Making Stories Magazine - Issue 2 by Making Stories

issue 2 - loving & caring

D E A R WO N D E R F U L KNITTING FRIENDS editors-in-chief hanna lisa haferkamp & verena cohrs

A very warm welcome from us here at Making Stories to Issue 2 of our magazine. Before you start reading, we’d like to address something that is very important to us. When you browse through these pages, you might notice something peculiar: • •

The cover has a small sticker on it. This sticker covers Sockmatician’s (Nathan Taylor’s) name. There’s a gap between the pages 23 and 32.

Originally, there was an article by Sockmatician on those pages. Many of you will be aware of his recent actions, starting with an Instagram post with highly problematic views and language, and culminating in threatening a WoC at Yarningham in July. (These are the latest developments at the time this letter is going to print.) These actions, and his subsequent reactions to the criticism he faced, are despicable. When we initially contracted Sockmatician to write about his HIV story, we were excited to share the piece. We can’t, and won’t, do that anymore. His behaviour is despicable and dangerous and it’s very much at odds with everything we believe in here at Making Stories and the values we base our work on. We want our magazine to be a safe space. Therefore, we decided to reprint a portion of the magazine to remove his article completely and to add a sticker so that our contributors don’t have to share space with him on the cover either. You will still find his name on the contributor overview

as well as the thank you page and a thank you note to him in the original letter from the editors. The reason for that is that removing his name from all of these pages would have meant a complete reprint of the issue, which was not financially possible for us. Please know that we firmly distance ourselves from his behavior and the words we shared about him and his work in the original letter of the editors. In addition to the changes you’re seeing in the physical copy, we’ve also adjusted the digital version of the magazine so that his article and name are removed. Furthermore, we’ll donate 6% of the profit of Issue 2 to anti-racism causes. This is the equivalent to how much space his article would’ve taken up in Issue 2 (8 of 136 pages). At the time this letter goes to print, we’re still in the research phase of determining which organizations to donate to. You can find an update on the ones we suggest on our website by the time this issue is published. We hope you still find joy and inspiration in this issue and strength and solace when you need it in your knitting. A huge thank you goes out from us to the BIPOC and marginalized folx who share their experiences with us and work tirelessly on educating us. Theirs are the voices we need to listen to and share. With lots of love, Hanna Lisa & Verena

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ravelry coupon code

Download your digital copy of the magazine here: https://www.ravelry.com/ redeem/making-stories

Thank you to our wonderful contributors to Issue No. 2: Ainur Berkimbayeva, Beatrice Perron Dahlen, Camille Romano, Carolyn Kern, Dawn Henderson, Ema Marinescu, Leeni Hoimela, Renate Kamm, Susanna Winter, Theresa Shingler and Verena Cohrs for their beautiful designs. Blacker Yarns, Brooklyn Tweed, De Rerum Natura, Isager, John Arbon Textiles, Lanivendole, Marina Skua, Mominoki Yarn, Rosa Pomar, Tukuwool and Woolly Mammoth Fibre Company for their yarn support. Caroline Frett, Catarina Seixas, Jeanette Sloan, Joanne Seiff, and Nicole Bracey for their fantastic written and visual contributions.

editors in chief

Hanna Lisa Haferkamp Verena Cohrs

Alison, Amanda, Ann-Cathrine, Annie, Brigita, Carla, Catrina, Cecilia, Christine, Cynthia, Emeli, Emily, Erin, Eva, Frances, Hannah, Jamie, Julie, Jutta, Karel, Karen, Karen, Katlijn, Kirstie, Lara, Lauren, Lauri, Lesley, Liz, Maria, Marie, Marthe, Milla, Monika, Paule, Pelin, Sigridur, Sue-Ting, Sylvia, Sylvia, Sylviane, Teresa, Tina, Tomomi, Valeria, Veronika, Victoria, Wendy, Yoon and ZĂŠa for their incredible work as test knitters.

CO N T E N T S “For our sake and yours forget your name in the street; tell us what the world has been to you in the dark places and in the light. Don’t tell us what to believe, what to fear. Show us belief ’s wide skirt and the stitch that unravels fear’s caul.” - Toni Morrison -

welcome

thaba

mut

deganwy

graphite

the venn diagram

knitworthy

of seeds and stitches

kaksi

the knitter

stern

zingiber

contorta

open heart

patterns

heron island

representation & (in)visibility in the knitting community

24 my hiv story (Article has been removed)

54 hali

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issue 2 - loving & caring

W E L CO M E !

editors-in-chief hanna lisa haferkamp & verena cohrs

and we’re grateful to know that you see us. Issue 2 focuses on loving and caring, with all their bright and sparkling facets, but it also shines a light on the small acts of courage and kindness that so many of us strive to integrate into our daily life. We’re proud to have a beautiful lineup of patterns for you as well as a range of absolutely fantastic articles and illustrations. From loving your body to recognizing the overlapping circles of your community, from building a caring community step by step to having conversations on racism and diversity in our community, we’re excited for you to read them, think about them and let them inspire you. Time to dive in. We hope you love this issue as much as the first one, and we can’t wait to see you read the articles and cast on a new project or two.

