that have worn a nd look ‘ti red’ Compa re that w ith spend i ng £100 on beauti f u l ya rn, k n itti ng a ju mper that w ith ca re ca n last 15 yea rs or more See my th i n k i ng?

2 Satisfaction K n itti ng a ju mper is a com m itment, not just i n terms of fi na ncia l cost but a lso of ti me However, that ti me spent k n itti ng is ver y satisf yi ng a nd m i nd f u l It gives you creative ‘ me ti me ’ Ti me to rela x, th i n k a nd enjoy the process of creati ng someth i ng u n ique The next layer of satisfaction is when you wea r you r ha nd k n it a nd feel the pleasu re of k now i ng you made it you rsel f, a nd hopef u l ly receive ma ny compl i ments L astly, the satisfaction of k now i ng you r ga rment w i l l last a nd you w i l l be enjoyi ng it for ma ny yea rs

3 Choice Ca n you fi nd the exact ju mper you have i n m i nd, i n the colou r, shape a nd deta i ls you wa nt i n a h igh street store? No? Me neither Ha nd k n itti ng a ga rment gives you a l l those choices a nd more You ca n select the pattern, si ze, shape, deta i l i ng, ya rn fibre ty pe, colou r a nd fi n ish i ng touches l i ke buttons W hy not choose

a natu ra l, susta i nable fibre that has been eth ica l ly, ca ref u l ly produced? Perhaps choose a natu ra l ly dyed fibre that has a m i n i ma l ca rbon footpri nt? These choices mea n that you ca n ma ke wea r someth i ng that is as i nd ividu a l a nd u n ique as you a re

4 Durability Most ha nd k n its, when they a re ca red for wel l, last ma ny yea rs There a re fa m i ly stories of ju mpers bei ng passed from father to son, a nd a strong h istor y of repa i rs to ju mpers wh ich then become ‘for home’ or ‘for the ga rden’ Of cou rse, as wel l as d a rn i ng a nd repa i rs to extend the l i fe of a ju mper, when it gets past that poi nt, it ca n be u n ravel led a nd remade i nto someth i ng else. Su rely that’s the epitome of slow fash ion

5 Sustainability and ethics A lot of fast fash ion producers use cheap, ma n made fabrics, a nd cheaper labou r i n the Fa r East, w ith l ittle consideration for the eth ica l a nd env i ron menta l i mpacts thei r products have We a re a l l awa re of how ma n made fabrics shed m icro plastics, wh ich a re havi ng a hugely d a magi ng effect to the ocea ns a nd ma ri ne l i fe I’m not suggesti ng that a l l h igh street stores a nd thei r products a re bad, but it’s a consideration when weigh i ng up whether to ma ke a slow fash ion pu rchase or to ma ke a qu ick pu rchase from that h igh fash ion store

So, is slow fash ion for you? If you l i ke getti ng va lue for you r money a nd you r ti me, you enjoy creati ng someth i ng u n ique a nd just right, you wa nt a k n itted ga rment that w i l l last a nd look good, a nd you ca re about ou r world a nd wa nt to ma ke susta i nable cha nges, then yes, it is!

w w w gorgeousyarns co uk

1

knit ting

creative

tion

Caroline adapted her

S T I TC H PAT T E R N S

K n it 4 rows

Row 5 (R S): K 1, *P 1, K 1; rep f rom * to end.

Row 6: K t he k n it st s a nd P t he pu rl st s

Rep l a st 2 rows a not her 4 t i me s

K n it 4 rows, dec 1 st i n cent re of la st WS row

86 (94:102:1 10:1 14:1 2 2:130) st s

C h a nge to 5m m need le s

Work i n Patter n A for 53 rows

Nex t row (WS): K n it, i nc 1 ( :dec 1:de c 2: i nc 1: :dec 1 ) st s

87 (94:101:10 8:1 15:1 2 2:1 29) st s.

P iece mea su re s approx 29cm f rom ca st on edge

B eg i n Patter n B:

Rows 1 3: K n it

Row 4 (WS): P u rl.

Row 5 (R S): Work f i rst 8 st s of C h a r t row 5, work 7 st rep 1 1 (1 2:13:14:15:16:17) t i me s, work l a st 2 st s of C h a r t.

C ont i n patt a s e st abl i shed u nt i l C h a r t row

25 ha s b een completed

Row 2 6 (WS): K n it a nd dec 1 ( :i nc 1:i nc 2: dec 1: : i nc 1) st s

86 (94:102:1 10:1 14:1 2 2:130) st s

Work i n Patter n C for 48 (4 8:52:52:56:56: 60) rows

C ont i n Patter n C to end of piece a s fol l: Ma rk t he cent re 20 (20:22:2 2:24:26:26) st s.

Note: B ack

Usi ng 4.5m

87 (95:103:1 1 1:1 15:1 2

S H O U L D E R A N D N E C K S H A P I N G

C a st of f 7 (8:8:9:10:10:1 1) st s at b eg of nex t 2 rows

R I G H T N E C K A N D S H O U L D E R S H A P I N G

Nex t row: C a st of f 7 (8:9:10:10:1 1:1 2) st s, patt u nt i l t here a re 19 (2 1:23:2 5:25:2 7:29) st s on R H need le, end i ng a f ter a R S row Tu r n a nd work on t he se st s

C a st of f 2 st s at b eg of nex t row a nd fol l WS row, a nd AT T H E SA M E T I M E , ca st of f 7 (8:9:10:10:1 1:1 2) st s at b eg of 2 fol l R S rows.

L E F T N E C K A N D S H O U L D E R S H A P I N G Rejoi n ya r n to rem 46 (49:55:58:59:65:68) st s, ca st of f cent re 20 (20:22:2 2:24:26:26) st s, work i n patt to end 26 (2 9:33:36:35:39:42) st s.

st of

(8:9:10:10:1 1:1 2) st

at

eg

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E D L

1 pair 4 5mm (U K 7/US

knit ting

1 pair 5mm (U K 6/US 8)

knit ting needles

C H A R T

Pattern B

The back is slightly longer than the front, and the lower side seams are lef t unsewn

F

O

Nex t row (R S): Work 36 (4 0:4 3:47:4 8:51:55) st s, ca st of f cent re 14 (14:16:16:18:20:20) st s, work i n patt to end

R

D ec 1 st at neck ed ge on nex t 8 rows

C a st of f 7 (8:8:9:10:10:1 1) st s at b eg of nex t WS row, t hen ca st of f 7 (8:9:10:10:1 1:1 2) st s at b eg of 3 fol l WS rows

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Wit h WS faci ng, rejoi n ya r n to rem st s for L ef t Neck, a nd cont to work i n patt, dec 1 st at neck ed ge on nex t row a nd fol l 6 rows

Nex t row (R S): C a st of f 7 (8:8:9:10:10:1 1) st s, work i n patt to l a st 2 st s, K 2 tog 2 1 (24:2 7:3 0:30:3 3:36) st s

C a st of f 7 (8:9:10:10:1 1:1 2) st s at b eg of fol l

3 R S rows

S L E E V

Usi ng 4 5m m need le s, ca st on 39 (39:39:39:41:41:43) st s.

K n it 4 rows

Row 5 (R S): K 1, *P 1, K 1; rep f rom * to end

C h a nge to 5m m need le s

Work i n Patter n A for 50 rows, t hen work i n Patter n B for 26 rows, AT T H E SA M E T I M E , i nc 1 st at each end of 3 (3:15:15:6:6:9) fol l 6t h (6t h:6t h:6t h:4t h:4t h:4t h) rows, t hen 9 (9:0:0:1 1:1 1:9) fol l 8t h (8t h:0:0:6t h: 6t h:6t h) rows 66 (66:72:72:78:78:82) st s

A f ter a l l 26 rows of Patter n B h ave b een worked, ca st of f

F I N I S H I N G

Blo ck piece s to mea su rement s, fol low i ng a ny ya rn ca re i nstr uctions on the ba l l ba nd.

