Making Stories Magazine - Issue 4 by Making Stories

FALL 2020 Issue 4

Designs by ash alberg Crystal Hiatt Hanna Lisa Haferkamp Julia Exner Julie Robinson Maria Muscarella Marina Skua Renate Kamm Sari Nordlund Contributions by ash alberg Caroline Frett Crystal Hiatt

Subverting the Norm

about issue 4

Issue 4 is an invitation to take a look at the craft we love and share as a way of challenging the status quo, changing standards that no longer serve us, and, yes, subverting the norm. In these pages youâ&#x20AC;&#x2122;ll find accessory and garment patterns that do just that by introducing us to a new technique, a unique construction method, a brave design inspiration. Stories about body image, size inclusivity, and queer identity, shared by a handful of wonderful authors and illustrators, invite you to sit down, read, and question. With Making Stories Magazine, we strive to feature companies and makers who focus on sustainability, transparency, fairness and equity in their work. We love telling their stories and hope to inspire and enable crafters to make conscious and informed decisions about the materials they use and companies they support.

Issue 4 Subverting the Norm

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

Thank you to our wonderful contributors: ash alberg, Crystal Hiatt, Hanna Lisa Haferkamp, Julia Exner, Julie Robinson, Maria Muscarella, Marina Skua, Renate Kamm, and Sari Nordlund for their gorgeous designs. BC Garn, Biches et Bรปches, Erika Knight, G-Uld, Marina Skua, Tulliver Yarn, Walcot Yarns, Wing and a Prayer Farm, and YOTH Yarns for their yarn support. ash alberg, Caroline Frett, and Crystal Hiatt for their inspiring articles and illustrations.

editor in chief

Hanna Lisa Haferkamp

Adele, Alison, Alison, Anaelle, Angela, Anna, Annika, Ashley, Aude, Ayako, Bailey, Bella, Cecilia, Christine, Cynthia, Debra, Elizabet, Em, Eva, Fiona, Frances, Franziska, Genevieve, Gitte, Judith, Hanna, Hannah, Heather, Heike, Irene, Isabel, Jan, Jeska, Jessica, Jodi, Julie, Karen, Karissa, Kate, Kate, Katrin, Kristene, Leigh, Leslie, Linn, Lorella, Luca, Lynne, Manon, Marceline, Maria, Maria, Marie-Reine, Nicky, Paige, Pauliina, Pernilla, Rachel, Renate, Sandi, Sandra, Sandra, Sara, Sarah, Shari, Stephanie, Susan, Susanne, Teska, Tina, Tina, Tiziana, Tracey, Valerie, Wenke, Yasmin, and Yuki for their wonderful work as test knitters.

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CO N T E N T S “Socrates himself said, ‘One thing only I know, and this is that I know nothing.’ Remember this statement, because it is an admission that is rare, even among philosophers. Moreover, it can be so dangerous to say in public that it can cost you your life. The most subversive people are those who ask questions. Giving answers is not nearly as threatening. Any one question can be more explosive than a thousand answers.” - Jostein Gaarder, Sophie’s World

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welcome

starring the difference

tauko

multitudes

sarcactus

on being â&#x20AC;&#x153;queer enoughâ&#x20AC;?

embrace

wayfarer

unity

bones

ribb-party

frostbeam

miss me with your bullshit norms

patterns

30 acorn

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W E L CO M E ! editor-in-chief hanna lisa haferkamp

Subverting the norms – the art of subtly challenging the status quo, of asking questions, of doing things differently, of finding ways to resist and change the world in unexpected areas – can be one path to find an answer. Clothing yourself in something you made with your own hands and time and from consciously sourced materials is, if you ask me, an act of subversion. It’s subverting the fast-fashion industry rooted in our capitalist systems, the body image that is projected onto us all the time, the expectations and norms set upon us that tell us what is ‘fashionable’ and ‘flattering’. It’s revolutionary. The patterns you’ll find here, in Issue 4, all have an element of subversion to them – be it with new techniques, an unfamiliar shape, or a thought-provoking inspiration behind the design idea. They’re accompanied by a beautiful article on body image and sizing standards, a wonderful piece looking into the question what ‘queer enough’ is, and a gorgeous illustration that I hope will bring a smile to your face. Let’s hold on to this – to the power, the consciousness, the hope that this, our favorite craft, can bring us even in the darkest times.

At the time that I’m writing this — mid May 2020 — our world has been turned upside down over just a few short weeks. Millions of people have lost their health, thousands of people their lives, and countless more their loved ones, their homes, their income to the relentless global Covid-19 pandemic. As different as our individual circumstances might be, we’re all affected by it, and our lives will never be the same again. That is a hard thing to realize, and an even harder one to process. Grief, anger, denial are all things we’ve felt over the last weeks, and those feelings are not going anywhere in the foreseeable future – same as the virus. In these times – and I’m assuming it’ll still be the same when you hold this magazine in your hands – I find myself turning to knitting more than ever before. The flow of stitches through my hands, the rhythmic repetition of the pattern, the joy of looking down and seeing the fabric slowly emerging, brings me peace and solace. It also brings me pockets of stillness and thoughtfulness, during which I’m able to ask questions. In this moment, with the world on pause, I can ask myself how our new reality is going to look. Is it really desirable to get back to the status quo that we had before the pandemic hit? If the answer to this is ‘no’, what would I like to change? And how?

With love, Hanna Lisa

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TA U KO “I was inspired by frosty leaves against pale pink winter morning skies. The hat is started with a two-colour cast-on and continued in two-colour brioche ribbing. The colors are then separated, and the hat is knitted in two parts: first the frosty leaves in a lace pattern, then the background in stockinette stitch. The hat can also be worn inside out so that the stockinette side is showing. By alternating the way the ribbing is turned, you can get multiple different looks with simple changes.” - Sari Nordlund “G-uld New Zealand lambswool is a soft, thin 2 ply wool. It works perfectly for both single stranded, double stranded and colorwork knitting and is very durable. It comes in a great variety of base colors which makes it perfect for dyeing. This base is our most diverse and with the most colors options. The fleeces come from New Zealand and are spun in Denmark where we then finish the product by naturally dyeing it at our little farm in Ravning.” - G-uld

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â&#x20AC;&#x153;Tauko is a double sided hat with a leaf-inspired easy lace pattern on one and stockinette on the other side for maximum wearability and versatility.â&#x20AC;?

TA U KO design sari nordlund yarn g-uld

Pattern on pages 68 - 72

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S A R C AC T U S “The bold colourwork design on the yoke, hips and wrists of this jumper is inspired by the flora and textiles of north-western Argentina. The central motif recalls the cactuses in the Cardones National Park in Salta province, and the geometric details are loosely based on the weaving styles of the region, which have often inspired me on visits to family and friends. The jumper is knit in the round from the top down, beginning with the neckline ribbing. There are some short rows and increases at the back neck for a comfortable fit, before the yoke is worked. Stitches are put on hold for the sleeves while the body is finished, then the sleeves are returned to the needles and completed in the round. The body length is customisable, and options are given to accommodate different arm lengths.” - Marina Skua “Mendip DK is a bouncy, tactile, very slightly rustic yarn that I have custom-spun in a small mill, from lambswool grown on an eco-farm on top of the Mendip Hills in Somerset, England. The yarn is woollen-spun, so is light and warm, and blocks out beautifully. The base is a natural grey from blending white fleece with naturally dark wool, giving a heathered effect that adds subtlety and depth to both the undyed yarn and the colours I dye in rich, wearable, semi-solid shades. I love that the wool is sourced locally to me so I can visit the farm and check up on the sheep – and they are part of a holistic agricultural programme to regenerate the land they graze on!” - Marina Skua

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â&#x20AC;&#x153;The central motif recalls the cactuses in the Cardones National Park in Salta province, and the geometric details are loosely based on the weaving styles of the region, which have often inspired me on visits to family and friends.â&#x20AC;?