When we first started out on the journey to change, to moving from books to a magazine, we knew deep down in our hearts that it was the right call. Yet there’s no denying it: We were scared. A lot. “Never break a running system” is usually good advice, and we were about to embark on a massive shift in our businesss that could go well, but it could have also gone oh so wrong. Then the reactions to Issue 1 started coming in. The conversations at EYF, an influx of new stockists, messages and hugs. So many of you told us that you loved the new approach, that you felt seen - some for the first time ever - through our choice of model, that you appreciated not having any ads disrupt the experience of reading the magazine, that you had tears in your eyes when you read the stories we shared. We’re not out of the thick yet - running a publishing company, especially one focused on print, in this day and age is challenging - but your love and support for Issue 1 has given us a much-needed push and confidence in that we’re on the right path. That our decision to focus on sharing stories, on talking about the hard things, on being more political than we were before, was right. Not just for us, but also for you, our community. Thank you for that. We love doing the work we do,

With love, Hanna Lisa & Verena

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D E GA N W Y “The Deganwy jumper is inspired by the traditional fishermen jumpers and ganseys, knitted ubiquitously up and down the coasts of the UK for the men who went to sea by the people who loved them. It was an article of clothing that signified love, connection and belonging.

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“The Deganwy jumper is inspired by the traditional fishermen jumpers and ganseys, knitted up and down the coasts of the UK for the men who went to sea by the people who loved them.”

This jumper is a modern take on a traditional design, this time a top down easy to wear unisex design, with a dropped shoulder. It is designed to be worn with 3-4 inches of positive ease and end at mid hip; the design has a cosy folded neck and relatively narrow arms.” - Theresa “The base is a UK grown, non- superwash, nylon free blend of BFL/ Masham which was spun in Yorkshire and naturally dyed in my studio in Northern Ireland. It isn’t tightly spun, it’s beautifully cosy and warm and has a nice drape from the two longwool breeds.” - Emma, Woolly Mammoth Fibre Company

D E GA N W Y design theresa shingler yarn woolly mammoth fibre company

Pattern on pages 80-85

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K N I T WO R T H Y author nicole bracey

remember when or where I found it, but I stumbled upon the Flax Pullover by Tin Can Knits: a free pattern that came in seventeen sizes, all the way up to a 58 inch bust. I took a deep breath, measured myself, and cast on.

It took me a long time to be comfortable with the term “plus size”, and in the spirit of transparency, I still wrestle with it from time to time. It wasn’t until my friend Erin encouraged me to shop at more size inclusive stores, that I started accepting that my own body. I started accepting that I didn’t fit into the standard sizing of most stores; and that it was OKAY that I had to go to specialty stores to find clothes I felt good in.

As the sweater became bigger, I started getting nervous. I remember telling a friend that I was worried I was going to look like a big, purple marshmallow in it. This fear caused me to abandon it for several months. After some encouragement from another friend who was eager to see the finished project, I decided to pick it back up. I finished it, blocked it, tried it on and...I loved it. I didn’t feel like a purple marshmallow at all. I got so many compliments from friends, family, and online followers of all different body types telling me how much they loved it. I got asked “did you make this?” by strangers and felt proud to say “yes.”

When I first started knitting, I felt the same way I did before buying clothes that fit me. I refused to acknowledge my own size. I made boxy sweaters from a one-size-fits-all kit - and unsurprisingly - I never wore them. What looked like a sexy, slouchy, oversized sweater on the model, was an ill-fitting, short, box on me. I focused on knitting accessories instead, so I didn’t have to think about my body. I was afraid to make myself clothes that fit because I didn’t think that my body was knitworthy. I didn’t think that I deserved the financial investment to buy enough yarn. I didn’t think that I deserved the labour that went into making a sweater. I didn’t think that my own body was worthy of my own time.

I know I’m not alone in my struggles. I see post after post on Instagram and Ravelry from knitters of all shapes, sizes, and (dis)abilities, saying “I’d love to make that if only my body was a certain way”, or “I’m going to make that when I look like this.” I want to be YOUR Erin and encourage you to just make the sweater. You are knitworthy. Whether you live with disability, whether your body is small, whether your body is large; your body is knitworthy.

When I eventually started to get more involved in the online fibre community, I started following more knitters, designers, and yarn companies. I started to see a more diverse selection of bodies wearing their handknits. I can’t

You are knitworthy. Remember that.

illustrator caroline frett

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CO N T O R TA

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“Touring three US national parks in the summer of 2017, we were enthralled by the vast beauty of the mountain forests. Memories of tall slender lodgepole pines stayed with me. Those images became the inspiration for my Contorta hat design.”

