Saville Row Evening Scarf Knit Knitting Pattern
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Search Search Close. Sign In Don't have an account? Create an account here. Not only will I be working more with and for The New Craftsmen, I also have some other projects under wraps. Frustratingly, I cannot talk about any of those right now. Patience is a virtue! It would seem that many people dislike the traditional thimble, and have sought alternatives that suited them better; particularly the leather thimble got mentioned frequently. I doubt I will ever become as good as a tailor on Savile Row , but I can learn from them and apply those things that will take my textile practice to the next level.
Notes from a Make Do and Mend class, from the Mass Observation collection, where I taught a workshop earlier this year. I took measurements from a French workwear smock, and after swatching, I cast on and mostly made design decisions as I went along. You may have spotted her at yarn festivals with a big camera in hand, and being a knitter and spinner herself, she manages to capture goings-on with a knitterly eye.
The boxpleat pattern is best knitted flat, so the jumper was knitted in pieces, and then seamed together using a three-needle bind-off. Sure, it takes a while to pick up stitches along each seam edge, but the resulting seam is strong, yet it retains some stretch quality, something that was really important here, as the jumper is very heavy, and therefore I anticipate it will grow longer in wear. Although knitted in pieces, the over-all shaping is more or less based on the classic Elizabeth Zimmermann seamless saddle shoulder pull-over.
Last but not least, I used a lot of gradually differing needle sizes. The sleeves start at the cuffs in 2. This created a gently shaped sleeve, allowing for the boxpleat pattern to do its pleating at its best.
To stop the jumper from flaring at the hems, I knitted them on a slightly smaller needle to gently draw in the fabric. The neck is finished with a funnel neck, highlighting the non-curling quality of the boxpleat pattern. I thoroughly enjoyed designing and knitting this jumper, and as you can tell from the pictures, I finished it just in time to put it away for summer.
With special thanks to Rachel Atkinson for letting me buy a few more skeins for this special project, and to Jeni Reid for taking such beautiful pictures, as this jumper provided a photographic challenge, due to the colour. My friend Karina Westermann, perhaps better known as Karie Bookish, is planning to release a new collection of knitting patterns. Inspired by the age of Johan Gutenberg and the printing revolution in medieval Europe, ten knitting patterns and accompanying essays will be presented in a beautiful book.
Tom : Of course, manuscripts have moved from being written by hand to being printed. The books would be assembled by hand, and that has now also been mechanised.
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I can see some parallels with knitting, but also some differences. While The Met showcases haute couture, I am obviously? Things that were once treasured rarities but that have become disposable through ubiquity. This Thing of Paper is due for release Spring For me, the leap from clothes to books is a natural one. From High Street shops to easy online shopping, both clothes and books are objects that can be easily acquired, consumed and disposed and then re-acquired through charity shops.
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Did you use any specific manuscripts as an inspiration source, and how did they inform the design? It is a bit of an artificial divide for a myriad of reasons as book historians would be happy to discuss about for hours! My real love is incunabula — books printed between c and They are not as visually sumptuous as many manuscripts, but I love them because they combine made-by-hand with made-by-machine to such a degree that you cannot fully argue that they are mass produced objects. I digress — but I have worked quite extensively with the wonderful Glasgow Incunabula Project and was thrilled when they had a special exhibition on this project in The internet is a wonderful resource, though nothing beats seeing the books in person.
As a rule, I have looked more at the material qualities of the source material rather than the content of the books though the title of my book is actually derived from a 15th century treatise on the evils of printing! I find the material and visual aspects far more interesting than the specific books themselves — with one notable exception which is a 16th century embroidery manual which has informed a key design.
I am definitely more interested in the abstract, conceptual stories than in the very specific, textual ones. When I was in academia, I started out looking at Books as Literature but I gradually shifted towards looking at Books as Objects — I often think about how that dichotomy relates to how I approach designing knitting patterns. Tom : the inks used in old manuscripts will have been made from natural dyes or pigments. How have you taken this into consideration for colour choices? Karie : Yes and no.
I have obviously spent time looking at source materials and figuring out the colour palette s I will be using. I have an overarching colour palette for the entire book, but each story or chapter? Eventually I decided that I did not want to replicate or offer a representation of 14th, 15th or 16th century life. What I am much more interested in doing is trying to understand 21st century life using year-old items as a magnifying glass.
Having said that, I am collaborating with Blacker Yarns and a small selection of hand dyers — and all my collaborators are working with me on a colour palette that is derived from the colours I see in my source material — both the gloriously rich mineral-derived pigments of 14th century manuscripts and the more subdued hues you find in aged paper and faded ink in later books. Thank you, Karie, for talking about your new project. In addition, Kate has asked twelve designers to come up with their own interpretation of a hap, including myself.
Kate Davies : One of the many things I enjoy about your work is the way you use the deeply technical aspects of fabric creation or manipulation to produce really innovative designs. The book is littered with many beautiful photographs: although every method is illustrated with swatches in grey yarn, sequence knitting lends itself well for using colour, as evidenced by many of the projects in the book.
What struck me is that all of the stitch patterns are reversible in some way: some are identical on both right side and wrong side, others are just aesthetically reversible right side and wrong side are completely different, but both present a pleasing texture , some fall in between.
Where did you begin? Did everything turn out the way that you expected, or were there any surprises? Not being a shawl wearer myself, and not in need of yet another blanket, I squirreled away the idea. But every time I opened Sequence Knitting , the idea developed a bit further in my head.
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So by the time you asked me to contribute to your own book, I had an almost fully formed design in my head. Sophisticated use of texture is a focus throughout; from blousons cut in sumptuous cognac suede or tobacco corduroy paired with checked cashmere scarves, to mottled flannel suits or merino cable-knits, everything is soft and sumptuous, designed to wear comfortably throughout the cooler months.
Patterns range from subtle houndstooths on tailored pieces to vintage-inspired geometric paisley prints on silk scarves and satin ties. Lines are sharper throughout for a clean look and a subtle amount of definition has been injected into jacket shoulders for a quintessentially English silhouette.