S A R C AC T U S design marina skua yarn marina skua

Pattern on pages 74 - 79

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E M B R AC E author crystal hiatt

Some may ask what changed. I believe a lot has to do with turning forty. I reached a point of maturity where I am ready to learn to love who I am, to no longer shy away from life or not wear what I want because of my size. I am embracing me and loving me. It has been a long road to this place and there is much more work to do, but I am on a path where I find myself happy. I think we each have our own paths to body positivity. Some shorter and some longer. But I believe every person has their own journey and they need to do what they can embrace it and savor it no matter the length. Body positivity is a belief that all human beings should have a positive body image, while challenging the ways in which society presents and views the physical body. Body positivity is making a conscious choice to reverse your filtering process, drop the negative body image and accept or embrace positive body images. How many of us look in the mirror at the beginning or end of the day and say to ourselves one or more or other versions of these statements?

Let me first say that I am by no means an expert on body positivity or knitwear design. I am learning, like many of you; more every day. This subject is important to me because it is me. I am a plus size woman. I am a knitwear designer. I am learning how to design for all body shapes. I am learning to love me. First a little background as to how I got here. I am an American who grew-up in the Midwest in a great town with an amazing family and privilege. I was blessed, some may say, with a high metabolism. I grew up thin as a rail while my daily diet included Mountain Dew®, Doritos® and Little Debbie® Nutty Bars throughout high school. Then I turned twenty-five and since have had a love-hate relationship with my body. The high metabolism vanished and I began to gain weight. Exercise helped some, but life threw me a few more twists and turns and everything changed. Today I am a plus-size woman. It has taken almost fifteen years for me to say that out loud. In the year of 2019, I finally began to embrace my body. Full disclosure, I do have a desire to lose weight and return to a certain size, but I accept that I will never be that thin as a rail teenager. I will be what is a better version of me for me.

• I’m so fat. • I’m too skinny. • I don’t like my shoulders.

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• My hips are too wide. • My boobs are too small. • My hair is too thin. • My bum is non-existent. • My nose is too pointy. This list can go on and on. Many of us have insecure or dysfunctional relationships with our bodies. Having a body positive relationship with your body is much like having a relationship with another human being. It is a lot of hard work and sometimes very complex. The toughest part is we can’t break up with, runaway from or ghost our own body. We must live with it every day. We are in it together for the long haul. We are surrounded by constant triggers of what people feel we should be. Every day we are exposed to 4,000 to 10,000 ads or impressions a day telling us what we should be, what we want and how we should look. This is even happening in our beautiful maker community. How often do you see beautifully designed shawls, hats, or sweaters modeled and photographed on larger bodies? Have

you chosen a sweater pattern, knit your size and when finished, discovered the arms are either way too small or neck too large because the pattern wasn’t graded for proportions but based on measurements? How often do we see many gorgeous designed garments sized to fit only size 14 or smaller? Did you know the average American woman is a size 16 to 18? That means 68% of American women are larger than a size 14. Now imagine what that number translates to worldwide. I am having a hard time grasping the magnitude of that number and am overwhelmed by the potential opportunity. Imagine the billions of dollars fashion brands are leaving out there for the taking because their largest customer base is flat-out ignored. As a newer knitwear designer, it is very important to me to design for all body types and focus on size inclusivity. I want to wear what I design. I hope for others my size, smaller or larger to also knit, love and wear my patterns. As a collective fiber community and as designers and makers are we doing enough to embrace and accept our community? To all of us designers and aspiring designers – any person of any size can look fantastic in anything. Accept all body shapes and sizes as beautiful. Showcase your designs on all body shapes. Make a conscious effort to design for a variety of silhouettes. Accept and understand designing for all body shapes does not mean you just size everything up or down – it is really a matter of adjusting for proportions. Your understanding and effort to design for size inclusivity will not go unnoticed. It will be appreciated and embraced. To all of us makers and aspiring makers - making your own wardrobe requires you to truly see your body as you are today. Embrace this! It is a great step forward to body positivity. Respect yourself and your body. Put your time, love and energy into the size you are today not where you hope to be tomorrow. Enjoy the now, show us all your beautiful self today in your new handmade wardrobe. Creating your own handmade wardrobe should feel good. Everyone deserves something beautiful to put on his or her body, regardless of what size it is. Whether fat or thin, or somewhere in between, size does not define us.

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â&#x20AC;&#x153;To all of us makers and aspiring makers: making your own wardrobe requires you to truly see your body as you are today. Embrace this!â&#x20AC;?

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UNITY â&#x20AC;&#x153;Unity is an open cardigan designed to be worn with up to 44 cm/17â&#x20AC;? of positive ease. With draping sleeves falling just below the elbows and large front pockets Unity is great for lounging or to throw over your favorite top as you run out the door for a night out with friends. Unity was inspired by a desire to include more staple and comfortable wardrobe pieces in my closet. As a plus size designer, there is a gap in our community for size inclusive designs, and Unity helps to close this a little more. The squishy rib design in Unity reminds me of all makers joining or crossing arms together and forging a united path forward towards inclusivity whether it be in size, race, sexuality, or another barrier we need to break down to share our light and love and be inclusive of all.â&#x20AC;? - Crystal Hiatt

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â&#x20AC;&#x153;The squishy rib design in Unity reminds me of all makers joining or crossing arms together and forging a united path forward towards inclusivity whether it be in size, race, sexuality, or another barrier we need to break down to share our light and love and be inclusive of all.â&#x20AC;?

UNITY design crystal hiatt yarn erika knight

Pattern on pages 80 - 84

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R I B B - PA R T Y “Ribb-Party is a pair of socks designed for the not-so-experienced knitter looking for easy socks that are amazing. Worked from the top down, basic 2x2 ribbing creates the cuff. Instead of some complicated lace or cable, the ribbing is simply moved over by 2 sts, and then back again. The interesting heel top adds gussets on both sides of the centre-back spine, incorporating new stitches into the ribbing pattern. The intention of this sock design is to be as standard and as rebellious as possible at the same time.” - Renate Kamm “Tulliver Yarn is a German natural-dye studio based in Berlin. Tulliver High Twist Sock Yarn is made of 100% non-superwash Falkland Corriedale wool, spun in the UK and dyed in Brandenburg/Germany. The particularly high twist makes it more durable and thus very suitable for sock knitting. However, it can also be used for any other fine knits. The colours created are solid with a lot of depth, ranging from neutral and soft to very intense.” - Elke, Tulliver Yarn

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â&#x20AC;&#x153;The intention of the Ribb-Party sock design is to be as standard and as rebellious as possible at the same time.â&#x20AC;?