“Touring three US national parks in the summer of 2017 (Glacier, Yellowstone and Grand Teton) we were enthralled by the vast beauty of the mountain forests. Memories of tall slender lodgepole pines stayed with me. Those images became the inspiration for my (pinus) Contorta hat design. I charted and swatched many pine trees before sending in my design proposal for Issue 2 2. It was a delight to work with Marina Skua’s Mendip 4-ply (handdyed, British mountain grown wool). Mendip knit up at a gauge that allowed me to repeat the slender pines, all in a row, around the hat. Contorta is essentially a classic ribbed beanie, inspired by mountain trees, and knit in mountain wool. Enjoy.” - Carolyn “Mendip 4-Ply is grown, spun and dyed in the UK – I source the wool from a farm less than 20 miles from where I live. There are two bases – one white lambswool (Sunny), and one mixed coloured wool (Stormy) – and I dye the same colours on both. So there’s a fresh, bright version, and a darker, heathered version of each colour. The Stormy base that Carolyn has used gives a rich, tweedy texture that’s pleasingly rustic.” - Marina Skua

CO N T O R TA design carolyn kern yarn marina skua

Pattern on pages 86-89

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HERON ISLAND “There is something about lace around my shoulders that I find immensely elegant.

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“There is something about lace around my shoulders that I find immensely elegant. Combined with a circular yoke and top down construction, it’s also simple to knit and simple to wear.”

Combined with a circular yoke and top down construction, it’s also simple to knit and simple to wear.” - Beatrice “A Heavenly Blend is the icing on the cake of our yarns, because like all our range is made of local fibres that are processed in small scale production in Italy, but moreover 25% of it is homegrown cashmere from Giulia’s own goat farm. This heavenly fibre is blended with grey and fawn alpaca from Tuscany and a fine wool from Abruzzo, to reach a heathery oatmeal / pearl base that we both leave undyed and handdye in a small palette of semisolid hues. We love this yarn so much because it perfectly celebrates all the ideas and goals we thought about when we started this traceable Italian small mill production, and represents so accurately the high quality of semi artisanal work that we reached for. Also, it’s a dream to knit with, as wool balances with its bounce and lightness the drape of the other smooth and incredibly soft noble fibres. ” - Stefania, Lanivendole

HERON ISLAND design beatrice perron dahlen yarn lanivendole

Pattern on pages 90-93

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THABA

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“Knit from the top-down, the Thaba Socks feature twisted ribbing and a fun cable panel that mimics mountain tops stacked on top of each other.”

“I designed the Thaba Socks, inspired by mountain peaks which are the backdrop of the little valley town where I live. Knit from the top-down, they feature twisted ribbing and a fun cable panel that mimics mountain tops stacked on top of each other. A longer length of leg, and the sturdy yarn base makes them perfect for outdoor adventures or cozying up indoors.” - Dawn “Mondim is a non-superwash yarn made with 100% portuguese wool. I imagined it as a sock yarn and soon realized it was also perfect for sweaters and shawls. It’s quite soft and it still manages to show loads of character from it’s rustic origins.” - Rosa, Rosa Pomar

THABA design dawn henderson yarn rosa pomar mondim

Pattern on pages 94-97

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GRAPHITE

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“Inspired by the striking patterns on Malian mudcloths called Bògòlanfini, Graphite is a cowl that is all about warmth and coziness. The double layer cowl is completely reversible, so you have the option between two different looks by turning it inside out.”

“Inspired by the striking patterns on Malian mudcloths called Bògòlanfini, Graphite is a cowl that is all about warmth and coziness. It’s easy to pop over your head and will keep you warm whether you’re walking around in your neighbourhood, hiking in the woods or meeting friends in an outdoor cafe in chilly weather. The double layer cowl is completely reversible, so you have the option between two different looks by turning it inside out. All floats are conveniently hidden between the two layers of the cowl.” - Ema “Brooklyn Tweed Arbor is a classic DK weight yarn with timeless versatility. Purebred Targhee wool is worsted spun into a round and springy 3-ply yarn, perfect for crisp stitch definition and wear-everywhere knits. Arbor is skein-dyed in a painterly palette of 34 solid colors. Like all Brooklyn Tweed yarns, Arbor is developed, sourced, processed, spun and dyed in the USA.” - Huelo, Brooklyn Tweed

GRAPHITE design ema marinescu yarn brooklyn tweed

Pattern on pages 98-101

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OF SEEDS AND STITCHES author catarina seixas

building a house by hand, of children sneaking the last bit of sourdough cake.

