Queue Check — October 2015

Queue Check — October 2015

I’m sure you’ve all been on pins and needles wondering what happened — did I finish my Cowichan-ish vest in time to wear it at Rhinebeck? I can’t believe I didn’t say so in my Rhinebeck report, but yes, yes I did. Wellllllll, sorta. The zipper needs a little more attention and I haven’t decided what I’m doing about the armholes yet, so that’s one last detail to be tended to. But I love it, I wore it, so did Amber, and I hope to have pics of it soon, at which point I’ll interview myself for the series. I also finished my gorgeous Laurus that same weekend.

If I could drop everything and cast on anything I wanted right now, hand to heart it would be another Cowichan vest, with another mega zipper. However, there are more pressing matters. For one thing, there’s my Slotober Frock, which I honestly still haven’t made up my mind about, so it’s not looking like it will be finished before Slow Fashion October comes to an end. That’s fine and just, right? Then the thing I cast on after the last Cowichan end was woven in (oh lord, so many ends) was the aforementioned black version of my Anna Vest. I’ll be at Tolt for the anniversary and book launch party on the 7th, and I thought it would be fun to wear my vest from the book, but those six inches of knitting you see up there are all I have, so there’s no way that’s happening. I am crazy about the way the Terra is knitting up in this stitch pattern — an unexpectedly perfect fabric — so while I can’t wait for this to exist, the fact that I won’t have it in time for the big event means the project is downgraded, while these two skip ahead:

1) Bob’s first sweater. How long have I been promising this? Forever. It’ll be knitted in this great deep blue-green O-Wool Balance and it will be a classic rollneck pullover. I’m thinking saddle shouldered, but I’ve not knitted a saddle shoulder before. Research to do.

2) My perfect grey pullover.  We’ve talked about this treasured Sawkill Farm yarn — I just need to make up my mind about the pattern. Do I want to do the Purl Sweatshirt Sweater? Improvise a perfectly basic top-down crewneck (with basted seams, of course)? Or apply aforementioned saddle-shoulder research to my own sweater, too. (I mean, this is pretty perfect, right?)

Decisions, decisions. Thankfully there’s the next Hatalong hat, launching tomorrow, to alleviate all the stockinette stitch in my future.

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PREVIOUSLY in Queue Check: September 2015

New Favorites: Big ol’ cozy pullovers

New Favorites: Big ol' pullovers

After getting that little preview of winter at Rhinebeck last week and having the temperatures finally drop into the 60s here in Nashville this week (along with the loveliest soft fall rain), I’m beginning to dream about cozying up in a big ol’ wooly pullover. Either of these would do nicely:

TOP: Onske by Olga Buraya-Kefelian is Olga’s answer to the sweater that broke the Internet, designed for Woolfolk’s new superbulky Hygge. I personally would knit it more oversized and at a tighter gauge, but I really want this sweater!

BOTTOM: Butte by Pam Allen is designed for bulky-weight Quince and Co Puffin. I love a good yoke sweater (am doing a lot of lopi fantasizing these days as well) and like that this one combines a basketweave yoke with reverse stockinette body.

Seamless and big-gauged, either one would knit up in a heartbeat.

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PREVIOUSLY in New Favorites: from Farm to Needle

Slow Fashion October, Week 5: KNOWN — and a roundup of yarn resources

Slow Fashion October, Week 5: KNOWN — and a roundup of yarn resources

It’s Week 5 of Slow Fashion October already, our final week (such as it is), and our theme is KNOWN. Let’s talk about favorite sustainable resources / the changing concept of “local” / traceable fabric and yarn origins / traceable garment origins / reference books, films, videos. How much do we know, where did we find or learn it, and how can we share both the resources and the knowledge?