R I B B - PA R T Y design renate kamm yarn tulliver yarn

Pattern on pages 86 - 90

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illustrator caroline frett

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A CO R N ”Acorn is a top-down triangular shawl featuring an all-over textured lace that looks stunning on everyone. Worked in a more rustic wool, it can do double-duty as both a practical accessory for colder days and as an option for dressing up an outfit if you have to run out the door to a winter gathering. Embracing the designer’s ‘lace for all’ aesthetic, this shawl is purposefully designed with both femmes and masculine-of-centre folx in mind. Make matchymatchy shawls for yourself and your dear one, or play with different fibres and colours to create a variety of shawls suitable for all occasions.” - ash alberg

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“Embracing the designer’s ‘lace for all’ aesthetic, this shawl is purposefully designed with both femmes and masculine-of-centre folx in mind.”

A CO R N design ash alberg yarn yoth yarns

Pattern on pages 92 - 97

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S TA R R I N G T H E DIFFERENCE “Very often, breaking old rules leads to different new rules, and it is the difference that spices up both life and...design. Starring the Difference plays with the different looks of knitted and purled one-row stripes. The result is a zigzag pattern that runs over the shoulders. Starring the Difference is a cardigan that is completely worked with one row stripes and is to be worn with about 10 cm positive ease. The cardigan is worked completely seamlessly from the top down and features a hybrid of circular yoke and raglan shoulders with optional waist shaping.” - Julia Exner “Walcot Yarns Opus is a buttery soft and strong workhorse yarn. A luxurious sport weight that is a blend of Baby Alpaca for softness and Falkland Merino for strength to create a 100% awesome yarn. It’s a yarn to create beautiful and cozy pieces that you’ll want to wear again and again.” - Walcot Yarns

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â&#x20AC;&#x153;Very often, breaking old rules leads to different new rules and it is the difference that spices up both life and...design.â&#x20AC;?

S TA R R I N G T H E DIFFERENCE design julia exner yarn walcot yarns Pattern on pages 98 - 103

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M U LT I T U D E S “I love cabled hats — both for knitting and for wearing! They’re relatively quick to make and so satisfying, and they’re super warm which is great in cold Berlin winters. For Multitudes, I played with scale: I wanted to create a hat that would have both very small and very large cables, referencing the different ways you can work against standards — both in small and in large ways. I’m particularly happy with how the crown decreases turned out — nothing better than looking down on the top of a hat and seeing the pattern merge!” - Hanna Lisa Haferkamp “Hayden and Olivia are two of our Alpaca herd that have softer fawn and light cinnamon colored fleeces. We combine their beautiful fiber with our Cormo fleeces to make a soft, bouncy, and squishy worsted weight yarn. Each 100 gram skein is 148 yards of silky, sumptuous goodness.” - Tamara, Wing and A Prayer Farm

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“For Multitudes, I played with scale: I wanted to create a hat that would have both very small and very large cables, referencing the different ways you can work against standards — both in small and in large ways.”

M U LT I T U D E S design hanna lisa haferkamp yarn wing and a prayer farm

Pattern on pages 104 - 109

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ON BEING “QUEER ENOUGH” author ash alberg

Author’s note: this article is written from the lived experiences and viewpoints of a white canadian nonbinary queer femme who passes as a cis woman and can pass as being part of a hetero/cis relationship. they are also (mostly) able-bodied and can pass as neurotypical, and are university educated, so the worlds of academia and critical queer theory are familiar albeit not comfortable places. this article does not speak directly to the myriad of beautiful gender identities outside of the binary that exist around the world with roots in cultures devastated by colonialism, and the author encourages those who may be familiar with nonbinary/enby identities as discussed in mainstream western media to not make the mistake of thinking that those definitions encompass the wide tapestry of other non-cis gender identities around the world.

out in the liminal spaces to chat. ash almost always has the bandwidth to chat queer theory and queer existence/resistence/resilience with other queers. if you are cis/straight/don’t understand the experiences yet of those who identify outside of the gender binary (even if you are familiar with sexual orientations outside of binary thinking), please do some research first before engaging the emotional labour of nonbinary people around you, particularly if you do not know them well. (if you do know them well, it is presumed that you are comfortable enough with them to easily ask if they are open to doing this labour for you.) some places to start are queer-run bookstores and/or educational sex shops (such as venus envy in halifax, canada or come as you are in toronto, canada), independent local bookstores or libraries with an lgbtq+ section, or queerrun websites such as autostraddle (basically like buzzfeed, but written by and for lesbians and queer femmes/womxn/ trans/nonbinary folx). also, a great starting point to becoming a better ally is to always ask what pronouns people use when you meet them rather than assuming based on appearance or what someone else has referred to them as. the author can attest to the number of times someone asks in a larger group about what pronouns they use and the look of shock on the faces of people who have known the author for a longer time and have been using the wrong pronouns. it’s often more exhausting to constantly correct wrong pronouns than it is to deal with being misgendered on a regular basis, especially when you don’t look “queer enough,” as we’ll delve into shortly. ask first, if you make a mistake apologize quickly and continue on, and always be open to learning and changing as we all evolve and grow.

there will be gaps in this article for many readers and their own lived experiences, and many queer readers may not see their own experiences reflected in these words. that is largely the point though - we may share some experiences with others in our self-identified communities, and there may be many more experiences we do not share. one is not “more” or “less” based on the amount of trauma/erasure/ otherness/anything else that may or may not have been experienced. labels are tricky beasts, creating community and safe spaces at the same time that they may divide us, and we will all have our own personal feelings and values attached to them. this article does not seek to solve anything in particular, just to witness and articulate one queer’s experience of not being “queer enough.” consider it a semiblank slate for you to begin your own analysis, or not. if things in this article feel familiar to you, feel free to reach

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gatekeeping in the queer community is by no means a new thing. the idea of whether you “pass” (as far as gender, sexuality, relationship status…) is ingrained in our psyches, and in western society, binary thinking remains whether you are reinforcing the existing binary or raging against it (to be against the binary often results in being “anti” it, which means being its opposite, which inadvertently reinforces it). every aspect of queer identities can fall prey to this - if you are in a monogamous relationship, you must not be “radical” enough to have switched to polyamory (even if you’ve been in open relationships before, determined what you did and didn’t like about them versus monogamous relationships, and chosen with your current partner to be in a monogamous situation as decided for now). if you are bisexual, you just haven’t made up your mind yet, or you’re experimenting (instead of self-identifying as having a sexual orientation that has the ability to change and shift based on individual desires and attractions rather than specific gender identities). and if you’re nonbinary but pass as both cis and the gender you were assigned at birth you must be...not really queer. maybe you’re sort of queer, but like, not really. if you were really queer, you wouldn’t want to shave your legs and wear that red lipstick, right? why not try bright blue lipstick as your new everyday colour instead? it’s ok, you’ll grow to like it.