N E C K B A N D

S ew r ight shou lder sea m.

Wit h R S faci ng a nd u si ng 4 5m m need le s, pick up a nd k n it 74 (74:78:78:82:86:86) st s.

K n it 3 rows

Row 4: *P 1, K 1; rep f rom * to end.

Row 5: K t he k n it st s a nd P t he pu rl st s

Rep l a st 2 rows a not her 2 t i me s

K n it 2 rows

C a st of f

S ew lef t shou lder a nd neckba nd sea m

Wit h cent re of ca st of f st s of sleeve at shou lder, sew top of sleeve to f ront a nd back

Sew sleeve sea m s

(42:42:42:4

S ew side sea m s, leav i ng t he r ibb ed b orders at lower ed ge u n sew n to for m side sl it s

Himalayan dreams

Janine Sterland meets Britt Marie A l m of Love Fest Fibers, who sources her ethical yarns from Tibet, India and Nepal

B R I T T M A R I E A l m ’ s

ad m i ration for the sk i l led women a r tisa ns of Tibet a nd the Hi ma layas is evident to a nyone who ta l ks w ith her Shaped by her experiences of travel i n Tibet, a nd her encou nters w ith the fibre produci ng com mu n ities of the region, the Sa n Fra ncisco based designer sha res her d iscoveries w ith other cra f ters th rough her eth ica l ya rn bra nd, Love Fest Fibers.

Britt Ma rie fou nded Love Fest Fibers i n 2015, fol low i ng a yea r of design i ng sa mples a nd developi ng fibre ty pes w ith regiona l a r tisa ns i n Tibet, Ind ia, Nepa l as wel l as at home w ith a m i l l on A merica’s West Coast The bra nd encou rages trad itiona l l ivel i hoods a nd a i ms to conti nue the grow th of aspi ri ng socia l enterprises

th rough a va riety of i nteresti ng ya rn col lections These i nclude Meela m Pash m i na, sou rced from Lena L ad a k h (a n i nspi ri ng group of women evolv i ng the pash m i na i ndustr y), as wel l as A ma ra, wh ich is a n upcycled l i nen spu n from rem na nts sou rced from l i nen fabric m i l ls

We chatted to Britt Ma rie from her su n d renched Sa n Fra ncisco design stud io to d iscover the stor y beh i nd her u n ique bra nd a nd its i nspi rationa l outlook

Can you tell us the stor y behind the founding of Love Fest Fibers?

“Fou nd i ng Love Fest was spa rked by experiences I had i n Tibet; I had spent much of the past two decades l ivi ng a nd work i ng on the Plateau, a nd fel l i n love w ith the wonderf u l fibre trad itions of the region a long the way Love Fest Fibers

bega n from that fasci nation, a nd w ith the goa l of promoti ng trad itiona l l ivel i hoods

By suppor t i ng pastora l ists a nd a r t isa ns a nd creati ng oppor tu n ities for them to sha re thei r beauti f u l ya rn a nd fibre goods, it felt l i ke the compa ny cou ld offer a long lasti ng benefit to these com mu n ities ”

How does you r business work to support com munities within the Himalayas?

“We pa r tner w ith both establ ished a nd aspi ri ng socia l enter prises wh ich focus on empoweri ng women a r tisa ns We then work w ith them to sou rce susta i nable fibres a nd design ou r ya rn l i nes We fi nd ways to suppor t a nd elevate the work of each pa r tner so that they ca n conti nue to grow, creati ng benefits a l l the way dow n the supply cha i n from a r tisa n to fibre producer ”

F E A T U R E

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A K H

Love Fest’s collaboration with Lena L adakh in I ndia i s helping to suppor t female fibre ar tisans and their families

P E T E R H E S S

N I C O L A P A R I S

How important is it for your business model that all of your yarns are made by women artisan makers?

“Work i ng w ith women a r tisa ns is at the hea r t of ou r ethos as a compa ny Lea rn i ng the sk i l ls to ma ke ya rn not on ly prov ides a l ivel i hood, it a lso provides f lex ibi l ity A l l of ou r pa r tners emphasise not on ly the i mpor ta nce of sk i l l tra i n i ng but a lso offer f lex ible employment oppor tu n ities, so that a r tisa ns ca n fi nd ways to help suppor t thei r aspi rations a nd thei r fa m i l ies.”

How have you collaborated with the women makers from the Lena Ladak h textile organisation?

“Pa r tneri ng w ith L ena L ad a k h has been such a d rea m for me! Hav i ng prev iously l ived i n L ada k h, the ti ny Budd h ist territor y i n fa r nor th western Ind ia du ri ng a resea rch fel lowsh ip i n my ea rly twenties, I have deep ad m i ration for the people of the region, a nd the effor ts that ma ny L ad a k h is a re ma k i ng to sa feg u a rd thei r

trad itions i n the face of modern isation a nd rapid cu ltu ra l cha nge

“Sona m a nd Mi ngla k a re two such i nd ividu a ls; both a re h igh ly i nspi ri ng you ng women who, a f ter fi n ish i ng thei r degrees i n other a reas of Ind ia, retu rned home to L ad a k h to create a socia l enter prise that wou ld recla i m the pash m i na trade for thei r region ”

W hat issues have you discovered within the pashm ina industr y, and have you been able to overcome them?

“Pash m i na is sou rced from goats that a re herded by nomad ic fa m i l ies i n the h ighest reaches of L ad a k h, a nd thei r fibre is usu a l ly sold to m idd le men who then tra nspor t it to fibre m i l ls out of the region That mea ns the ma i n sha re of its profit doesn’t stay i n L ad a k h, a nd a n oppor tu n ity is lost for the loca l economy But i n come Sona m a nd Mi ngla k, who have set up spi n n i ng, weav i ng a nd natu ra l dye workshops to rei nvigorate a nd preser ve

loca l k nowledge of these a r t forms, a nd expa nd upon them.”

W hat is the most rewarding aspect of supporting these com munities and thei r artisan makers?

“There a re so ma ny rewa rd i ng aspects of th is work, it’s ha rd to choose one. There is someth i ng ver y i nspi rationa l about bei ng able to ma ke l ittle steps towa rd ma k i ng trad itiona l l ivel i hoods such as those of nomad ic herd i ng or ha nd spi n n i ng v iable a nd releva nt aga i n Creati ng a need for beauti f u l, susta i nably sou rced fibres a nd the a r tisa n goods that a re made from them ca n be a rea l ly i mpactf u l th i ng ”

How is your Meelam Pashm ina yarn collection produced?

“Ou r Meela m col lection, wh ich mea ns ‘d rea m ’ i n L ad a k h i, is sou rced d i rectly from nomad ic L ad a k h i herders, then clea ned, ca rded a nd ha nd spu n by L ena ’ s tea m a nd dyed usi ng natu ra l pigments

1 + 2 M eelam Pashmina is an exquisite yarn which is hand spun in India 3 Love Fest of fer s a wide range of interesting yarns 4 Skilled ar tisans use drop spindles

Tough Love is a super chunky rope yarn

L

L

N A

K

L

L E N A L A D A K H

A M A N D A R O O S A

A M A N D A R O O S

L E N D A V S

Ou r pa r tnersh ip is the fi rst ti me that thei r ya rn has been offered outside of Ind ia, a nd is a tremendous oppor tu n ity to suppor t th is i mpactf u l i n itiative Plus, the ya rn is just so u nbel ievably sof t, a nd has the richest, most nu a nced colou r pa lette from thei r selection of natu ra l dyes ” W hich particular qualities do Love Fest yarns have which cannot be found elsewhere in the world?