It’s late. Every body is tucked in bed, the ambers in the stove share their dim light and last bits of warmth with the room. Outside, the crescent moon paints our woods silver and the shadows dark. The owl calls from a tall tree, the fox lets out a bark but my chickens are safely sleeping in their coop tonight.

These seeds tell a story of community, of what we share with our neighbours - food, work, skills, surplus, laughter, little packets of saved seeds tucked into a jacket’s pocket upon goodbyes (“I grew these last summer, I’m sure you’ll enjoy this variety of aubergine”).

It’s in these late, silent hours that I enjoy knitting the most. When the lonesome clicking of my needles marks the rhythm of my thoughts. Tonight, my mind wanders towards our garden, towards spring planting, towards the promises a new season holds. The seedlings in my trays, just starting to sprout, hold not only promises but also stories.

Small acts that build up, like stitches in a sweater, knitting us all together, holding each other up, providing a safe space to just be and grow. Small acts of friendship and kindness, of creativity and skill, of willingness to go through life together and sharing what one has much of seeds, chicken stock,oranges, herbal salves, fresh wool.

Each seed has a story. And besides that of each plant’s growth, adaptation and resilience, these seeds encompass another story. One that speaks of potlucks held around woodstoves, of sheep shearing afternoons, of lending help

Click click, I’m brought back to the work on my hands, purling and stitching as I go, passing stitches from a needle to another, as my seedlings grow in their trays and the owl calls once more under the crescent moon.

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STERN

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“I was aiming to create a very versatile piece that would work for kids and adults as well as with different yarn weights and regardless of whether you prefer pullovers or cardigans.”

“With Stern, I was aiming to create a very versatile piece that would work for kids and adults as well as with different yarn weights and regardless of whether you prefer pullovers or cardigans – the pattern is written for both options. The texture yoke motif is fairly minimalist to go with all those options, and I hope it pairs beautifully with your favourite yarn.” - Verena “Albertine and Pénélope are two worsted spun merino yarns with a touch of silk; Albertine is a fingering weight (4 ply, 200 m /50g) and Pénélope is a light DK weight (6 ply, 133 m/50 g). They are both made with precious organic Merino d’Arles wool from sheep raised with care in Provence. It is the kind of yarn I love to use for baby and special projects : lovely soft with a great stitch definition and a subtile shiny lustre that gives luminous and complex colors.” - Solenn, De Rerum Natura

STERN design verena cohrs yarn de rerum natura

Pattern on pages 102-105

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OPEN HEART

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“The design idea started with a heart shape, which I played with for several days, until I realized how this shape can be translated into slippers. I love lines, angles, and geometry, so I incorporated them with the crisp twisted rib. These slippers are to be worn at home to feel warm, cozy, and loved!” - Ainur “Tamar DK Base. Colour: Tiddybrook. Our beautiful semi-worsted lustre yarn is spun from the fleeces of fine British rare breeds, including Teeswater, Wensleydale and Leicester Longwool.” - Blacker Yarns

OPEN HEART design ainur berkimbayeva yarn blacker yarns

Pattern on pages 106-111

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R E P R E S E N TAT I O N & (IN)VISIBILITY IN THE K N I T T I N G CO M M U N I T Y author jeanette sloan

The current discussion has prompted some to issue statements acknowledging they need to do better to represent BIPOC and that’s a start because seeing ourselves represented in a community means we are valued within it. It enables us to feel part of it. This doesn’t mean tokenising us by using the occasional dark skinned model on Instagram to ‘diversify’ a company’s feed. It means actively inviting BIPOC designers to submission calls, featuring the designs, yarns and products of BIPOC businesses and using the skills of BIPOC tech editors, writers and photographers too. For individuals it means actively seeking out the work of BIPOC. Engage with them on social media, support them by buying from them and tell the fibre festivals you attend and the magazines you read that you want to see more of them.

I learnt to knit as a child and in fact was 7 years old when my Bajan (Barbadian) mother taught me the basics. She learned to knit when she came to the UK from the West Indies and throughout my childhood would sew and knit for my whole family. Mum was highly skilled, worked with speed and elegance, occasionally adapting patterns if necessary. Growing up in 1970s London seeing my black mother knit wasn’t unusual for me even though, on the pages of her knitting patterns there was never anyone who looked like us. Anyone who wasn’t white. But, as I said that was the 1970’s, it’s now 2019. Surely things have changed? Sadly it seems things have barely changed at all. Over the last 6 months the knitting community has been discussing something every non white knitter has always known. That as black/indigenous people of colour (BIPOC) they, we are rarely represented in the fibre community. In fact if you look at most knitting publications we barely exist at all. Why? Because while major yarn brands still believe that ‘black people don’t knit’ this also includes any non white knitter. It’s why many companies don’t see value in using BIPOC models believing it will negatively affect their business in terms of lost sales.