deciding which people are likely to be around you after this afternoon frequently enough to warrant deciphering whether they’ll be worth the emotional labour of correcting your pronouns until they get it (hint: it will be perhaps 10% of the room on a generous day). you’ll feel additional anxiety traveling to new places because even though your local government has now given you the option of getting an “x” gender marker on official identification, most other places won’t accept that “x” if you get stopped for questioning. and then you’ll go to queer events, and all the masculine-of-centre and androgynous (note: lack of femme markers and less obvious masc markers) folx will complain about the random cis people they encountered today who misgendered them, and then they’ll turn around and call you “she.” at pride, you’ll second-guess holding your partner’s hand, because he may be a straightish cis dude or maybe he’s a trans man who passes as much as you do or maybe they’re a non-binary masc person and so now you look like a straight cis couple taking up space at an event you still hold as being political, as a radical fucking act no matter how many corporations and police departments and political parties who fight every day to squash your basic rights get to dance on by with their glitter-covered floats. you will question your right to take up space at an event that is supposed to be exactly for you, because the people who look at you will think you do not belong.

to be clear, your lived experiences mimic those of a cis person, society treats you as whatever you happen to pass as, the violence you may experience at the hands of others will unlikely be due to your gender transgressions. and for these reasons, you do have cis (passing) privilege. you cannot pretend it does not exist. you can go into public bathrooms without being harassed, you can be hired for front-line customer service jobs without wondering if the reason you didn’t pass the other interview was because you looked too “different,” you can go through airport security checks without the guards being unsure which officer to assign to your pat-down.

your experience will be one of erasure, of quiet constant questioning and negotiating and personal affirmations and building tiny little altars of reminder to yourself that you do exist in your queer body. it is yours to identify, and claim, and mark with as many “queer” or “not queer” signifiers as you desire. you get to demand space from people and institutions claiming to work on “diversity” while only offering “male/female/trans” as your options for selecting a “gender identity” (and you will sometimes resist the urge to correct their use of “male/female” for gender terms, but not always). you will get to do all this on your own terms, while not ignoring the privileges you do have in the midst of your invisibility to travel about the world without risking the violence your more visibly queer siblings face just for wearing their favourite outfit on a tuesday.

you will also go through all of these experiences feeling a lowkey level of anxiety and sometimes dysphoria, because you know that you are never truly being seen. when the receptionist at the health clinic checks your id and uses your dead name because it was easier to keep it on your official documents since your real name is similar enough, you’ll smile tightly and hope that no one else nearby was paying attention. when you walk into a networking luncheon and, yet again, pronouns aren’t included in the ice-breaking circle, you’ll get to play the mental game of

welcome to the world, little femme one. you are not alone, even if it feels like you might be. i promise it’s not always awful. sometimes it’s pretty damn magical. and i promise you can wear whatever damn colour of lipstick you want to and it has no bearing on how queer you are.

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“if you were really queer, you wouldn’t want to shave your legs and wear that red lipstick, right?” 51

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WAY F A R E R “Like the traveller who chooses his way among many twisting paths, the Wayfarer shawl allows you the flexibility to step onto another path and create a new adventure. Designed with four colors of yarn, you are given a suggested stitch pattern for each skein. Follow the pattern if you like, or find a new stitch pattern that calls to you and substitute that instead. Simply adjust the number of stitches on your needles to accommodate the pattern you choose. Just as it is with our journeys in life, with this design, you can alter your steps a bit and open new doors.” - Maria Muscarella “When starting to think about a yarn company, Astrid was in search of the yarn she wanted to knit her designs with and offer in the shop. She was looking for something rustic, that reminded her of her trip to Norway in 1995, discovering the pure wool from their Norwegian sheep, as well as her Scandinavian roots, a yarn that would make a sturdy sweater, to be worn through the years. That rustic yarn would have to be blended with a soft feeling, that felt good knitting with, and of course, that felt good wearing. This led to a pure lambswool from a family-owned fiber mill in scotland. The wool is rustic and soft at the same time, in 41 different shades, the wool is thin and sturdy, and the ball bands are handwritten by Caroline. Lambswool is actually the first shearing of a sheep, considered to be the high-grade of wool. A beautiful quality, presented in a way that feels like home.” - Astrid, Biches et Bûches

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“Like the traveller who chooses his way among many twisting paths, the Wayfarer shawl allows you the flexibility to step onto another path and create a new adventure.”

WAY F A R E R design maria muscarella yarn biches & b Û ches

Pattern on pages 110 - 113

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BONES “Bones is inspired in part by the designer Rei Kawakubo and her offbeat, androgynous looks for Comme Des Garçons. It is a unisex cardigan-coat with a relaxed fit and drop shoulders. Bones is knit holding two strands of BC Garn Loch Lomond Bio. It is constructed bottom-up, in pieces, and is seamed at the shoulders, sides and armholes. It features tilted patch pockets and a luxurious shawl collar. The sleeves are knit in the round from the top down. Knitters have the option to wear the cuff turned back on the sleeve. The name, Bones, is meant to invoke an idea of building something up from ‘bare bones’. Each aspect of our identity builds us into the whole person we are, just like each stitch builds our knits.” - Julie Robinson “BC Garn Semilla Melange is a GOTS certified, truly organic yarntfrom sheep to skin. It has the typical rustic look and volume of a woollen spun yarn which creates light yet warm garments and gets softer the more you wear and wash it. The GOTS certificate not only confirms that the yarn is free of any hazardous substances, but also that animal welfare is observed and the yarn is produced under socially responsible conditions.” - BC Garn

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“The name, Bones, is meant to invoke an idea of building something up from ‘bare bones’. Each aspect of our identity builds us into the whole person we are, just like each stitch builds our knits.”

BONES design julie robinson yarn bc garn

Pattern on pages 114 - 121

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FROSTBEAM “This shawl is inspired by winter walks on misty, frosty mornings, when the low sunlight breaks into beams between the trees. The woollen-spun DK yarn, with contrasting colours and stitch patterns, creates a bouncy, super-cosy fabric that is perfect for wrapping up against the chill. Worked from tip to tip, the shawl starts with a small number of stitches in the contrast colour with increases to form a ribbed border. Then the increases continue in the main colour to create the lacy central section. Nearing the middle, a second band of contrast colour is added on the other side, while the first is decreased until it disappears. The second half of the shawl mirrors the first, decreasing down to a point.” - Marina Skua “Mendip DK is a bouncy, tactile, very slightly rustic yarn that I have custom-spun in a small mill, from lambswool grown on an eco-farm on top of the Mendip Hills in Somerset, England. The yarn is woollen-spun, so is light and warm, and blocks out beautifully. The base is a natural grey from blending white fleece with naturally dark wool, giving a heathered effect that adds subtlety and depth to both the undyed yarn and the colours I dye in rich, wearable, semi-solid shades. I love that the wool is sourced locally to me so I can visit the farm and check up on the sheep and they are part of a holistic agricultural programme to regenerate the land they graze on!” - Marina Skua

issue 4 - subverting the norm

â&#x20AC;&#x153;This shawl is inspired by winter walks on misty, frosty mornings, when the low sunlight breaks into beams between the trees.â&#x20AC;?