At the core of “slow” anything — slow food or slow fashion — is knowing (i.e, asking) where things come from. Buying meat from a nearby farmer that was butchered just down the road is a whole different exercise from buying meat in a chain grocery store and having no idea who raised it, under what conditions; what factory it was processed in, and when; how it was handled between that factory and you. No way of knowing what exactly it is you’re buying or who and what you’re supporting with your money, other than the grocery chain’s CEO. Same thing goes for clothes. Once you start asking where your shirt or your fabric or your yarn comes from, you become more aware of the entire chain of farmers and mills and factories and global shipping companies and distributors and retailers that all have a role in getting fleece or plant fiber from the farm to your closet or your stash. And you start to make more thoughtful decisions about what you put your money into. Or you try to, anyway.

The fact is, knowing is hard — both the finding things out and the knowing what to do about what you know or don’t know. I’m exhausted and limp-brained right now trying to formulate thoughts about it. Buying clothing from a small-batch designer with in-house production instead of a mall store cuts out a lot questions and middlemen to wonder about, but they’re still sewing with fabric they probably can’t tell you much about. Fabric is the hardest, which you know if you sew. Maybe you know something about the fabric company, maybe they’ll tell you what country the fabric was made in, and you can take their word (or not) for whether that distant factory operates in ethical ways, paying their workers a living wage and providing a safe working environment. But even then, where did the fiber come from? How was it dyed? Once you start pulling that thread (no pun intended) you realize how long and tangled it is.

Yarn is the easiest. Not all yarns are transparent — not by a long shot — but a lot of them are, and listing some of those is a thing I can do! I’m focusing on the US because that’s where I am, but what I would love to see this week is a whole lot of listing and sharing. So here’s my sliding-scale overview of some conscientious yarn options, which I truly hope you’ll build on:

Farm yarns: As I mentioned last week, farm yarns — yarns sold by the farmers who raised the animals — can be found at farmers’ markets and fiber festivals everywhere. When you buy directly from a farmer (especially a local one whose farm you might even visit), you not only support the farmer directly, but you can get to know basically everything about that yarn, from the specific breed of animal/fiber to how and where the yarn was milled. Farm yarns vary greatly in terms of how big the batches are and what the price is, depending on how big their flock is, how far the fleece has to travel (round-trip) to be processed, and whether they’re only selling it themselves or whether there’s distribution involved. You’ve got tiny little enterprises like Sawkill Farm or Green Bow Farm (or those without even a website) at one end of the spectrum and Imperial Ranch Yarns at the other end, where they’re producing significant amounts of yarn and distributing it through yarn stores everywhere, but it’s still ultimately farm yarn, bearing the label of the ranch it comes from.

Boutique yarns (for lack of a better term): I’m thinking mainly about a breed of yarn store owners who’ve developed their own small-batch yarn, working with farmers and/or a mill. Examples: 1) Heirloom from Fancy Tiger Crafts, who developed their all-Romney yarn in conjunction with Elemental Affects. Jaime and Amber can tell you anything you want to know about the two farms where the sheep are raised and the mill where it’s spun.  2) Snoqualmie Valley Yarn, which Anna at Tolt Yarn and Wool had spun from the previously unused fleece of a neighbor farmer’s BFL–Clun Forest sheep. 3) Several yarns, at this point, from Kristine Vejar at A Verb for Keeping Warm, who likewise is gathering fleece from a variety of compelling sources and having these site- and breed-specific yarns milled, which she then naturally dyes. These include Pioneer, Big Sky, Clover and Flock. 4) She’s not a yarn store owner, but I would also put wool guru Clara Parkes’ Clara Yarn in this category, among many others.

Mill yarns: Just like a lot of farms produce and sell their own yarn, so do some mills. Harrisville and Green Mountain Spinnery are two prominent examples of mills that spin yarn for other well-known brands as well as for their own line. Mill yarns can be a little more affordable than smaller-batch farm and boutique yarns because there’s one less link in the supply chain. Mini-mills do tiny batches of yarn from a wide variety of fleeces and farms because they don’t require the same volume of fleece in order to spin a batch. For instance, you never know what Abundant Earth Fiber might have on offer at any given time.