I’ll know the community has changed for the better when it’s becomes unremarkable to see a BIPOC model on the cover of a magazine and when BIPOC knitters are truly welcomed into every space. These changes take time but we can all do our bit now if we want a knitting community that truly reflects everyone in it.

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HALI

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“Hali means a hug in Finnish, and the pullover is like a warm hug from a friend on a chilly day.”

“Hali means a hug in Finnish, and the pullover is like a warm hug from a friend on a chilly day. It’s a bit oversize so you can layer your clothes with a blouse and jeans and feel comfortable. The funnel neck gives the pullover a contemporary look even though the stitch pattern is quite timeless. Can you see how the stitches are chained to each other - just like us? “ - Leeni “Tukuwool Fingering is a strong, vibrant wool yarn with timeless charm. Our yarn is spun and dyed in Finland – using only Finnish wool.” - Tiina, Tukuwool “Isager Silk Mohair is with its blend of 25% silk and 75% kid mohair a beautiful, soft and shiny yarn with a light and fluffy structure. We use it primarily together with other yarns, but it is also beautiful used individually especially in simple designs.” - Marianne & Helga Isager, Isager

HALI design leeni hoimela yarns tukuwool & isager

Pattern on pages 112-117

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MUT

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“There is joy in making and joy in wearing, but when the maker creates something so specific, like Mut, this Brioche Seelenwaermer, the resulting garment spreads love.”

“When loving and caring for others, ourselves, and our community is interpreted through knitting, the entire craft is the highlight. We knit to spread joy, for others or ourselves. There is joy in making and joy in wearing, but when the maker creates something so specific, like Mut, this Brioche Seelenwaermer, the resulting garment spreads love. It displays comfort through careful selection of huggable yarn, squeezable brioche fabric, and artful stitching. This garment is made to hug you and comfort you.” - Renate “Like all John Arbon Textiles yarns, Knit By Numbers is made in North Devon using the finest quality fibres and spun with vintage machinery. This 100% organically farmed Falklands Merino yarn is available in a whopping 109 shades in both DK & 4ply (and mini skeins too). This innovative colour palette aims to provide folk with the precise shade they require. Each colour range is available in 6 shades going from dark to light, so it is always easy to find a harmonious colour combination - perfect for gradient projects, stripes and colourwork.” - John Arbon Textiles

MUT design renate kamm yarn john arbon textiles

Pattern on pages 118-121

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T H E V E N N D I AG R A M author joanne seiff

but more than 30 years later, whenever I go to synagogue on a Saturday morning, I wear my handwoven tallit.

When I became a Bat Mitzvah, on January 11, 1986, I was one of the first girls in my congregation to lead services in a tallit, a Jewish prayer shawl. Traditionally worn by Jewish men, with a kippah (yarmulkah or skull cap) during morning prayers, many liberal Jewish congregations are now egalitarian. Girls and women in some Jewish congregations now have the choice to wear what their brothers, fathers and husbands have been wearing all along.

Well? Except when I don’t. I can’t wear the tallit when I go to a more traditional congregation where women still don’t conventionally wear them. Also, no matter where I wear it, few people notice or imagine that I made it myself. There are plenty of “makers” in the Jewish community, but they’re scattered throughout a much larger bunch of people. Of course, they might make great bread or fabulous calligraphy rather than knitting, spinning or weaving. They aren’t all immersed in the fiber arts, as I am. Most of the people I invite to my house for Shabbat (Sabbath) dinner might not know I made the napkins, or the yarmulkahs, or the sweaters we wear...but they assume I made the food.

To prepare for my big day leading services at synagogue, I started learning long before. I also chose to weave my own tallit. My grandmother was an incredible needle worker, and she used my handwoven fabric and embroidered the blessing that’s recited before putting on a tallit on the mantle, so it sits along my neckline. My mom sewed it all together. I tied the tzitzit, a complicated series of knots that represent the 613 commandments of Judaism, by myself.

When I go to knitting group, I’m often the only person who doesn’t celebrate Christmas or Easter. I’m not knitting stockings for the mantelpiece. There are no heirloom christening shawl in my family. We’re joking, we’re laughing and we’re sharing...but some of the groups aren’t places where I’ve felt I could be open

My dad drove me to weaving lessons and learned to weave in the process. My family is a “make it yourself ” family. As makers, we were proud to work together on such an important garment and life event. It took a long time for me to learn to run the entire religious service I led that day...

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about who I was as a Jewish person. Recently, a knitting group decided to meet at a kosher restaurant near my home. I was thrilled. I was likely the only person for whom this felt like an inclusive gesture and seemed important. I tried to invite some of my Jewish friends who knit—and for one reason or another, they didn’t join us. But at Hanukah time, as the restaurant closed, the owner invited us to light the Hanukah menorah together. I was able to invite my new knitting friends in to experience my traditions. It was, for me, a powerful, warm feeling that I will likely never forget. This past month, my knitting group met, as usual, at the restaurant, but it had been vandalized and covered with anti-Semitic graffiti the month before. We smiled, thanking the owners for our delicious sandwiches, coffees and desserts, knit and laughed and enjoyed each other’s company. I was deeply moved that no one suggested the group move locations, or not go back out of fear. No one said anything about the crime, but this time, I felt supported by allies who were also knitters.