FROSTBEAM design marina skua yarn marina skua

Pattern on pages 122 - 127

issue 4 - subverting the norm

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

1/1/1 r p c

2/3 r p c

1 over 1 over 1 right cross purl: slip next stitch purlwise onto a cable needle and hold in back of work, slip next stitch purlwise onto the second cable needle and hold in back of work, knit the next stitch on the left-hand needle through the back loop, then purl the stitch from the second cable needle, then knit the stitch from the first cable needle through the back loop

2/1/2 l p c

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 over 1 over 2 right purl cross: slip three stitches purlwise onto a cable needle and hold in back of work, knit the next two stitches on the left-hand needle, then knit the next two stitches on the cable needle and purl the last stitch on the cable needle

cross 2 right: slip two stitches purlwise onto a 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

2/2 l p c

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

2/1/2 r p c

2/2 r c

2 over 3 right purl cross: slip three stitches purlwise 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 over 2 left purl cross: slip two stitches purlwise onto a 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

beg

beginning

bind off

bobble

2/2 r p c

2 over 2 right purl cross: slip two stitches purlwise onto 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

2 over 3 left purl cross: slip two stitches purlwise 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

With a crochet hook, loosely pull up a loop through the next stitch on the left-hand needle and drop that stitch from the needle. Make a yarn over on the crochet hook, pull up another loop through the dropped stitch. Repeat twice more so that you have 7 loops on the hook. Make a yarn over on the crochet hook and pull it through 6 loops. Make another yarn over on the crochet hook and pull it through the remaining two loops. Lift up the left leg of the stitch in the row below the bobble from the wrong side of your work so that it sits on the crochet hook. Making one last yarn over on the crochet hook, pull the yarn through the two remaining loops. Move completed bobble to the right-hand needle.

issue 4 - subverting the norm

bor

beginning of round

brk

i n v - r invisible increase right: place the right leg of the

brioche knit: knit the slipped stitch and its yarn over together as one stitch

stitch below first stitch on left-hand needle onto left-hand needle and knit it â&#x20AC;&#x201C; creates one new stitch on right needle â&#x20AC;&#x201C; then slip the first stitch on left-hand needle purlwise (1 stitch increased)

brp

brioche purl: purl the slipped stitch and its yarn over together as one stitch

knit

contrasting colour

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

c c 1

contrasting colour 1

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

c c 2

contrasting colour 2

k 3 to g knit 3 stitches together (2 stitches decreased)

cast on

kds kfb

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

c o n t continue(s)(ing) dec

decrease(d)(s)(ing)

kls

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

established

inc

increase(d)(s)(ing)

m 1l

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) 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)

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)

i n v - l invisible increase left: slip one stitch from left-

knit ladder back stitch with both yarns in back

k w i s e knitwise

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

knit double stitch as one single stitch

hand needle purlwise, then place the left leg of the stitch in the row below the slipped stitch on left-hand needle and knit the lifted stitch through the back loop (1 stitch increased)

issue 4 - subverting the norm

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

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

main colour

r d s -k

make ladder back stitch for invisible stranding: On WS: pick up the left leg of the stitch two rows below the stitch just worked on right-hand needle and knit it through the back loop with both yarns in back On RS: pick up the right leg of the stitch below the next stitch on left-hand needle and purl it through the back loop with both yarns in front

n 1

needle 1/first needle

n 2

needle 2/second needle

remove marker

right side

m e a s measure(s)(ing) mls

raised double stitch on the knit side: At the beginning of row: place the left leg of the stitch in the row below the last stitch of smaller right-hand needle on left-hand needle. Knit the raised stitch through the front loop. At the end of row: slip first stitch of smaller lefthand needle purlwise onto right-hand needle. Then, place the left leg of the stitch in the row below the slipped stitch on left-hand needle. Knit the raised stitch through the front loop. The slipped stitch and the increased stitch form a double stitch that is to be worked as one single stitch in the next row.

r d s -p

purl

p 1 t b l purl 1 stitch through the back loop p 2 to g purl 2 stitches together (1 stitch decreased) pat t ( s ) pattern(s) pds

purl double stitch as one single stitch

pls

purl ladder back stitch with both yarns in front

place marker

raised double stitch right on the purl side: At the beginning of row: slip the last stitch of smaller right-hand needle purlwise onto left-hand needle. Place the right leg of the stitch below slipped stitch onto left-hand needle and purl the raised stitch through the back loop. Then, slip the first stitch of left-hand needle purlwise back onto right-hand needle. At the end of row: slip the first stitch of smaller left-hand needle purlwise onto right-hand needle. Place the right leg of the stitch below slipped stitch onto left-hand needle and purl the raised stitch through the back loop. The increased stitch and the slipped stitch form a double stitch that is to be worked as one single stitch in the next row.

s (p )k 2p

p s s o pass slipped stitch over

p w i s e purlwise

slip one stitch purlwise, knit 2 stitches together, pass slipped stitch over (2 stitches decreased)

issue 4 - subverting the norm

s k 2 p o slip one stitch knitwise, knit 2 stitches together,

pass slipped stitch over (2 stitches decreased)

slip (pwise with yarn in back unless otherwise indicated)

s l 1 yo slip one, make one yarn over: bring your working

yarn to the front, slip the next stitch, bring your working yarn over the needle and over the slipped stitch to the back

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 through the back loop (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 (1 stitch decreased)

sssk

slip slip slip knit: slip the first, the second and the third stitch on the left-hand needle separately knitwise onto the right-hand needle, slide all three stitches back onto the left-hand needle and knit them together through the back loop (2 stitches decreased)

s t (s )

stitch(es)

tbl

through back loop of the stitch (twisted stitch)

wrong side

wyib

with yarn in back

wyif

with yarn in front

yarn over

* *

repeat from * to *

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TA U K O

issue 4 - subverting the norm

finished measurements

• • •

Hat circumference: 48 (54, 60) cm / 19 (21.25, 23.5)” Total length (with brim folded): 22 (22, 25) cm / 8.5 (8.5, 10)” Total length (with brim unfolded): 28.5 (28.5, 31.5) cm / 11.25 (11.25, 12.5)”

sizes

1 (2, 3) Finished hat circumference: 48 (54, 60) cm / 19 (21.25, 23.75)” - recommended to be worn with 5 cm / 2” of negative ease. yarn

G-Uld New Zealandsk Lammeuld (100% New Zealand wool; 450 metres / 492 yards per 100 g) MC (lace side): 160 (180, 225) metres / 175 (200, 245) yards CC (stockinette side): 160 (180, 225) metres / 175 (200, 245) yards Sample shown is knit in colourways Naturlig Lys Grå (MC) and Kraprod NG3-2 (CC). Lena wears a size 1 with 6 cm /2.5” of negative ease. needles

Two 3.5 mm / US 4 circular needles with a cable length of at least 40 cm / 16” (or needle size to obtain gauge) 3.5 mm / US 4 double-pointed needles (or needle size to obtain gauge) 2.5 mm / US 1.5 circular needle with a cable length of at least 40 cm / 16” (or needle size to obtain gauge) gauge

TA U KO design sari nordlund yarn g-uld

20 sts x 28 rows = 10 x 10 cm / 4 x 4” (in the round, in stockinette stitch, after blocking) 19.5 sts x 38 rows = 10 x 10 cm / 4 x 4” (in the round, in two-color brioche rib, after blocking) • When measuring brioche gauge, each pair of stitches (consisting of a knit/purl stitch and a yarnover) is counted as a single stitch, and each pair of rounds (1a and 1b) is counted as a single round. notions

• • • • •

Additional circular needle in size 3.5 mm / US 4 or smaller Blocking tools (blocking mats) Scrap yarn Stitch markers Tape measure

issue 4 - subverting the norm

SARCACTUS

issue 4 - subverting the norm

sizes

1 (2, 3, 4, 5, 6, 7, 8) Finished bust circumference: 88 (100, 106, 112, 124, 130, 136, 148) cm / 35.25 (40, 42.5, 44.75, 49.5, 52, 54, 59.25)” - recommended to be worn with 10-14 cm / 4-5.5” of positive ease at the bust.