Brooklyn Tweed: An example of a small yarn company with a little bit higher volume leading to a more affordable yarn but still with lots of transparency. BT discloses the entire supply chain of the yarn — from the scouring plant in Texas to the dye house in Pennsylvania to the mill in New Hampshire. We also know that the fleece is a mix of Columbia and Targhee from sheep raised in Wyoming — the only thing we don’t know is exactly what farms the fleece comes from.

Quince and Co: A little further down the transparency spectrum, Quince yarns are a great and very well-priced option for anyone wanting to know that what they’re buying was subject to US laws and restrictions, and not shipped in from around the globe. Bigger yarn companies buy fleece from brokers. The wool comes from all over the world and is sorted by color and diameter and other qualities, as opposed to by breed or point of origin. So when you see “100% wool” on a yarn label, that’s really all you know — it could come from anywhere or be from any number of kinds of sheep. Quince, on the other hand, uses only US-raised fleece for their wool yarns, so while we don’t know the specific breed, much less the specific farm(s) raising it, we do know it’s all sourced and processed in the US.

Obviously, these yarns are a drop in the bucket. I’m leaving out dozens of great, affordable, transparent options. I would love it if you would enumerate them in the comments! Especially those specific to other parts of the world.

And will someone PLEASE do a similar roundup of conscientious, traceable fabric options? I’m begging you.

EDITED TO ADD: I realized this morning I left out the entire category of hand-dyers. It wasn’t an intentional omission but I admit it may have subconsciously been due to the fact that the hand-dyeing subset of the yarn business is complicated. Not a lot of dyers are developing their own yarns or even particularly mindful of origin. When asked, many or most couldn’t tell you where the fleece came from — they’re buying finished, undyed yarn from mills or brokers based on a huge variety of factors and preferences, and origin may or may not be one of them. On top of that, many hand-dyers use primarily superwash wools, which are very heavily processed. Hand-dyers are lovely people who adore yarn — some of my best friends are dyers! — and when you buy from them, you’re supporting small/local businesses, and that’s all good. Several dyers focus on natural (non-superwash) fibers, and there are some that offer known-origins yarns but the ones that spring to mind did so in the past and have moved away from that level of specificity. So if you want to buy from a hand-dyer and you have questions about their yarns or their process, check their websites for details and/or ask them.

EDITED AGAIN TO ADD: I’ve highlighted four dyers on Instagram this afternoon.

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PREVIOUSLY in Slow Fashion October: Elsewhere, Slotober edition 3

Photos © Anna Dianich / @toltyarnandwool

Elsewhere: Slotober edition 3

Elsewhere: Slotober edition 3

The discussion around Slow Fashion October has gotten so meaty, and I just continue to be so inspired and in awe of it all, and so thankful to everyone who has contributed. This week’s links are genuinely important, taken on the whole, so I hope you’ll take some time with them. And also with the few things I’ve shared on the @slowfashionoctober feed, if not the entirety of the #slowfashionoctober hashtag this week. So much to think about—

– “The next time you’re about to buy something, ask yourself this: Where will this piece of clothing go after I no longer want it?<— If you read nothing else this weekend, please read this (And if you haven’t watched this beautiful and eye-opening video, do that next)

– “I’m slowly but surely drifting away from the idea that once the last loose end has been woven in, a garment is finished.”

– “One thing he talks about is taking time to fully have an experience, just focusing on what you’re doing instead of already planning the next thing you’re going to do after it. I want to do craft like that.

– “I like the idea of this shirt getting worn, loved and stitched as the years go by … growing better, stronger and more loved with each stitch and adventure.”

– “That’s what makes a good sweater great … knitting it for someone you love.”

– In the absence of my sashiko tutorial, I give you this looser one that posted on Design Sponge earlier this month: Three easy ways to mend fabric, inspired by Japanese textiles. (thx, ashima71) (I did manage to restock the sashiko thread, at least, so you can find all of the colors, minus navy, back in the webshop. Along with some other quality, handcrafted gems.)