My children are often the only ones at elementary school with hand knit sweaters, mittens and toques. Some of the teachers mention how much they like those sweaters. However, despite the -40 temperatures of Winnipeg winters, my kids don’t look like the other children at school much of the time. They choose the colors and designs of their sweaters and wear them proudly - but the other kids’ families aren’t makers the way we are. No worries, they shrug. When my mother visits, they curl up next to her on the couch, practicing their knit stitches, their chain stitch and single crochet. They are filled with satisfaction when they know they can create things that meet with their grandmother’s approval. We create circles. Mitts, hats, sweaters. Circles of intimacy, of religion and ethnicity, of family and community. Our stitches both bind us together, and separate us from others. It is in the small intersections of those Venn diagrams that I find myself as a knitter. It’s in the parts where, no matter our differences, we can link up, share the power of making warmth and cloth, connections and meaning - together.

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“Our stitches both bind us together, and separate us from others. It is in the small intersections of those Venn diagrams that I find myself as a knitter.” 67

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K A KS I

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“Kaksi means “two” in Finnish. It is a reversible cabled hat which looks aesthetically pleasing on the right side and wrong side.”

“Kaksi means “two” in Finnish. I chose this name because it is a reversible cabled hat which looks aesthetically pleasing on the right side and wrong side. So it feels like knitting two hats in one go.” - Camille “Our German Merino originates from the alpine uplands in Germany and it’s spun locally in a family spinning mill. This is a traditional Bavarian yarn which is light and airy, it’s well suited for cosy and elegant designs, also for colourwork and cable knitting. The knitted objects are warm and durable, they’re so comfortable to wear. Like hanging out with good old friends!” - Chihiro, Mominoki Yarn

K A KS I design camille romano yarn mominoki yarn

Pattern on pages 122-125

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m a k i n g s t o r i e s m aga z i n e

issue 2 - loving & caring

ZINGIBER

issue 2 - loving & caring

“Zingiber Hoodie is a top-down cardigan with raglan sleeves, cable details, pockets and an (optional) hood. It was named after the Latin name for a family of warming plants such as ginger, turmeric, and cardamom.”

“Zingiber Hoodie is a top-down cardigan with raglan sleeves, cable details, pockets, and a hood. This design was named after the Latin name for a family of warming plants such as ginger, turmeric, and cardamom. This worsted-weight cardigan has a wide four-leaf cable panel running down the back. The hood - which can optionally be left out - is worked last and shaped with short rows.” - Susanna “Brusca is a blend of three native Portuguese breeds: Merino Branco, Merino Preto (black merino) and Saloia. Portuguese merino is very similar to the original Spanish merino (the ancestor of all merino sheep) and Saloia is a beautiful red faced sheep originally from the region of Lisboa. When I was a child there were still some Saloia flocks grazing within the city limits.” - Rosa, Rosa Pomar

ZINGIBER design susanna winter yarn rosa pomar

Pattern on pages 126-133

m a k i n g s t o r i e s m aga z i n e

issue 2 - loving & caring

m a k i n g s t o r i e s m aga z i n e

issue 2 - loving & caring

A B B R E V I AT I O N S

1/1 l p t left purl twist: slip one stitch purlwise onto a

cable needle and hold in front of work, purl the next stitch on the left-hand needle and then knit the stitch on the cable needle through the back loop

2/2 r p c cross 2 right purl: slip two stitches purlwise onto

1/1 r p t right purl twist: slip one stitch purlwise onto a

cable needle and hold in back of work, knit the next stitch through the back loop and then purl the stitch on the cable needle

onto a cable needle and hold in back of work, knit the next two stitches on the left-hand needle and then knit the stitch on the cable needle

2/2 lc r 2/2 ribbed cable left leaning: slip 2 stitches purl-

wise onto a cable needle and hold in front of work, k1, p1 on the left-hand needle and then k1, p1 on cable needle

purlwise onto a cable needle and hold in back of work, k1, p1 on the left-hand needle and then k1, p1 on cable needle

2/2 lc cross 2 left: slip two stitches purlwise onto a cable

needle and hold in front of work, knit the next two stitches on the left-hand needle and then knit the two stitches on the cable needle

2/2 r c cross 2 right: slip two stitches purlwise onto a

wise onto a cable needle and hold in back of work, knit the next two stitches on the left-hand needle and then purl the three stitches on the cable needle