A G

H E

yarn

Marina Skua Mendip DK (100% British lambswool; 120 metres / 131 yards per 50 g)

MC: 630 (715, 760, 800, 890, 930, 975, 1060) metres / 690 (785, 835, 875, 975, 1020, 1070, 1160) yards CC: 255 (290, 305, 320, 355, 375, 390, 425) metres / 280 (320, 335, 350, 390, 415, 430, 465) yards

finished measurements

• • • • • • • • •

(A) Bust circumference: 88 (100, 106, 112, 124, 130, 136, 148) cm / 35.25 (40, 42.5, 44.75, 49.5, 52, 54, 59.25)” (B) Back neck width: 20 (20, 21, 21, 22, 22, 23, 23) cm / 8 (8, 8.5, 8.5, 8.75, 8.75, 9.25, 9.25)” (C) Hip circumference: 83.75 (95.25, 101, 106.75, 118, 123.75, 129.5, 141) cm / 33.5, 38, 40.5, 42.75, 47.25, 49.5, 51.75, 56.5)” (D) Yoke depth (excl. ribbing): 24 (25, 26, 27, 28, 29, 30, 31) cm / 9.25, 9.75, 10.25, 10.5, 11, 11.25, 11.75, 12.25)” – customisable (E) Side length from underarm: Customisable – minimum 20 cm / 7.75” (F) Upper sleeve circumference: 27.5 (30.5, 33, 35, 41, 43, 45, 49) cm / 11 (12.25, 13.25, 14, 16.5, 17.25, 18, 19.5)” (G) Sleeve cuff circumference: 22.75 (22.75, 22.75, 22.75, 26.75, 26.75, 26.75, 30.5) cm / 9.5 (9.5, 9.5, 9.5, 11.25, 11.25, 11.25, 12.75)” (H) Sleeve length from underarm (shorter version): 47 cm / 18.5” – customisable (H) Sleeve length from underarm (longer version): 53 cm / 20.75” – customisable

Sample shown is knit in colourway Sheep (MC) and Night (CC). Lena wears a size 7 with 13 cm / 5” positive ease and the shorter sleeve version. needles

4 mm / US 6 circular needle with a cable length of at least 60 cm / 24” (or needle size to obtain gauge) 3.5 mm / US 4 circular needle with a cable length of at least 60 cm / 24” (or 2 sizes smaller than main needle) You will also need needles in the above sizes in your preferred format for working small circumferences. gauge

20 sts x 30 rows = 10 x 10 cm / 4 x 4” (in the round, in stockinette stitch, on larger needle, after blocking) 21 sts x 24 rows = 10 x 10 cm / 4 x 4” (in the round, in colourwork, on larger needle, after blocking) • It is important that your gauge is correct for both stockinette and colourwork; change needle size for colourwork portions if needed. notions

• • • • • •

S A R C AC T U S design marina skua yarn marina skua

Blocking tools (blocking mats, t-pins, blocking wires) Darning needle Removable stitch markers (optional) Stitch holders or scrap yarn Stitch markers Tape measure

issue 4 - subverting the norm

UNITY

issue 4 - subverting the norm

B C

F A

G sizes

1 (2, 3, 4, 5, 6, 7, 8) Finished bust circumference: 120 (128.5, 137.25, 145.5, 153.75, 162.75, 171, 180) cm / 47.25 (50.5, 54, 57.25, 60.5, 64, 67.25, 71)” recommended to be worn with approx. 44 cm / 17” positive ease at the bust. yarn

Erika Knight British Blue 100 (100% pure British Bluefaced Leicester wool; 220 metres / 240 yards per 100 g)

finished measurements

• • • • • • •

(A) Bust circumference: 120 (128.5, 137.25, 145.5, 153.75, 162.75, 171, 180) cm / 47.25 (50.5, 54, 57.25, 60.5, 64, 67.25, 71)” (B) Back neck width: 11.4 (14.1, 15.9, 18.6, 19.5, 19.5, 20.5, 20.5) cm / 4.5 (5.6, 6.4, 7.5, 7.8, 7.8, 8.2, 8.2)” (C) Yoke depth: 21 (22, 23, 23, 23.5, 25, 26, 27) cm / 8 (8.5, 9, 9, 9.25, 10, 10.25, 10.5)” (D) Total body length: 68.5 (70, 71, 71, 72, 74, 75, 76) cm / 27 (27.5, 28, 28, 28.5, 29, 29.5, 30)” (E) Armhole depth: 21.2 (22.4, 23, 23, 23.6, 24.8, 26.1, 27.3) cm / 8.3 (8.8, 9.1, 9.1, 9.3, 9.8, 10.3, 10.7)” (F) Upper sleeve circumference: 44.75 (46.25, 49, 52.75, 55.5, 56.25, 59, 61) cm / 17.25 (18.25, 19.25, 20.75, 21.75, 22.25, 23.25, 24)” (G) Sleeve length: 25 (25, 25, 25, 25, 25, 25, 25) cm / 10 (10, 10, 10, 10, 10, 10, 10)”

1052 (1143, 1325, 1404, 1509, 1646, 1797, 1920) metres / 1150 (1250, 1450, 1535, 1650, 1800, 1965, 2100) yards Sample shown is knit in colourway Clarissa. Lena wears a size 7 with 48 cm / 19”of positive ease. needles

4 mm / US 6 circular needle with a cable length of at least 80 cm / 32” (or needle size to obtain gauge) 4 mm / US 6 double-pointed needles or circular needle with cable length of 40 cm / 16” (or needle size to obtain gauge) gauge

22 sts x 33 rows = 10 x 10 cm / 4 x 4” (knit flat, in stockinette stitch, after blocking) 30 sts x 29 rows = 10 x 10 cm / 4 x 4” (knit flat, in ZigZag stitch, after blocking)

UNITY

notions

• • • • • • •

design crystal hiatt yarn erika knight

Blocking tools (blocking mats, t-pins, blocking wires) Crochet hook Darning needle Scrap yarn Stitch holder (2 or 4) Stitch markers x 10 Tape measure

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R I B B - PA R T Y

issue 4 - subverting the norm

finished measurements

• •

Foot circumference: 17.75 (19.25, 20.75, 22.25, 23.5) cm / 7.25 (7.75, 8.25, 8.75, 9.5)” Foot length: 18 (20, 22, 24.5, 28) cm / 7.25 (7.75, 8.75, 9.5, 11)” (adjustable)

sizes

1 (2, 3, 4, 5) Finished foot circumference: 17.75 (19.25, 20.75, 22.25, 23.5) cm / 7.25 (7.75, 8.25, 8.75, 9.5)” - recommended to be worn with 2 cm / 0.75” of negative ease. yarn

Tulliver High Twist Sock Yarn (100% Falkland Corriedale wool; 400 metres / 437 yards per 100 g) 182 (218, 259, 309, 373) metres / 200 (239, 284, 338, 408) yards Sample shown is knit in colourway Indigo. Lena wears a size 3 with 1.25 cm / 0.5” of negative ease. needles

R I B B - PA R T Y design renate kamm yarn tulliver yarn

2.25 mm / US 1 DPNs (or needle size to obtain gauge) This pattern is written for working with DPNs. gauge

27 sts x 42 rows = 10 x 10 cm / 4 x 4” (knit flat, in ribbing stitch, after blocking) notions

• • • • •

Blocking tools (blocking mats, t-pins, blocking wires) Darning needle Removable stitch markers Stitch markers Tape measure

issue 4 - subverting the norm

ACORN

issue 4 - subverting the norm

We've decided to make the written instructions for this pattern available as a downloadable PDF. You can download them here: making-stories.com/issue-4-downloads

finished measurements

166.5 cm x 66 cm / 65.5” x 26” yarn

YOTH Yarns’ Daughter (100% Domestic Rambouillet & Merino wool blend; 302 metres / 330 yards per 150 g) 604 metres / 660 yards Sample shown is knit in colourway Natural Chocolate.