“Meela m, for i nsta nce, is ver y much the on ly one of its k i nd, i n that it’s ha nd spu n usi ng the trad itiona l L ad a k h i w i l low d rop spi nd le a nd yet it’s i ncred ibly consistent i n its weight a nd d ia meter It’s a lso ha nd dyed usi ng on ly natu ra l pigments

“Ou r Ku l lu col lection is si m i la r i n its u n iqueness as it’s one of the on ly ya k dow n ya rns to be ha nd spu n i n Tibet by nomad women I have a lso designed a ra nge of core spu n ya rn one sn ip w ith scissors revea ls a contrasti ng shade a nd th is col lection is ca l led Color Core ”

Tell us about the other ranges of yarns that are part of you r collection.

“We sta r ted off by specia l isi ng i n super chu n ky ya rns that a re a k i n to rope i n thei r d ia meter One of ou r origi na l ra nges a nd most beloved is Tough Love, wh ich is New Zea la nd wool that is ha nd felted by ou r pa r tners i n Nepa l. A nd l i ke its na me suggests, it is super tough a nd resi l ient.

“We a lso create a series of super chu n ky core spu n ya rns, wh ich a re i ncred ibly sof t a nd fa ntastic for bla n kets, sca r ves a nd cowls In add ition, we ca me up w ith the fi rst core spu n super chu n ky ya rn to i ncor porate recycled bottle fibre!

“The last few yea rs have a lso seen us ventu re i nto ha nd spu n ya rns Meela m Pash m i na a nd Ku l lu Ya k Dow n wh ich a re th i n ner a nd idea l for fi ne fibre appa rel A l l have thei r u n ique sou rci ng stor y a nd specia l appl ications

“We a lso offer a ra nge of k n itti ng k its for homewa res, a nd fibre packs for weavers ”

W hat initiated the idea behind your A mara upcycled range?

“I’m a lways on the lookout for upcycled materia ls, a nd I’m fasci nated by the reuse of fibres a nd ways to i ncor porate them i nto f u n ya rn. A ma ra is rea l ly neat i n that ou r pa r tner workshop sa lvages scraps from a loca l l i nen m i l l materia ls that wou ld other w ise be i nci nerated or la nd fi l led These a re then ha nd spu n usi ng a d rop spi nd le by women i n loca l vi l lages Th is creates f lex ible work oppor tu n ities for women, ma ny of whom a re a lso r u n n i ng a household The extra i ncome helps thei r fa m i l ies a nd u lti mately creates a degree of econom ic autonomy for them ”

As ethically sourced sustainable fashion continues to grow, have you seen a rise in the popularity of your yarn ranges?

“Yes, most defi n itely. People a re i ncreasi ngly excited to explore fibres they’ve never seen, or even hea rd of, before For Love Fest Fibers, that has mea nt a whole lot of enthusiasm a rou nd materia ls l i ke upcycled l i nen, Tibeta n ya k dow n, a nd even recycled plastic bottle fibre

“A nd beyond the f u n of experienci ng u nusu a l new fibres, people seem to rea l ly wa nt to k now the stor y beh i nd thei r ya rn, a nd they va lue work i ng w ith materia ls that have been susta i nably a nd eth ica l ly sou rced Understa nd i ng the process beh i nd the creation of thei r ya rn ca n ma ke a fi n ished piece even more precious to a k n itter “

W hat challenges have you faced work i ng with com munities based on the other side of the world?

“There have been ma ny exciti ng ideas I’ve pu rsued that ca n’t come to fr u ition without my abi l ity to go a nd v isit com mu n ities i n Nepa l, Ind ia or Tibet. It’s rea l ly best to travel a nd meet a r tisa ns i n person a nd explore what we ca n ma ke together But the pa ndem ic (a nd bei ng a mother to a todd ler) have slowed th is dow n a bit I look for wa rd to bei ng able to do the leg work i n person aga i n soon!”

W hat are your plans for the future? “I’ve had a lot of f u n focusi ng on natu ra l dyes i n the past few months; we ’ ve come out w ith both Meela m Pash m i na DK ya rn, as wel l as a l i m ited ed ition core spu n ya rn dyed by a New York based natu ra l dye specia l ist Ulti mately, I love focusi ng on a new materia l a nd rea l ly goi ng dow n the rabbit hole of resea rch on where it’s grow n or how it’s upcycled. The process rea l ly captu res my i magi nation, a nd before I k now it, I have someth i ng rea l ly u n ique to offer ”

w w w lovefestfibers com

Love yarn being hand felted in Nepal

Brit t Marie enjoys using her yarns for weaving

Love Fest Fiber s par tner s with a range of

enterprises including this team in Nepal

N I C O L A P A R S

S U B I R T H A P A

S

The jumper has bell sleeves and split side seams

T H I S L O N G, loo se f it ju mp er i s k n itted sideways, st a r t i ng w it h t he r ight sleeve It h a s a n i ntere st i ngly tex t u red fabr ic, feat u r i ng ga r ter welt s a nd f lower l i ke clu sters wh ich a re creat i ng u si ng a combi n at ion of cable s a nd sl ip st itche s Sa n n a Må rd C a st m a n ’ s de sig n a l so h a s f l a red sleeve s a nd spl it side sea m s, a nd i s k n itted i n S cheepje s Sk ie s Heav y, a n a ra n weight cotton wh ich i s dyed u si ng i nd igo to g ive a h a nd dyed ef fect rem i n i scent of v i nt age den i m

PAT T E R N N OT E

W hen sl ippi ng st itche s i n t h i s patter n, sl ip t hem k n it w i se, a nd one at a t i me, u n le s s ot her w i se st ated

S T I TC H PAT T E R N S

PAT T E R N A

Show n on C h a r t A.

PAT T E R N B

Rows 1 4: B eg w it h a k n it row, work 4 rows i n st st

Rows 5 6: B eg w it h a pu rl row, work 2 rows i n rev st st.

Rows 7 1 2: B eg w it h a k n it row, work

6 rows i n st st

Rows 13 14: B eg w it h a pu rl row, work

2 rows i n rev st st

Rows 15 2 2 : A s rows 7 14

Rows 2 3 3 0: B eg w it h a k n it row, work

8 rows i n st st

Rows 31 32 : B eg w it h a pu rl row, work

2 rows i n rev st st.

Rows 33 42: A s rows 23 32

Rows 4 3 52 : B eg w it h a k n it row, work

10 rows i n st st

Rows 53 5 4: B eg w it h a pu rl row, work 2 rows i n rev st st.

Rows 55 66: A s rows 43 54

Rows 67 78: B eg w it h a k n it row, work 1 2 rows i n st st.

Rows 79 8 0: B eg w it h a pu rl row, work 2 rows i n rev st st

Rep eat rows 67 80 to end.

R I G H T S L E E V E

Usi ng 8m m st ra ight need le s, ca st on 58 (58:62:62:62:62:62:62:62) st s

Work C h a r t A a s g iven for you r si ze, a nd AT T H E SA M E T I M E , when work mea s 5cm f rom ca st on edge, ch a nge to 6m m need le s; when work mea s 8cm f rom ca st on ed ge, ch a nge to 5.5m m need le s; a nd when work mea s 1 1cm f rom ca st on ed ge, ch a nge to 5m m need le s

W hen you h ave completed row 36 of C h a r t

A, rep eat rows 5 to 36, cont i nu i ng st ra ight u nt i l work mea s 14 cm f rom ca st on ed ge, end i ng a f ter a WS row

**Nex t row (R S i n c): K 1, M 1, work i n patter n to l a st st, K 1 2 st s i nc’d

Work 9 (9:8:8:5:4:3:3:3) cm st ra ight i n patter n, end i ng a f ter a WS row.***

Rep f rom ** to *** a not her 2 (2:2:2:4:6:8:8:8)

t i me s, t hen rep i nc row aga i n. 66 (66:70:70:74:78:82:82:82) st s

C ont i nue st ra ight i n patter n u nt i l work mea s 43 (4 4:4 5:4 5:4 5:4 6:4 6:4 6:47) cm

f rom ca st on ed ge, end i ng a f ter a WS row.