2/2/2 l p c 1

2/2 r c r 2/2 ribbed cable right leaning: slip 2 stitches

onto a cable needle and hold in front of work, purl the next three stitches on the left-hand needle and then knit the two stitches on the cable needle 2/3 r p c cross 2 over 3 right purl: slip three stitches purl

2/1 r c cross 2 over 1 right: slip one stitches purlwise

slip four stitches purlwise onto a cable needle and hold in back of work, knit the next two stitches on the left-hand needle, slip the last two stitches in the cable needle back to left-hand needle, move cable needle to front, purl the next two stitches on the left-hand needle and then knit the two stitches on the cable needle

2/2/2 r p c 2

a cable needle and hold in front of work, knit the next stitch on the left-hand needle and then knit the two stitches on the cable needle

a cable needle and hold in back of work, knit the next two stitches on the left-hand needle and then purl the two stitches on the cable needle

2/3 l p c cross 2 over 3 left purl: slip two stitches purlwise

2/1 lc cross 2 over 1 left: slip two stitches purlwise onto

cable needle and hold in front of work, purl the next two stitches on the left-hand needle and then knit the two stitches on the cable needle

cable needle and hold in back of work, knit the next two stitches on the left-hand needle and then knit the two stitches on the cable needle

cross 2 over 2 over 2 left purl, 1st variation: slip first two stitches purlwise onto a cable needle and hold in back of work, slip next two stitches purlwise onto a cable needle and hold in front of work, knit the next two stitches on the left-hand needle, purl the two stitches on the cable needle at back and then knit the two stitches on the cable needle at front

2/2/2 l p c 2

cross 2 over 2 over 2 left purl, 2nd variation: slip first two stitches purlwise onto a cable needle and hold in front of work, slip next two stitches purlwise onto a cable needle and hold in back of work, purl the next two stitches on the left-hand needle, knit the two stitches on the cable needle at back and then purl the two stitches on the cable needle at front

2/2/2 r p c 1

2/2 l p c cross 2 left purl: slip two stitches purlwise onto a

cross 2 over 2 over 2 right purl, 3rd variation: slip two stitches purlwise onto a cable needle and hold in back of work, knit the next two stitches on the left-hand needle, move cable needle to front, purl the next two stitches on the left-hand needle and then knit the two stitches on the cable needle

cross 2 over 2 over 2 right purl, 2rd variation: slip two stitches purlwise onto a cable needle and hold in front of work, purl the next two stitches on the left-hand needle, move cable needle to back, knit the next two stitches on the left-hand needle and then purl the two stitches on the cable needle

4/4 lc r 4/4 ribbed cable left leaning: slip 4 stitches purl-

wise onto a cable needle and hold in front of work, k2, p2 on the left-hand needle and then k2, p2 on cable needle

4/4 r c r 4/4 ribbed cable right leaning: slip 4 stitches

knit the stitch together with its yarn over

b r k 2 to g

knit 2 stitches and their yarn overs together

brp

purl the stitch together with its yarn over

b r p 2 to g

purl 2 stitches and their yarn overs together

contrasting colour

cast on

c o n t continue(s)(ing)

2/2/2 r p c 3

brk

dec

decrease(d)(s)(ing)

d p n ( s ) double-pointed needle(s) ds

double stitch: slip stitch purlwise with yarn in front, bring working yarn up and pull on the slipped stitch back over the right-hand needle until it slides around to show both legs (creating the double stitch), work the next stitch keeping the tension. If the next stitch is a purl stitch, you need to bring the yarn to the front before working the stitch.

est

established

inc

increase(d)(s)(ing) knit

purlwise onto a cable needle and hold in back of work, k2, p2 on the left-hand needle and then k2, p2 on cable needle

beg

beginning

bind off

k 1 t b l knit 1 stitch through the back loop

bor

beginning of round

k 2 to g knit 2 stitches together (1 stitch decreased)

cross 2 over 2 over 2 right purl, 1st variation:

m a k i n g s t o r i e s m aga z i n e

issue 2 - loving & caring

kfb

knit into front and back of the stitch (1 stitch increased)

purl into the front of the stitch you just picked up (1 st increased)

k w i s e knitwise

main colour

m e a s measure(s)(ing)

marker

m 1l

issue 2 - loving & caring

slip marker

ssk

slip slip knit: slip the first and the second stitch on the left-hand needle separately knitwise onto the right-hand needle, slide both stitches back onto the left-hand needle and knit them together (1 stitch decreased)

ssp

slip slip purl: slip the first and the second stitch on the left-hand needle separately knitwise onto the right-hand needle, slide both stitches back onto the left-hand needle and purl them together through the back loop (1 stitch decreased)

make 1 left: with your left-hand needle pick up the bar between the last stitch you knit and the next stitch on the left-hand needle, bringing the needle from the front to the back, knit into the back of the stitch you just picked up (1 stitch increased)