A CO R N design ash alberg yarn yoth yarns

needles

4.5 mm / US 7 circular needle with a cable length of at least 80 cm / 32” (or needle size to obtain gauge) gauge

18 sts x 22 rows = 10 x 10 cm / 4 x 4” (knit flat, in main body stitch, after blocking) notions

• • • •

Blocking tools (blocking mats, t-pins, blocking wires) Darning needle Stitch markers Tape measure

issue 4 - subverting the norm

S TA R R I N G T H E DIFFERENCE

100

issue 4 - subverting the norm

sizes

1 (2, 3, 4, 5, 6, 7, 8) Finished bust circumference: 88 (97, 104.25, 111.5, 120.75, 128, 137, 144.25) cm / 35.25 (38.75, 41.75, 44.5, 48.25, 51.25, 54.75, 57.75)” - recommended to be worn with 10-11 cm / 4”-4.25” of positive ease at the bust.

B I H

A G E

finished measurements

• • • • • • • • • •

yarn

Walcot Opus (70% Falkland Merino, 30% Baby Alpaca; 325 metres / 355 yards per 100 g) MC: 515 (565, 620, 675, 755, 805, 870, 940) metres / 563 (618, 678, 738, 826, 880, 951, 1028) yards CC1: 40 (45, 50, 60, 60, 65, 65, 75) metres / 44 (49, 55, 66, 66, 71, 71, 82) yards

(A) Bust circumference: 88 (97, 104.25, 111.5, 120.75, 128, 137, 144.25) cm / 35.25 (38.75, 41.75, 44.5, 48.25, 51.25, 54.75, 57.75 )” (B) Crossback width: 33.5 (34.5, 34.5, 38, 39, 39.75, 39, 42.5) cm / 13.5 (13.75, 13.75, 15.25, 15.5, 16, 15.5, 17)” (C) Front neck drop: 4.75 (4.75, 6, 6, 6, 6, 7.25, 7.25) cm / 1.75 (1.75, 2.5, 2.5, 2.5, 2.5, 3, 3)” (D) Back neck width: 16.75 (17.75, 17.75, 18.75, 19.5, 20.5, 19.5, 20.5) cm / 6.75 (7, 7, 7.5, 7.75, 8.25, 7.75, 8.25)” (E) Waist circumference (version with waist shaping only): 82.5 (91.5, 98.75, 106, 115.25, 122.5, 131.5, 138.75) cm / 33 (36.5, 39.5, 42.5, 46, 49, 52.5, 55.5)” (F) Yoke depth: 19.5 (21, 21.5, 24, 25.5, 27.75, 29, 32) cm / 7.75 (8.5, 8.5, 9.5, 10.25, 11, 11.5, 12.75)” (G) Side length from underarm: 36 (36.75, 38, 38, 41.5, 41.25, 42, 42.75) cm / 14.5 (14.75, 15.25, 15.25, 16.5, 16.5, 16.75, 17)” (H) Sleeve cuff circumference: 19 (20, 21, 21.75, 22.75, 24.5, 24.5, 25.5) cm / 7.75 (8, 8.25, 8.75, 9, 9.75, 9.75, 10.25)” (I) Upper sleeve circumference: 27.75 (29, 33.25, 35.5, 38.75, 40, 43.25, 45) cm / 11 (11.75, 13.25, 14.25, 15.5, 16, 17.25, 18)” ( J) Sleeve length from underarm: 46 cm / 18”

CC2: 320 (360, 400, 435, 505, 540, 590, 640) metres / 350 (394, 437, 476, 552, 591, 645, 700) yards Adding 10 cm more of length to the body calls for: MC: + 55 (60, 65, 70, 75, 80, 85, 85) metres / 60 (66, 71, 77, 82, 87, 93, 93) yards CC2: + 50 (55, 60, 65, 70, 75, 80, 85) metres / 55 (60, 66, 71, 77, 82, 87, 93) yards Sample shown is knit in colourways Ink (MC), Splashed White (CC1) and Maya (CC2). Lena wears a size 7 with 14 cm / 5.5” of positive ease. needles

3.75 mm / US 5 circular needle with a cable length of at least 80 cm / 32” (or needle size to obtain gauge) 2 x 3.25 mm / US 3 circular needle with a cable length of at least 80 cm / 32” (or needle size to obtain gauge) This pattern uses the magic loop technique at the sleeves. gauge

22 sts x 32 rows = 10 x 10 cm / 4 x 4” (knit flat, in stockinette stitch, on larger needle, after blocking) notions

S TA R R I N G T H E DIFFERENCE design julia exner yarn walcot yarns

• • • • • •

101

6-8 buttons (20 mm / 0.75” diameter) Blocking tools (blocking mats, t-pins) Darning needle Scrap yarn Stitch markers Tape measure

issue 4 - subverting the norm

M U LT I T U D E S

106

issue 4 - subverting the norm

finished measurements

• •

Hat circumference: 45 (54, 63) cm / 18 (21.5, 25.25)” Total length: 22.5 (24.5, 26.25) cm / 9 (9.75, 10.5)”

sizes

1 (2, 3) Finished hat circumference: 45 (54, 63) cm / 18 (21.5, 25.25)” - recommended to be worn with 2-10 cm / 0.75-4” of negative ease, depending on whether you prefer a close-fitting or a slouchy hat. yarn

Wing & A Prayer Farm Hayden & Olivia (50% Merino, 50% Alpaca; 135 metres / 148 yards per 100 g) 135 (135, 135) metres / 148 (148, 148) yards Sample shown is knit in colourway Light Weld. Lena wears a size 1 with 3 cm / 1.25” of negative ease. needles

4.5 mm / US 7 circular needle with a cable length of at least 40 cm /16” (or needle size to obtain gauge) 4.5 mm / US 7 circular needle with a cable length of at least 80 cm / 32” or DPNs for crown decreases (or needle size to obtain gauge) 3.5 mm / US 4 circular needle with a cable length of at least 40 cm / 16” (or needle size to obtain gauge) gauge

M U LT I T U D E S design hanna lisa haferkamp yarn wing & a prayer farm

21 sts x 22 rows = 9 x 10 cm / 3.5 x 4” (in the round, on larger needle, one cable repeat, after blocking) 25 sts x 20 rows = 10 x 10 cm / 4 x 4” (in the round, on smaller needle, in 1x1 Half-Twisted Rib, after blocking) notions