S H A P E B AC K A N D F R O N T

C h a nge to 5m m ci rcu l a r need le s. DO NOT JOI N (C i rcu l a r need le s a re recom mended due to t he l a rge nu mb er of st s t h at w i l l now b e worked )

Nex t row (R S): C a st on 70 (74:76:8 0:82:8 4: 86:8 8:90) st s for Front, work st s f rom sleeve, ca st on 70 (74:76:8 0:82:8 4:86:8 8:90) st s for B ack 206 (2 14:2 2 2:2 3 0:2 3 8:24 6:2 5 4:2 58:262) st s. P m i n cent re of row to m a rk shou lder sea m, bet ween st itch 103 (107:1 1 1:1 15:1 19:1 2 3:1 2 7: 1 2 9:131) a nd st itch 104 (10 8:1 1 2:1 16:1 20:1 24: 1 28:13 0:132)

I M PORTA N T: Ma rk b eg i n n i ng of shou lder w it h wa ste ya r n or a f i xed st itch m a rker

C ont i nue to work i n patter n, t a k i ng ca st on st s i nto patter n W here it i s not p os sible to work a cable/sl ip st itch cor rect ly, work i n st st or rev st st, a s set by t he patter n for t he re st of t h at row

Nex t row (WS): K 1, work i n patter n to l a st st, K 1

Nex t row (R S): K 1, work i n patter n to l a st st, K 1. Rep l a st 2 rows u nt i l work mea s 1 2 (1 2½:13:14:15:16½:17:19:20) cm f rom f i xed st itch m a rker, end i ng a f ter a WS row.

I M PORTA N T: Ma ke a note of t he nu mb er of rows worked f rom t he f i xed m a rker b efore b eg i n n i ng sh api ng

N

E D L E

&

O

Patt

You

Row

patter

Row

Row

patter

Row

Row

Row

Row

Row

(WS):

(R S):

(WS):

Row 4 (WS): K 1, work i n patter n to l a st st, K 1

C ont i nue st ra ight i n Patter n B u nt i l you h ave worked t he sa me nu mb er of rows a s R ight Shou lder, end i ng a f ter a WS row

Nex t row (R S): C a st of f 70 (74:76:8 0:82:8 4: 86:8 8:90) st s to m a rk end of Front a nd work to end of rem 33 (3 3:3 5:3 5:37:39: 41:41:41) st s for L ef t Sleeve

L E F T S L E E V E

Tra n sfer held sleeve st s f rom B ack to work i ng need le a nd pl ace a f i xed m a rker 66 (66:70:70:74:78:82:82:82) st s

C ont i nue st ra ight i n Patter n B u nt i l work mea s 2 (3:7:7:6:4:5:5:6) cm f rom f i xed m a rker, end i ng a f ter a WS row

**Nex t row (R S d e c): K 1, S SK, work i n patter n to l a st 3 st s, K 2 tog, K 1 Work 9 (9:8:8:5:4:3:3:3) cm st ra ight, end i ng w it h a WS row ***

Rep f rom ** to *** a not her 2 (2:2:2:4:6:8:8:8) t i me s, a nd t hen work t he dec row aga

58 (58:62:62:62:62:62:62:62) st s

Ellie Stokeld shares the stor y behind her ver y special f lock of Border Leicesters

W H EN I fi rst sta r ted produci ng my ow n ya rn, I was faced w ith a d i lem ma: how was I goi ng to sel l th is wonderf u l wool a nd grow ou r bra nd? Not ma ny people have even hea rd of the Border L eicester breed, never m i nd sa mpled its ya rn

I rea l ised we had to go out on the road, to wool festiva ls a l l over the cou ntr y, a nd teach people about th is a ma zi ng sheep a nd its ya rn We sta r ted w ith Wool fest, ta k i ng some sheep a long w ith us. Visitors adored them, a nd l istened to us ta l k about the ya rn, a nd we encou raged them to squ ish the ya rn to feel how good it was My wonderf u l friends k n itted up some accessories a nd ga rments for me, wh ich enabled me to show off how a ma zi ng the stitch defi n ition is The fol low i ng weekend we went to the York wool festiva l a nd sa les were even better I then set up a website ded icated to sel l i ng ou r ya rn, a nd we opened a shop on Etsy, too

That fi rst yea r, we went to 14 wool shows ver y ti ri ng, ver y expensive, but ver y productive We fou nd that visitors to ou r sta nd loved ou r colou rs, but d id n’t a lways have the con fidence to combi ne them. So, one w i nter’s n ight, I sat on the f loor i n my l iv i ng room, su rrou nded by a l l my 4ply colou rs, a nd tried to put together shades wh ich went wel l G eoff a nd I then made 20g skei ns a nd put them i n packs for people to tr y out Ou r fi rst ever m i n i pack, ca l led Yorksh i re Coast, is sti l l a ver y big sel ler, both at shows a nd off the website We now have seven d i fferent colou r packs: Yorksh i re Berries, Yorksh i re Moorla nd, Yorksh i re Wood la nd, Yorksh i re Tea

(natu ra l ly!), Yorksh i re Ch ristmas, Yorksh i re Coast, Yorksh i re Spri ngti me, a l l i n ver y d i fferent hues

We then sta r ted to offer i nd ividu a l 20g a nd 25g m i n i skei ns i n both DK a nd 4ply, wh ich have proved popu la r, a nd we a lso put together exclusive k n itti ng k its

Two yea rs ago, I produced ou r fi rst ever accessor y pattern book, wh ich went dow n a treat. We used models of a l l ages my cousi n who is i n her 70s, my ha i rd resser, her d aughter, a nd friends. We had a lot of feedback say i ng how n ice it was to see rea l people a nd not models.

L ast yea r I produced a second book i n col laboration w ith A rm ley Mi l ls, wh ich is now a museu m i n Leeds My designer a nd I worked closely on the patterns, a nd the book told the stor y of how wool ca me about i n Yorksh i re a nd the l ives of the people who worked there Both books a re ava i lable from ou r website a nd Etsy shop

We a lso have a group on Ravel r y com, ca l led The Dou lton Flock, wh ich is f u l l of good news, a nd gives the latest upd ates Please joi n we’d love to see you there!

HA R T 5 : R E A C H I N G O U T T O K N I T T E R S

Hertha

These neat cabled socks will make a lovely gift or a treat for yourself

D E L I C AT E C A B L E S for m a sm a r t patter n on t he se sock s by Sa ra h Hatton T he de sig n i s k n itted top dow n, a nd a cabled pa nel i s a l so worked on t he back of t he leg Sa ra h h a s u sed S chopp el’s Ad m i ra l

T U R N H E E L

Row 1 (R S): Sl 1, K 17 (19:2 1), S SK, K 1, t u r n

N E E D L E S &

A C C E S S O R I E S

Set of 2 5mm (U K 13 12/US 1 2) double pointed needles (DPNs), or your preferred needles for working small circumferences

Stitch marker

Stitch holder s

Tapestr y needle C able needle (cn)

T E N S I O N

30 st s and 42 rows to 10cm over st st on 2.5mm needles. 38 st s and 42 rows to 10cm over pat tern on 2 5mm needles

32 (36:42) heel st s

Row 2 (WS): Sl 1, P6, P2 tog, P 1, t u r n. 31 (3 5:41) heel st s

Row 3: Sl 1, k n it to 1 st b efore gap, S SK, K 1, t u r n.

Row 4: Sl 1, pu rl to 1 st b efore gap, P2 tog, P 1,

rows 3 4 u nt i l t here a re 2 1 (2 3:25) heel st s

cable pat tern

E YY A R N S T O C K I S T S

S c h o p p e l Wo l l e

schoppel wolle

the

K from:

S P E C I A L A B B R E V I AT I O N S

T2F: Slip 1 st onto cn and hold at front of work, P 1; K1 from cn

T2B: Slip 1 st onto cn and hold at back of work, K1; P 1 from cn

C3B: Slip nex t 2 st s to cn and hold at back of work, K1; K 2 from cn

C3F: Slip 1 st to cn and hold at front of work, K 2; K1 from cn.