– And speaking of not-quite-tutorials, upcycling, and hand-stitched denim, don’t miss Gridjunky’s notes on his drawstring bag

Happy weekend, everyone! I hope we’ll be seeing some of you at Fiber in the ’Boro!

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PREVIOUSLY: Elsewhere

Photos left to right: Design Sponge, Project Stash, Gridjunky

Hatalong No. 5 PREVIEW

Fringe Hatalong No. 5 PREVIEW

If you know anything about me, you know I love Fall and I love cables, and I think the two go together like peanut butter and jelly. So in plotting out the Fringe Hatalong Series patterns, naturally I wanted the October hat to be cabled. This month’s pattern been written just for us by one of my favorite designers, and while it’s striking and incredible and intricate-looking, it’s doable even if you’ve never done cables before. I promise! We’ll be working from a chart, so if you’re new to charts take a minute to read through my notes about that from the Hermaness Worsted intro.

I’ll reveal the hat and post the pattern here next Thursday, October 29th. Meanwhile, let’s gather our yarn!

Recommended yarn: The pattern is written for The Fibre Co’s new Cumbria, which is a really special yarn. It’s a worsted-weight blend of 60% Merino, 30% Masham and 10% Mohair. Merino, of course, is incredibly soft. Masham is a British longwool that’s a natural light grey, which creates really beautiful, muted colors when it’s overdyed. And the Mohair gives it a nice bloom when it’s blocked. So it’s a yarn with loads of touchability as well as great stitch definition. I really recommend trying to get your hands on a skein of Cumbria for this if you can. Ask for it at your local yarn shop.

Suggested substitutions: Cumbria is 238 yards per skein, and the hat does use most of that (allowing enough for swatching if you’re into it), so if you’re substituting, make sure you’ve got equivalent yardage. Cumbria’s recommended gauge is given as 18-20 sts per 4 inches in stockinette stitch on US6-8 needles. Because cables knit up more tightly, this pattern’s gauge is 20 sts per 2.75 inches on US6. But you want to start with a yarn with a similar base stockinette gauge to Cumbria in order to get similar results, so consult the ball band on whatever yarn you’re considering and look for that 18-20 sts on US6-8 range. Any nice lofty, neatly-plied, worsted-weight yarn will give you good stitch definition for the cables, but the fabric will be a little bit different from Cumbria’s fiber blend, depending on what you choose. Some good alternatives suggested by the pattern designer — if you’re stash-diving or can’t get Cumbria — would be Brown Sheep’s Lamb’s Pride Worsted, Green Mountain Spinnery’s Mountain Mohair, Fancy Tiger’s Heirloom Romney or Istex’s Lett Lopi.

I do recommend sticking with solids/heathers/tweeds to allow the cable pattern to really shine; variegated yarns will compete with or even blot out the appearance of the cables.

So get your yarn lined up and be ready for the big reveal next Thursday! And keep those #fringehatalong posts coming.

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PREVIOUSLY in the Fringe Hatalong Series: Laurus by Dianna Walla

The Rhinebeck report

The Rhinebeck report

I don’t suppose I can go to Rhinebeck (aka the legendary New York State Sheep and Wool Festival) and not blog about it. I have a tragic dearth of photos, though, because my hands were frozen solid for most of the weekend and I didn’t reach for my phone much. Monday morning I did — I took a whole bunch of future-award-winning photos of my sweet friends and the beautiful farm we visited, but then discovered (too late) that my phone wasn’t saving any of them. At least I have my memories.

The highlights: SO MANY of my favorite people, seven of whom I got to share a house with (I even got to meet Nicole Dupuis quite unexpectedly); best falafel of my life; an incredible number of Fringe tote bag sightings; the visit to the aforementioned farm, owned by a guy who turns out to have grown up in the same Kansas suburb as me; amazing yarn from that farm. All in all, a great trip.

To be honest with you, I spent all day Saturday wondering why I had worked so hard and traveled so far so I could spend an entire day standing in painfully long lines. It was like sitting in traffic for six hours. Seeing so many beloved faces while standing in those lines was the only thing that made it bearable.