• • • • • •

107

Blocking tools (blocking mats, t-pins) 2 cable needles (optional, if you prefer to work your cables with a cable needle) Crochet hook (similar size to needle size used for cable pattern) Darning needle Stitch markers Tape measure

issue 4 - subverting the norm

WAY F A R E R

112

issue 4 - subverting the norm

finished measurements

Size will vary depending on the number of repeats you choose to complete. Finished measurements of sample: 236 cm / 93 ” length by 137 cm / 54” at widest point. yarn

Biches & Bûches Le Petit Lambswool (lambswool; 248 metres / 270 yards per 50 g) MC: 485 metres / 530 yards CC1: 485 metres / 530 yards CC2: 485 metres / 530 yards CC3: 485 metres / 530 yards

WAY F A R E R design maria muscarella yarn biches & bÛches

Sample shown is knit in colourways Offwhite (MC), Dark Burgundy Grey (CC1), Norwegian Red (CC2), and Light Pink (CC3) needles

3.5 mm / US 4 circular needle with a cable length of at least 60 cm / 24” (or needle size to obtain gauge) gauge

21 sts x 34 rows = 10 x 10 cm / 4 x 4” (knit flat, in stockinette stitch, after blocking) notions

• • •

113

Blocking tools (blocking mats, t-pins, blocking wires) Darning needle Stitch markers

issue 4 - subverting the norm

BONES

116

issue 4 - subverting the norm

C I B

sizes

1 (2, 3, 4, 5, 6, 7, 8) Finished bust circumference: 93 (101, 109, 117, 125, 133, 141, 149) cm / 36.5 (39.75, 43, 46.25, 49.5, 52.75, 56, 59.25)” - recommended to be worn with 15 cm / 6” of positive ease at the bust.

A G D

finished measurements

• • • • • • • • • •

(A) Bust circumference: 93 (101, 109, 117, 125, 133, 141, 149) cm / 36.5 (39.75, 43, 46.25, 49.5, 52.75, 56, 59.25)” (B) Crossback width: 48 (49, 50, 51, 51, 53, 54, 55) cm / 19 (19.25, 19.75, 20, 20.5, 20.75, 21.25, 21.75)” (C) Back neck width: 17.5 (18, 18.5, 19, 19.5, 20, 20.5, 21) cm / 7 (7, 7.25, 7.5, 7.75, 7.75, 8, 8.25)” (D) Side length from underarm: 41.5 (42.25, 42.25, 43, 43, 44.25, 43.75, 44.5) cm / 20.25 (20.75, 21, 21.75, 22, 22.75, 22.75, 23.5)” (E) Sleeve cuff circumference: 20.5 (21, 21.5, 22, 22.5, 23, 24, 25) cm / 8 (8.25, 8.5, 8.75, 8.75, 9. 9.5, 9.75)” (F) Upper sleeve circumference: 32.5 (35, 37.5, 41, 43.5, 45, 47.5, 50) cm / 12.75 (13.75, 14.75, 16.25, 17.25, 17.75, 18.75, 19.75)” (G) Sleeve length from underarm: 43.25 cm / 17 ” (H) Armhole depth: 16.25 (17.5, 18.75, 20.5, 21.75, 22.5, 23.75, 25) cm / 6.5 (7, 7.5, 8.25, 8.75, 9, 9.5, 10)” (I) Back neck drop: 2.5 cm / 1” ( J) Front neck drop: 19.5 (19.5, 21.5, 23.75, 24.75, 26, 27, 28) cm / 9.25 (9.25, 10.25, 11.5, 12, 12.5, 13, 13.5)”

yarn

BC Garn Loch Lomond Bio (100% wool; 150 metres / 164 yards per 50 g), held double 1765 (1950, 2115, 2340, 2520, 2815, 1985, 3215) metres / 1930 (1932, 2312, 2558, 2754, 3077, 3263, 3515) yards Sample shown is knit in colourway LL0006. Lena wears a size 7 with 18 cm / 7” of positive ease. needles

5.5 mm / US 9 circular needle with a cable length of at least 60 cm / 24” (or needle size to obtain gauge) 4.5 mm / US 7 circular needle with a cable length of at least 100 cm / 60” (or needle size to obtain gauge) 5.5 mm / US 9 double-pointed needles (or needle size to obtain gauge) 4.5 mm / US 7 double-pointed needles (or needle size to obtain gauge) To work this pattern using the magic loop technique, use a circular needle with a cable length of at least at least 80 cm / 32” instead of double-pointed needles. gauge

With yarn held double: 17 sts x 21 rows = 10 x 10 cm / 4 x 4” (knit flat, in 1x1 rib, on larger needle, after blocking) 20 sts x 36 rows = 10 x 10 cm / 4 x 4” (knit flat, in 4x4 slip-stitch rib on larger needle, after blocking) notions

BONES design julie robinson yarn bc garn

• • • • • •

117

Blocking tools (blocking mats, t-pins, blocking wires) Buttons x 4, 2.5 cm / 1” diameter Darning needle Removable stitch markers (optional) Stitch markers Tape measure

issue 4 - subverting the norm

FROSTBEAM

124

issue 4 - subverting the norm

Chart F Chart G

Chart I

Chart B

Chart A

Chart D

Chart H

Chart C Chart E

finished measurements

181 cm x 52 cm / 71.25” x 20.5” yarn

Marina Skua Mendip DK (100% British wool; 120 metres / 131 yards per 50 g) MC: 280 metres / 310 yards CC: 120 metres / 131 yards

FROSTBEAM design marina skua yarn marina skua

Sample shown is knit in colourways Sheep (MC) and Teal (CC). needles

4 mm / US 6 circular needle with a cable length of at least 60 cm / 24” (or needle size to obtain gauge) gauge

20 sts x 22 rows = 10 x 10 cm / 4 x 4” (knit flat, in Chart D lace stitch, after blocking) notions

• • •

125

Blocking tools (blocking mats, t-pins, blocking wires) Darning needle Stitch markers

issue 4 - subverting the norm

132

issue 4 - subverting the norm

T H A N K YO U ! DESIGNERS

YA R N P A R T N E R S

CO N T R I B U T O R S

ash alberg

bc garn

ash alberg

crystal hiatt

biches et bรปches

caroline frett

julia exner

erika knight

crystal hiatt

julie robinson

g-uld

maria muscarella

marina skua

tulliver yarn

renate kamm

walcot yarns

sari nordlund

wing and a prayer farm

@sunflowerknit ravelry.com/designers/ash-alberg @millysknitdesigns ravelry.com/designers/crystal-hiatt-2 @frl.staedtisch ravelry.com/designers/fraulein-stadtisch @julieatwork ravelry.com/designers/julie-robinson @ninja.chickens ravelry.com/designers/ninja-chickens @marinaskua ravelry.com/designers/marina-skua @oberpfalzerin ravelry.com/designers/renate-kamm @sari_n_ ravelry.com/designers/sari-nordlund

@bcgarn bcgarn.dk

@sunflowerknit ashalberg.com

@bichesetbuches bichesetbuches.com

@thehomeofcraft thehomeofcraft.co.uk

@carolinefrett carolinefrett.com

@millysknitdesigns millysknits.com

@gulddk g-uld.dk @marinaskua marinaskua.com @tulliveryarn tulliver.de

@walcotyarns walcotyarns.com

@wingandaprayerfarm wingandaprayerfarm.com

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