For ge ne ra l a b b revi at i on s, see p89

S H A P E G U S S E T

Now work i n t he rou nd on a l l st s aga i n a s fol lows:

S e t u p ro u n d: Sl 1, K 20 (2 2:24), pick up a nd k n it 15 (15:16) st s a long ed ge of heel f l ap (t h i s i s 1 st f rom ever y sl ipp ed st), patt acros s 33 (37:41) i n step st s, pick up a nd k n it 15 (15:16) st s a long ed ge of heel f l ap, k n it 34 (36:41) to b eg of i n step pa nel, K 1, pm for new b eg of r nd 84 (9 0:98) st s

Rou n d 1: Patt 31 (3 5:39) st s acro s s i n step, S SK, pm, k n it to l a st 2 st s, K 2tog 2 st s dec’d.

Rou n d 2: Patt 31 (3 5:39) st s acro s s i n step, sl m, k n it to end

Rep t he se 2 rou nd s u nt i l 66 (74:82) st s rem a i n

C ont st ra ight i n patt a s set u nt i l Foot mea s 5 (5½:6) cm le s s t h a n de si red foot leng t h

S H A P E T O E

Nex t ro u n d: K n it D e c ro u n d: (K 1, S SK, k n it to 3 st s b efore m rk, K 2 tog, K 1, sl m) t w ice. 4 st s dec’d.

Rep t he se 2 rou nd s u nt i l 22 (26:30) st s rem a i n

F I N I S H I N G

C ut ya r n, leav i ng a 20 cm t a i l Gra f t toe st s toget her u si ng K itchener st itch.

Weave i n end s a nd blo ck gent ly to mea su rement s, fol low i ng a ny ya r n ca re i n st r uct ion s on t he ba l l ba nd

C H A R T S

Chart A

Michelle Gregor y

s guide to understanding cable symbols and abbreviations will take the stress out of cable knitting

LOV E T H EM or loathe them, k n itti ng cha r ts a re a great way to present deta i led k n itti ng i nstr uctions i n a concise ma n ner Th is is pa r ticu la rly tr ue for i ntricate cable k n itti ng patterns where there ca n be a lot goi ng on at once However, l i ke a lot of pattern i nstr uctions, designers of ten have thei r ow n way of sha ri ng cable i nstr uctions wh ich mea ns that it’s not su r prisi ng that k n itters feel l i ke they a re seei ng someth i ng d i fferent ever y ti me they read th rough a cable k n itti ng pattern Never fea r, though: there a re a few key th i ngs to remember that w i l l help you decipher cable k n itti ng patterns wherever you fi nd them!

In th is masterclass, we w i l l focus on the d i fferent abbreviations a nd symbols i n cable k n itti ng patterns For the basics of cable k n itti ng a nd read i ng cha r ts, you w i l l fi nd two great a r ticles on Gathered.how:

gathered how/k n itting and

ochet/k n itting/

to cable k n it/

and

HERE…

BACKGROUND

I was a relucta nt cable k n itter for ma ny yea rs I k n it qu ite tightly, a nd th is is a mpl i fied when I k n it cables Ever y th i ng comes out rea l ly sma l l! However, I recently needed to design a bed r u n ner pattern a nd I wa nted to use cable stitches W hen I sat dow n to w rite the pattern, I rea l ised that I d id n’t k now the sta nd a rd la ng u age for cable i nstr uctions, a nd so I decided to do some resea rch

I took out all of my pattern books that had even a h i nt of cable k n itti ng i n them, to see what other designers do i n thei r patterns

It soon beca me appa rent that designers do a lot of d i fferent th i ngs when w riti ng cable k n itti ng i nstr uctions, so it’s not su r prisi ng that I of ten hea r k n itters sayi ng they avoid projects w ith cables because they ca n’t get the ha ng of the pattern a nd that’s before they sta r t k n itti ng

It seems such a sha me to have to sk ip over a whole a rea of k n itti ng just because you don’t u ndersta nd the i nstr uctions, so I looked at as ma ny patterns as possible to fi nd out what was causi ng thei r concerns. I fou nd fou r th reads that may ma ke cable patterns more complex tha n others:

Di fferent symbols a nd abbreviations for the sa me i nstr uctions

Designer speci fic symbols a nd abbrev iations

The a mou nt of i n formation that ca n be i ncluded for a si ngle stitch

The sa me term w ith d i fferent mea n i ngs

DIFFERENT SYMBOLS AND ABBREVIATIONS FOR THE SAME INSTRUCTIONS

It may su r prise you to lea rn that there isn’t a si ngle reference for k n itti ng pattern terms, a nd that it is up to the designer to choose the set of terms that they wa nt (I k now I was su r prised when I sta r ted design i ng!) W hen you w rite patterns for publ ications such as The Knitter, they w i l l have a style g u ide to fol low, but when you set out on you r own, you use what su its you best Th is mea ns that when k n itters pick up patterns, especia l ly those w ith cha r ts, they may see someth i ng u n fa m i l ia r

Of cou rse, designers a re work i ng w ith a relatively sta nd a rd k n itti ng ‘la ng u age ’ , but there a re of ten d i fferent terms a nd abbrev iations for the sa me i nstr uctions W hy do these d i fferences ex ist? The a nswer is a l ittle bit of th is a nd a l ittle bit of that Some of the factors i nclude the natu ra l evolution of a sk i l l that is passed dow n from person to person; i n novation;

designer preference; a nd the tools ava i lable for w riti ng a nd creati ng k n itti ng patterns

A l l of these factors resu lt i n d i fferent patterns usi ng d i fferent abbreviations a nd symbols for the sa me w ritten i nstr uction

Let’s look at a basic cable, show n i n ou r photograph above. The w ritten i nstr uction for the cable row of th is pa r ticu la r cable is ‘Sl ip the next 2 stitches to the cable need le a nd hold them at the back of the work. K n it the next two stitches, a nd then k n it the two stitches from the cable need le’

The expectation is that the cha r t symbol for th is wou ld be the sa me ever y ti me however, th is is not the case Here a re fou r d i fferent styles of how th is cable may be presented i n a cha r t:

Stitchmaster y

Stitch Fiddle

The Knitter

Lucy Hague

Th is is mostly a d i fference i n style, but the d i fference ca n be ja rri ng at fi rst gla nce. Su rely though the abbreviations a re the sa me? A f ter a l l, a K2tog is a K2tog? Aga i n, th is is not the case.

Ou r exa mple cable above may be described as a ny one of the fol low i ng:

C4B Com mon i n Engl ish patterns i n the U K, a nd used by The Knitter 2/2 RC More com mon i n Engl ish la ng u age patterns i n Nor th A merica, a nd becom i ng more com mon i n the U K C4R Some adva nced cable patterns, not as com mon ly used

The d i fferent abbreviations both have pros a nd cons:

C4B

Pros: The nu mber of stitches i n the cable is clea r (4) The position of the cable need le is expl icitly stated (back).

Cons: The d i rection the cable w i l l lea n i n has to be worked out New k n itters may th i n k the nu mber refers to the nu mber of stitches to sl ip onto the cable need le, rather tha n the tota l nu mber of stitches i n the cable.

2/2 RC

Pros: The nu mber of stitches i nvolved i n each pa r t of the cable is clea r (2 & 2) There is more scope for clea rly stati ng the nu mber of stitches i n each pa r t of the cable The d i rection the cable w i l l lea n i n is a lso stated (R ight)

Cons: R ight a nd Lef t ca n be con f usi ng terms i n k n itti ng Does it refer to the lef t a nd right of the piece you a re look i ng at, or the ga rment i n genera l?