When I woke up Sunday morning, I seriously considered telling my housemates they should go without me. I could really use a day of rest, and having a creaky old Hudson Valley farmhouse to myself for a few hours sounded way more appealing than a repeat of Saturday. But I’m SO GLAD I went. Sunday the crowds were manageable, and while it was even colder (it snowed on us!) and I looked like a very sad sack indeed — with my army shirt-jacket over my beautiful bulky sweater, droopy hat over my unwashed bun of hair, shivering so violently I lost a few pounds — I had a lovely time. I got to see the animals, eat the falafel I couldn’t get anywhere near the day before, visit many more of the vendors’ booths. Still, it looked like I was going to leave empty-handed.

Late in the day, Anna mentioned that we should all go to the booth where she had bought some nice tallow soap on Saturday, in a building I hadn’t been in. The booth was well done and the soaps on the front table were prettily packaged. As I stood there sniffing the bergamot soap and wondering whether to buy one bar or three (you know bergamot is my favorite) I noticed the deep freezer in the corner, a hand-lettered sign over it listing out the kinds of meats inside. Kate and I were debating what variety of sausage to take home for the evening when I noticed the bushel basket of yarn to the left of the freezer. Hold up now. I had picked up and put down numerous skeins of yarn over the weekend. All small-batch and perfectly lovely, but nothing that sparked joy, as they say — I didn’t want to buy something for the sake of buying something. But this was the perfect natural grey, and as we talked to Kallie about her wares and their farm, I wanted to buy from her. Of course I’d take a skein along with my soap and sausage, and so would the rest of my housemates, and we instantly started planning to all knit the same hat from it, to commemorate the weekend. But as I stood there, petted the skein, read the unusual mix of fleeces involved — Romney, Icelandic, Finn and Texel — I thought, now why would I not buy a sweater’s worth of this? Have I not been saying the wear-everywhere grey sweatshirt sweater is the giant gap in my closet? And have I not been trying to decide on the perfect grey yarn for that sweater? And was this not a beautiful, unusual, memento yarn I had in my hand, direct from a farm I’d love to support? Yes. Yes to all of the above. So I bought a sweater’s worth and will cherish the sweater it becomes.

The next morning, we went to visit Kallie and Michael’s beautiful farm, Sawkill Farm in Red Hook, and that was my favorite part of the whole trip. That’s where I took all the beautiful photos that didn’t save (I’ll never get over the loss of the one with the piglet running through the sunbeam!), but you can see the pics my friends took on their Instagram feeds: @toltyarnandwool, @fancyamber, @fancyjaime and @kelbournewoolens.

Kallie mentioned that her email and Instagram lit up after we posted about buying her yarn, and that makes me really happy. And I’m also happy for everyone else who saw it and bought some, it having been her first, small batch. But here’s the thing I want to say if you’re feeling like you missed out on Rhinebeck or this yarn: Wherever you live, there is very likely a fiber festival of some kind. Not to mention farmers’ markets. Go to them! There will be farmers there from your part of the world, and some of them will have their own yarn for sale. It’s awesome to travel to other places and find special treats to take home, but the real beauty of farm yarns is meeting farmers and buying directly from them, wherever you may be. You just never know what you might find.

Oh hey, speaking of which — this weekend is our local festival, Fiber in the ’Boro, and we will be there again with our Fringe Supply Co. booth. So if you’re anywhere near Middle Tennessee, get there!

Pictured are my housemates eating the famous apple cider donuts; gorgeous skeins of Sea Colors yarns hanging against a wall; a cashmere goat; and my haul of Sawkill Farm yarn in my favorite tote bag

Cowichan-style Knitalong FO No. 2: Meri Tanaka

Cowichan-style Knitalong FO No. 2: Meri Tanaka

Our second Cowichan-style Knitalong panelist with a finished vest is Amirisu editor Meri Tanaka, with her sprightly colored interpretation. Below she talks about what worked out for her, what didn’t, and how she embraced it all. For more from Meri, follow her on Instagram and the Amirisu blog. And if you missed our earlier Q&A about how to read a Japanese knitting pattern, make sure you check that out!