n 1

m 1 l ( b l ) make 1 left (backwards loop): make a backwards

p 1 t b l purl 1 stitch through the back loop

s t ( s ) stitch(es)

p 2 to g purl 2 stitches together (1 stitch decreased)

tbl

through back loop of the stitch (twisted stitch)

pat t ( s ) pattern(s)

w&t

wrap and turn (wrap next stitch on the left needle and turn work)

wrong side

wyib

with yarn in back

r e m ( s ) remain(s)(ing)

wyif

with yarn in front

remove marker

yarn over

right side

* *

repeat from * to *

loop on your right needle, with your working yarn going towards the back of the work (1 stitch increased

m 1l p

make 1 left purlwise: with your left-hand needle pick up the bar between the last stitch you knit and the next stitch on the left-hand needle, bringing the needle from the front to the back, purl into the back of the stitch you just picked up (1 st increased)

needle 1 / first needle

n 2

needle 2 / second needle

purl

place marker

p w i s e purlwise

m 1r

make 1 right: with your left-hand needle pick up the bar between the last stitch you knit and the next stitch on the left-hand needle, bringing the needle from the back to the front, then knit into the front of the stitch you just picked up (1 stitch increased)

s 2 k p slip two stitches together knitwise, knit one, pass

m 1 r ( b l ) make 1 right (backwards loop): make a back-

wards loop on your right needle, with your work ing yarn going towards the front of the work (1 stitch increased)

m 1r p

make 1 right purlwise: with your left-hand needle pick up the bar between the last stitch you knit and the next stitch on the left-hand needle, bringing the needle from the back to the front,

slipped stitches over (2 stitches decreased)

slip (pwise with yarn in back unless otherwise indicated)

s l 1 yo bring yarn to the front, slip the next stitch purl-

wise, then bring the yarn to the back over the needle and the slipped stitch. The slipped stitch and yarn over are counted as 1 stitch.

m a k i n g s t o r i e s m aga z i n e

issue 2 - loving & caring

T H A N K YO U ! DESIGNERS ainur berkimbayeva

@mamasteddybear mamasteddybear.com ravelry.com/people/mamasteddybear beatrice perron dahlen

@threadandladle threadandladle.com

camille romano

@camillejulieromano camilleromano.com carolyn kern

@carolyn_kern carolynkernknits.blogspot.com ravelry.com/designers/carolyn-kern

facebook.com/mominokiyarn mominokiyarn.com

@sustainablistco sustainablist.co

rosa pomar

YA R N P A R T N E R S

@retrosariarosapomar facebook.com/Retrosaria retrosaria.rosapomar.com

blacker yarns

woolly mammoth fibre company

brooklyn tweed

CO N T R I B U T O R S

@ blackeryarns .facebook.com/blackeryarns blackeryarns.co.uk @brooklyntweed brooklyntweed.com ravelry.com/groups/brooklyn-tweed-fan-club de rerum natura

dawn henderson

@dawn.landix

@dererumnatura .facebook.com/DeRerumNatura.fr dererumnatura.fr

ema marinescu

isager

@ito_ishi itoishi.tumblr.com/home leeni hoimela

@leenihoi ravelry.com/designers/leeni-hoi renate kamm

@oberpfalzerin yarn-stube.blogspot.com ravelry.com/designers/renate-kamm susanna winter

@isageryarn, @helgaisager, @marianneisager facebook.com/isagerstrik isagerstrik.dk john arbon textiles

@jarbontextiles jarbon.com

@woollymammmothfibres woollymammothfibrecompany.com

caroline frett

@carolinefrett carolinefrett.com

catarina seixas

@theolivetreesandthemoon theolivetreesandthemoon.com jeanette sloan

@jeanettesloan jeanettesloandesign.com & jeanettesloan. wordpress.com ravelry.com/designers/jeanette-sloan joanne seiff

joanneseiff.com & joanneseiff.blogspot.com ravelry.com/designers/joanne-seiff

lanivendole

nicole bracey

@lanivendole lanivendole.com

@woolfield.studio woolfield.ca

@talviknits susannawinter.net ravelry.com/designers/susanna-winter

marina skua

theresa shingler

mominoki yarn

@theresashinglerknits

134

verena cohrs

@marinaskua marinaskua.com

@mominokiyarn

135

m a k i n g s t o r i e s m aga z i n e

issue 2, 1st edition isbn: 978-3-96274-008-5 publisher

Making Stories GmbH, Berlin making-stories.com hello@making-stories.com @_makingstories #makersmakingstories photography, hair & make-up

Melinda Dela Costa model

Theresa Sindy graphic design

Camille Romano tech editing

Marina Skua printer

DBM Druckhaus Berlin-Mitte GmbH, Berlin

UF6 This print product is awarded with the Blue Angel.

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