C4R

Pros: The nu mber of stitches i n the cable is clea r (4) The d i rection the cable w i l l lea n i n is a lso stated (R ight)

Cons: R ight a nd Lef t ca n be con f usi ng terms i n k n itti ng Does it refer to the lef t a nd right of the piece you a re look i ng at or the ga rment i n genera l? New k n itters may th i n k the nu mber refers to the nu mber of stitches to sl ip onto the cable need le, rather tha n the tota l nu mber of stitches i n the cable

The most i mpor ta nt poi nt here is to u ndersta nd that there m ight be

This simple cable can be described in a number of dif ferent ways

d i fferences i n the symbols a nd the abbreviations, but you a ren’t bei ng asked to do a ny th i ng d i fferent!

DESIGNER-SPECIFIC SYMBOLS AND ABBREVIATIONS

A s w ith a l l sk i l ls a nd cra f ts, there a re tra i lbla zers i n k n itti ng, a nd i n order to be a tra i lbla zer, it is of ten necessa r y to fi nd new a nd i n novative ways of doi ng th i ngs. Look i ng back at cha r ts i n genera l, Ba rba ra Wa l ker made a huge contribution to how we cu rrently w rite cha r ts i n her book Charted Knittin g Desi g n s: A Third Trea sury of Knittin g Pa ttern s

In the sa me way, Lucy Hag ue has broken new grou nd i n her series of adva nced cable books Tra nslati ng beauti f u l Celtic i nspi red a r tworks i nto k n itti ng has requ i red her to create a u n ique set of symbols a nd abbreviations

THE AMOUNT OF INFORMATION THAT CAN BE INCLUDED FOR A SINGLE STITCH

In ma ny k n itti ng patterns, you a ren’t just usi ng one tech n ique th roughout For exa mple, wh i le work i ng a cable, you may a lso be i ncreasi ng, decreasi ng or pu rl i ng (or a l l th ree!) A l l th is i n formation needs to be show n i n the cha r t, so it’s reasonable to say that the more you a re doi ng, the more complex the cha r t may appea r at fi rst.

In the beauti f u l book Japanese Knittin g Stitch Bible by Hitom i Sh id a, you w i l l fi nd magn i ficent stitches that requ i re ver y deta i led symbols a nd descriptions

THE SAME TERM WITH DIFFERENT MEANINGS

There a re ti mes i n k n itti ng when the sa me term w i l l be used by d i fferent designers to mea n d i fferent th i ngs. For exa mple, double k n itti ng is a weight of ya rn but a lso a style of k n itti ng! The sa me is tr ue i n cable patterns. You w i l l someti mes see cables referri ng on ly to those that requ i re a cable need le, a nd crossed stitches or tw ists as referri ng to those where a cable need le is not requ i red (for exa mple i n The Principles of Knittin g by Ju ne Hem mons Hiatt) Yet i n other situ ations, you w i l l see the term Tw ists as referri ng to cables where you a re pu rl i ng some of the stitches

THE GOOD NEWS!

There is no need to pa n ic about a ny of these, as they a re just a nother i nteresti ng aspect of k n itti ng to be awa re of Forewa r ned is forea r med a f ter a l l

Rega rd less of wh ich symbols a nd abbreviations a re bei ng used, a good cable pattern w i l l tel l you (i n some way) a l l of the fol low i ng deta i ls:

The tota l nu mber of stitches i n the cable

The nu mber of stitches to be held on the cable need le

The nu mber of stitches to be worked wh i le the other stitches a re held on the cable need le

The d i rection of the cable, wh ich a lso tel ls you where to hold the cable need le W hether the stitches a re k n its or pu rls A ny th i ng else you a re expected to do

In the next section we’l l ta l k about how to look at cable patterns

TACKLING CABLE PATTERNS

Don’t quit before you start

Do you ever look at the pictu res i n a pattern a nd decide that you ca n’t k n it it?

You a re not a lone It’s easy to th i n k that i f it looks complex, it is complex! However, th is is not a lways the case K n itti ng is one of the exceptions to the r u le that i f it wa l ks l i ke a duck a nd qu acks l i ke a duck…

In Issue 176 of The Knitter, for exa mple, there is a beauti f u l sweater ca l led ‘Ca rleon Cove’. A qu ick look wou ld suggest that it’s a cable pattern, but i n fact it’s just a series of ver y clever k n its a nd pu rls a nd i ncreases a nd decreases.

Skip the overwhelm

It’s easy when work i ng from a pattern book to get over whel med when you see

Luc y Hague has developed unique cable symbols for her Celtic designs

Masterclass

a lot of cable symbols a nd abbreviations a l l together i n a si ngle key. On ly look at those that a re releva nt to the pattern that you a re ma k i ng

Work out which abbreviation method the designer is using W hen I approach a cable pattern, I tr y to let go of my ow n biases! It m ight sou nd a l ittle u nor thodox, but I th i n k of it as a m i nd clea ri ng exercise. Let go of you r favou rite symbols a nd abbreviations, a nd then look at what the designer has created for you

‘Settle in’ to the pattern

Before I focus on the ‘trick y ’ pa r ts of a cha r t, I look at what symbols the designer is usi ng for k n its a nd pu rls Once I k now i f they have opted for dots or d ashes, I feel settled. Once you have a n ‘ a ha’ moment w ith the si mple bits, it’s way easier to move on to the rest of the cha r t A sk you rsel f how the designer is tel l i ng you the nu mbers of stitches a nd the d i rections of the cables, a nd you’l l be a l l set

Don’t like it? Redo it

For ti mes when you just ca n not get on w ith the designer’s choice, you ca n redo the pattern i n you r preferred style It ca n be as si mple as w riti ng i n the abbreviations you u ndersta nd over those i n the pattern. There is a lso the option to completely redo the cha r t i n you r favou rite symbols!

You are not bound by what you see in a pattern.

Ma ke a l ist of you r favou rite terms a nd abbreviations, lea rn how to use cha r ti ng

tools a nd sof twa re a nd when you wa nt to ma ke a cha nge, do it. It’s you r k n itti ng!

Get your needles out and have a go I have come to the conclusion that some k n itti ng tech n iques a re just easier to k n it tha n to read about! I recently w rote a whole page of i nstr uctions for a n appl ied i cord, but the match i ng video tutoria l is less tha n two m i nutes long Therefore, i f you ca n not visu a l ise what the i nstr uctions a re tel l i ng you, cast on a sma l l piece of k n itti ng a nd tr y it out Work th rough the i nstr uctions or symbol sets piece by piece, a nd you’l l be a ma zed at how much less complex it ca n appea r when you a re k n itti ng it tha n when you a re read i ng it.

That’s my top tip for a l most a ny u n fa m i l ia r tech n ique you fi nd i n a pattern Tr y it out on a piece of scrap k n itti ng. We of ten tr y out a new tech n ique i n the m idd le of a project when the pressu re is on, but that approach does not a lways have the best outcome!

Put your back into it!

I loved th is l i ne from Lucy Hag ue ’ s book Illumina ted Knits: “Ma ny k n itters a re happy to tack le someth i ng compl icated as long as the pattern is clea rly w ritten a nd the end resu lt is wor thwh i le”

There is someth i ng sooth i ng about k now i ng that for some patterns you w i l l have to put i n more effor t Designers a re never tr yi ng to ma ke you r l i fe d i fficu lt; they a re a lways tr yi ng to help you ach ieve exactly the item that you see i n the pictu res. It’s just that complex patterns ca n of ten requ i re complex symbols

I recom mend the fol low i ng si x steps for work i ng w ith complex patterns:

Spend ti me read i ng the pattern a nd rea l ly u ndersta nd i ng the symbols, abbrev iations a nd descriptions

Ma ke notes, cha nges a nd substitutions where it w i l l ma ke the pattern easier for you

A sk for help when you don’t k now what someth i ng is

Prepa re the cha r t a nd pattern the way you wa nt

Use apps a nd other k n itti ng tools i f they help

Tr y new tech n iques before you get goi ng

For si mple patterns that won’t ta ke ver y long, these steps a ren’t a lways necessa r y. But i f you have been prom isi ng to ma ke you rsel f someth i ng magn i ficent, then spend i ng ti me prepa ri ng before you sta r t w i l l be wor th it With k n itti ng, you get out what you put i n

A b o u t o u r exp e r t

Michelle Gregory is a knitwear designer who runs Knit School, an online masterclass programme.