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You knitted your vest with a single strand of Puffin (bulky) to get the size of the vest down. How did you like doing the colorwork with Puffin, and how do you feel about the fabric for this pattern?

Oh, I love the fabric! If I had been knitting in a tighter gauge, or in the round, it would have been much easier. Because I wanted to maintain the puffiness of the fabric, for the yarn to bloom when blocked, it was very challenging to keep the stitches even on the wrong side.

You mentioned you were struggling a little bit with the stranding from the purl side when swatching and I wonder whether you got the hang of it over the course of this vest. Were you trapping your floats Cowichan-style, i.e. trapping every other stitch? Or how did you do it?

I did get used to it toward the end, but it required a lot of trial and error. I knitted the back panel in Cowichan-style trapping, about half of it, but was not very happy with the result. The stitches tend to get uneven this way, because of my moderate/loose gauge. Before I blocked it, I ended up pulling yarn from the wrong side here and there to make the stitches look more even. You can see the difference clearly when you look at the front panel. If you look at the red leaf-like pattern, strands are trapped on the right front, but I didn’t do it on the left front. I figured that it looks so much better if I don’t bother doing it.

In addition to knitting at a finer gauge to get a smaller sweater, you modified the motifs to affect the row count. Tell us about the changes you made in that regard. And are you happy with the motifs you came up with?

Yes. I wanted to make this vest very fitted with zero or negative ease. To avoid looking like wearing a kid’s vest on a women’s body, I made it longer, which is about the same length as the original pattern. I added 10 rows to the lower body, by adding a triangular dot motif and a red line, as well as replacing one of the main patterns. I wanted to replace the geometric box-line motif with something more organic, so I did a lot of Google Image Search to find one that I like. I charted the motif on graph paper, which took no time at all. I am very happy about the result!

Did you make any other mods to the pattern?

When I began knitting the back panel, I was shocked to realized that some parts of the armhole edge (solid color stripes) require intarsia, and to avoid it I needed to trap the main color all the way across to knit the second armhole. The same situation happen for fronts, all the way from the bottom to the end. I didn’t like the idea of doing intarsia on the front band, where I will be pulling hard all the time, nor trapping the MC yarn where there is nothing else to knit on the other side like the upper back. Which is why I knitted the front band separately, in ribbing.

I was a little nervous whether it would work out, but it turned out to be quite easy. I picked up 2 stitches per 3 rows on the straight edge, and a stitch per every row on the neck edge slope (19 stitches). From there, the front collar was shaped by Wrap & Turn — work in rib for 15 stitches, W&T, work in rib to the end, turn, work in rib for 13 stitches, W&T, etc.

The other mod I did was to add pockets on the sides. To do this, I left about 4″ unsewn where I wanted the pockets to be, and picked up 22 stitches (11 on each side), worked 18 rounds (4″+), and grafted it together in Kitchener Stitch. It was easy, and I love how it turned out.

Watching everyone else knit their vests — both on the panel and in the larger community — was there anything you saw that made you wish you’d done something differently?

When I decided to knit the front bands separately, my initial intention was to attach a zipper instead of buttons. To do this, I figured that knitting the front collar by itself then crocheting on the straight edge was the way to go. But that meant I would need to recalculate the front collar. The biggest reason I abandoned the idea was that the body was more fitted than I had expected (though my gauge was spot on — I guess my hips are bigger than I imagined!), and I needed the button band to add a bit of width.

I saw what you did with your vest — I cannot wait to see it finished!

If I should knit it again, which is very likely, I will change the main motif entirely, so that changing the size would be more flexible and easier. Perhaps one big motif on the back, and something smaller on fronts. The idea excites me, and I’ve already started thinking about which colors to choose!

It seems like we’re all bound for at least one more vest! Thanks so much, Meri!

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PREVIOUSLY IN #fringeandfriendskal2015: FO No. 1, Andrea Rangel (full series here)