She is also the owner of the online store

The Loveliest Yarn Company, and produces the hand dyed Banshee Yarns range

Spend time reading the cable instruc tions before you star t knit ting

Knit a test swatch if the instruc tions seem complicated

Fontainebleau

This

B E R G È R E D E F R A N C E

Fontainebleau

S I Z E

AC TUAL LENGTH

M

2 46 53 cm

21 in

36 cm

N E E D L E S & A C C E S S O R I E

T H I S R I C H LY tex t u red cap e w i l l b e ju st t he t h i ng for keepi ng you r shou lders wa r m on ch i l ly d ays! T he de sig n f rom ya r n compa ny B ergère de Fra nce h a s a neat col l a r a nd i s fa stened w it h t wo button s T he t h ick cable s a re worked i n B ergère’s chu n k y A l a sk a 10 0 ya r n; t h i s i s ava i l able i n a pa lette of pa stel s a nd wa r m sh ade s, a nd of fers a sof t fabr ic a nd excel lent st itch def i n it ion

B AC K

Usi ng 7m m need le s, ca st on 1 16 st s.

B eg w it h Row 1, work C h a r t to end, work i ng rows 1 1 22 t w ice for Si ze 2 on ly a nd not i ng t he decrea se s h idden i n t he cable s on rows 33, 41, 49 a nd 55 a nd f u r t her decrea se s on rows 63, 65, a nd 67 a nd 69.

Once row 70 (82) of C h a r t i s complete, work on t he rem 20 st s a s fol l:

S i z e 1 on ly

Nex t row (R S d e c): P2tog, K 1, K 2 tog, K 2, P 1, K 1, K 2 tog, K 1, K 2 tog, K 2, P 1, K 2, P 1 16 ( ) st s

S i z e 2 on ly

Nex t row (R S d e c): P2 tog, *K 1, K 2 tog; rep f rom * to l a st 3 st s, K 2, P 1. (14) st s

B eg w it h a WS row, work 5 rows a s t he st itche s pre sent t hem selve s (K t he k n it st s, P t he pu rl st s)

L eave st s on a holder

O

LD

RCU M FERENCE

H EM

½ 14 in

N S I O N

R N S T O C K

S

R I G H T F R O N T A N D R I G H T S L E E V E

Usi ng 7m m need le s, ca st on 1 17 (155) st s

Row 1 (R S): K 2, b eg on st 2 a nd end i ng on st 2 1, work Row 1 of C h a r t to end Row 2: B eg on st 2 1 a nd end i ng on st 2, work Row 2 of C h a r t to l a st 2 st s, K 2. T he l a st 2 rows set C h a r t pl acement a nd ga r ter st ed g i ng

C ont to work C h a r t a s set to end, work i ng rows 1 1 22 t w ice for Si ze 2 on ly a nd not i ng t he decrea se s h idden i n t he cable s on rows 33, 41, 49 a nd 55 a nd f u r t her decrea se s on rows 63, 65, 67 a nd 69

Once Row 70 (82) i s complete, work on t he rem 2 1 (2 7) st s a s fol l :

Nex t row (R S d e c): K 2, P 1, (K 1, K 2 tog ) 3 (5) t i me s, (K 2, P 1) 3 t i me s. 18 (2 2) st s

Nex t row: (K 1, P2) 3 t i me s, P6 (10), K3. Nex t row: K 2, P 1, K6 (10), (K 2, P 1) 3 t i me s

Rep l a st 2 rows once more, t hen t he f i rst of t he se rows aga i n. L eave st s on a holder

L E F T F RO N T A N D L E F T S L E E V E

Usi ng 7m m need le s, ca st on 1 17 (155) st s

Row 1 (R S): B eg on st 1 a nd end i ng on st 20, work Row 1 of C h a r t to l a st 2 st s, K 2 Row 2: K 2, b eg on st 20 a nd end i ng on st 1, work Row 2 of C h a r t to end

T he l a st 2 rows set C h a r t pl acement a nd ga r ter st ed g i ng.

C ont to work C h a r t a s set to end, work i ng

rows 1 1 22 t w ice for Si ze 2 on ly a nd not i ng t he decrea se s h idden i n t he cable s on rows 33, 41, 49 a nd 55 a nd f u r t her decrea se s on rows 63, 65, 67 a nd 69

Once Row 70 (82) i s complete, work on t he rem 2 1 (2 7) st s a s fol l:

Nex t row (R S d e c): (P 1, K 2) 3 t i me s, (K 2 tog, K 1) 3 (5) t i me s, P 1, K 2 18 (2 2) st s

Nex t row: K3, P6 (10), (P2, K 1) 3 t i me s

Nex t row: (P 1, K 2) 3 t i me s, K6 (10), P 1, K 2 Rep l a st 2 rows once more t hen t he f i rst of t he se rows aga i n L eave st s on a holder

CO L L A R

Sl ip t he 18 (2 2) st s lef t on hold f rom L ef t Front, t he 16 (14) st s f rom B ack, a nd t he 18 (2 2) st s f rom R ight Front onto a need le, ready to work w it h R S faci ng 52 (58) st s.

S i

e 1 on ly

Nex t row (R S d e c): K3, P 1, (K 1, P 1) 6 t i me s, skp o, P2tog, (K 1, P 1) t w ice, K 1, P2tog, (K 1, P 1) t w ice, K 1, P2 tog, K 2 tog, (P 1, K 1) 6 t i me s, P 1, K3. 47 ( ) st s

S i z e 2 on ly

Nex t row (R S d e c): K3, (P 1, K 1) 8 t i me s, P 1, K 2 tog, P2 tog, (K 1, P 1) t w ice, K 2 tog, (P 1, K 1) twice, P2tog, K2tog, (P1, K 1) 8 ti mes, P1, K3. (5 3) st s

B o t h s i z e s

Nex t row (WS): K3, (K 1, P 1) to l a st 4 st s, K4

B E R G È R E D E F R A N C E

C

F I N I S H I N G

Sew

B U T T O N L O O P S

Usi

On

S P E C I A L A B B R E V I AT I O N S

C8B: Slip 4 st s onto cn and hold back, K4, K4 from cn

C8F: Slip 4 st s onto cn and hold at front, K4, K4 from cn

C 7Bd ec: Slip 4 st s onto cn and hold at back, K3, (K2tog, K2) from cn

C 7Fd ec: Slip 3 st s onto cn and hold at front, (K2tog, K2), K3 from cn

C6B: Slip 3 st s onto cn and hold at back, K3, K3 from cn

C6F: Slip 3 st s onto cn at hold at front, K3, K3 from cn

C6Bd ec: Slip 3 st s onto cn and hold at back, K3, (K2tog, K1) from cn

C6Fd ec: Slip 3 st s onto cn and hold at front, (K2tog, K1), K3 from cn.

C5Fd ec: Slip 2 st s onto cn and hold at front, (K2tog, K1), K2 from cn

C5Bd ec: Slip 3 st s onto cn and hold at back, K2, (K2tog, K1) from cn

C4F: Slip 2 st s onto cn and hold at front, K2, K2 from cn.

C4B: Slip 2 st s onto cn and hold at back, K2, K2 from cn

For ge ne ra l a b b revi at i on s, see p89

I

Abbreviations

alt alternate approx approximately beg beginning ch chain

cn cable needle cont continue dc double crochet (US single crochet) dec decrease (work two stitches together)

DK double knitting

DPN double pointed needle

dtr double treble (US treble crochet)

est established foll following inc increase

K knit

KFB knit into front and back of stitch

K2tog knit the next two stitches together kwise knitwise meas measures

M1 make one (see M1L)

M1pw make 1 st purlwise: with LH needle lift the strand between next and last st from front to back and purl through the back loop

M1L left leaning increase: with left needle tip, lift strand between needles from front to back Knit lifted loop through back of loop

M1R right leaning increase: with left needle tip, lift strand between needles from back to front Knit lifted loop through front of loop

MB make a bobble mrk marker

P purl patt pattern(s)

PB place bead

PFB purl into front and back of stitch

pm place marker prev previous psso pass slipped stitch over P2tog purl 2 stitches together

P3tog purl 3 stitches together pwise purlwise rem remain(ing) rep(s) repeat(s)

rev st st reverse stocking stitch

RH right hand

RS right side skpo slip 1, knit 1, pass slipped stitch over sk2po slip 1, knit 2 tog, pass slipped stitch over s2kpo slip 2 tog kwise, knit 1, pass slipped sts over

Sl slip

sl st slip stitch

ss slip stitch (crochet) slm slip marker

SSK slip 2 stitches one at a time, return to LH needle, knit 2 slipped stitches together tbl

SSP slip 2 stitches one at a time, return to LH needle, purl 2 slipped stitches together tbl st(s) stitch(es)

st st stocking stitch tbl through back of loop tog together tr treble crochet (US double crochet) w&t wrap and turn WS wrong side wyib with yarn in back wyif with yarn in front yb take yarn back (no inc) yf bring yarn to front (no inc)

yfwd yarn forward yo yarn over yrn yarn round needle

HERE…

O R M A T I O N

Contacts

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A

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B

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S c h e e p j e s

www scheepjes com S c h o p p e l Wo l l e

www schoppel wolle com c/o ArtYarn www artyarn co uk

n s

www cascadeyarns com D e b b i e B l i s s c/o LoveCrafts www lovecrafts com

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www garnstudio com Available from Wool Warehouse 01926 882818 www.woolwarehouse.co.uk

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Pattern updates

Our archive of updates can be found at:

I S S U E 175

Clarisse

The fi rst row of the Cha r t needs to be deleted, as it’s a dupl icate of the decrease k n it row before placi ng the cha r t Cha r t shou ld sta r t on Row 2. L engths to shou lder need to be adjusted to 51½ (53½:55½:58: 60:61:63½:65:66) cm

The neckba nd needs a n extra i nstr uction: Place 42 (45:44:44: 46:46:47:48:49) held sts for both front a nd back on to need les, pm for beg of rou nd Cont i n patt B, i nc 1 (0:2:2:0:0:1:0:2) a nd dec 0 (0:0:0:2:2:0:1:0) sts at shou lder sea ms on fi rst rou nd 85 (90:90:90:90:90:95:95:100) sts

There shou ld be a n extra i nstr uction for the neckba nd: Fold neckba nd to the i nside a nd stitch cast off edge loosely to i nside neck

rib shou ld be worked

10cm

not 1cm

Natural selection

E V E RY Y E A R, shepherds choose wh ich la mbs to keep a nd wh ich to sel l We a re a l l tr yi ng to breed the perfect sheep on ly none of us qu ite agrees what th is person i fication of sheep splendou r is It’s a n old joke: th ree shepherds, fou r opi n ions.

It is sad, but wool has become a by product of meat fa rm i ng, a nd as a resu lt wool qu a l ity has broad ly d i m i n ished For me, though, wool is the crop on my fa rm, so my priority for choosi ng wh ich la mbs to keep is who has the best f leece But what is the best f leece ty pe? That’s a mov i ng a nswer There is no bad wool ty pe, on ly i nappropriate usage what is ‘best’ is d i rected by the desi red end use for that wool I wa nt f leece to ma ke ya rn for cra f ti ng, so I have chosen to develop the ‘h i l l’ ty pe Nor th Cou ntr y Cheviot. I sta r ted i n Cheviots yea rs before I sta r ted a ya rn busi ness. It must have been fate, because Cheviot wool is perfect for a w ide va riety of k n itti ng. I chose it i n itia l ly because they a re the trad itiona l breed here i n the Tr ue Nor th. Back i n the d ay, th is ty pe of sheep suppl ied Sav i le Row su it ma kers w ith a strong wool that held the shape of ta i lori ng w ith a clea n ecr u that l i f ted dye even ly Loca l Cheviots a re not ped igree a n i ma ls They a re reg u la rly ‘i mproved’ by crossi ng

i n a nother breed to develop a desi red cha racteristic You m ight remember I a m cu rrently doi ng th is, look i ng to ma ke the f leeces ‘better’ The last ti me th is was done a rou nd here was i n the 1960s, when my Gra nd ad’s generation decided the la mbs were getti ng too big, especia l ly the heads, so they sta r ted breed i ng from sma l ler tups to ma ke la mbi ng easier

Th is cha nge was one ma rked by a pivot towa rds meat va lue as the priority Wool prices were d roppi ng fast, a nd loca l ly fol ks sta r ted to focus on body cha racteristics, to ra ise the la mb va lues to replace lost wool i ncome Some bred for si ze, some pushed la mbi ng percentage (how ma ny la mbs per pregna ncy), some pushed at the abi l ity to produce la mbs from l ittle or no ca re, a nd so on It does not matter what thei r new priority was, it was no longer f leece qu a l ity.

W hen I sta r ted my f lock from scratch 15 years ago, I del iberately sought out old style sheep Luck i ly there were a few fa rmers who had stuck to the old selection criteria pa r tly because these had worked i n the loca l cond itions, but a lso out of pu re stubborn ness, “be d a m ned i f I w i l l cha nge what I consider a good a n i ma l” So I sta r ted w ith gi rls whose breed i ng had conti nued to hold sk i n, a nd thus f leece, as the top priority Th is mea nt when it ca me ti me to sta r t Ca ith ness Ya rns, the ex isti ng qu a l ity, h istor y a nd potentia l i n the f leece of my

sheeps were a major i n f luence i n decid i ng to ma ke ya rns from my gi rls

L a mb selection is actu a l ly si mple. W hat you a re doi ng is choosi ng wh ich la mbs w i l l succeed the ewes agei ng out of the f lock The tools I use to assess the la mbs a re sight a nd touch, combi n i ng these w ith experience The key is a l ready k now i ng what you wa nt the ‘keepers’ to be l i ke I assess the la mbs fi rst by look i ng at how thei r f leece brea ks open you don’t wa nt it to open dow n to the sk i n, wh ich lets the cold and rain in Then I feel the f leece for soft strength th is is a sca le of qu a l ity from sof t to awesomely soft Guess which ones I keep?

Then, second a r y attributes come i nto play; most a re related to a n i ma l strength a nd hea lth, so I don’t keep a w rong la mb, no matter how good its f leece is E xa mples a re si ze: bigger is better. Shape: I wa nt long stra ight backs G ood foot hea lth, wh ich is huge for long term hea lth. Eventu a l ly I have the right nu mber to keep Job done L a mb selection is not a d a rk a r t Keep a clea r idea of what you wa nt from the sheep a nd a i m towa rds a perfect exa mple of that You w i l l never get there perfection is u natta i nable Masons bu i ld i ng med ieva l cathed ra ls had a say i ng: “ on ly G od is perfect” Maybe so But the pu rsu it of perfection is a l i feti me ’ s work

w w w.caithnessyarns com

Next Month: Graeme gets the sheep and the farm ready for the oncoming winter

Graeme keeps the lambs most likely to give him good fleece for handknit yarns

Graeme Bethune explains how he decides which lambs to keep and which to sell in the autumn auctions

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