SAMPLE AUCTION for Doctors Without Borders
A few weeks ago we marked the one-year anniversary of my mother-in-laws death. In both the grief of that loss and the celebration of her life, something that keeps coming up again and again is the love she had for making things. Cooking, growing, sewing. Now our home is filled with the evidence. There are plants in my garden grown from seeds she saved for me. "Grandmas best rice recipe" is the only one my kids will eat, and our beds and sofa are adorned with the most beautiful quilts. Not just ours - her best friend sent us a card mentioning the lovely handmade gifts she'd received over the years.
These tangible traces of her creativity, her knowledge, her personhood as a whole. Over the last year, adding the finishing touches to the child's quilt she’d been working on, I've frequently stopped to ponder their significance and how they surpass the initial act of making or giving. How blessed we are to have them to hold on to, to remember. For the past two months, also, I've dwelled on the scores of Gazan makers and givers that have been reduced to horrifying numbers.
Limbs, deaths, orphans. Displacement, disease, starvation. Where are their traces, the mothers who embroider (honoured in this beautiful piece I came across a few days ago)? What's happened to the statuettes painstakingly, lovingly carved out of olive wood? Who's there to savour the steaming pans of musakhan? And what on earth do you do when both maker and recipient are gone? To me, creating is as important as breathing, but it seems rather trite to say that when I'm able to focus on far more than just survival.
I feel it is only right, then, to do what I can in the best way I know how. On the 22nd of December - Winter Solstice and one of my absolute favourite celebrations of the year - I will be auctioning off a shawl and a cardigan sample.
75% of the auction proceeds, as well as all crochet pattern sales until 31 December, will be donated to Doctors Without Borders. I am keeping the remaining 25% to pay myself a small salary and to cover things like postage.
If you're interested, please do read all the details below carefully. And don’t forget, if you can't place a bid, you can still contribute by sharing this article and/or my social media posts.
Would you rather make your own crocheted garments and accessories? At the very end of this post I’ve added links to a selection of my favourite designs.
W H A T
ITEM ONE - ilo. Cardigan
A swingy, A-line cardigan with a delightful contrast collar, hem and cuffs. Handcrocheted by Designer Eline Alcocer using pure, soft alpaca yarn.
Size - finished bust circumference 92cm / Length 58.5cm
Starting bid 75EUR
ITEM TWO - Dawn to Dusk Shawl
A stunning show-piece of a shawl to flounce around in all day, and maybe all night too. Handcrocheted by Designer Eline Alcocer using pure wool and a blend of wool/nylon and mohair/nylon.
Size - 160cm wide / 72cm deep
Starting bid 50EUR
W H E R E
The auctions will take place here, in the comments section of this blog post.
W H E N
Friday 22 December. Bidding will open at 9:00 CET, and close at 21:00 CET. Bids received after this point will not be valid. The highest bid wins.
H O W
To bid, simply leave a comment stating the item you are bidding on, and how much you would like to pay (please note the starting bids). Once bidding has ended, the winner will be notified via email. Payment will be due via PayPal within 5 days of this email being sent out. Non-payment after this date will result in the next highest bidder winning the item.
Postage - I will cover postage to anywhere in the world, but please note that the bidder is responsible for any import fees.
A N D F I N A L L Y
Let me be clear.
I cannot and will never understand what it feels like to be Jewish or Palestinian. To offer my opinion as a white person in the global North would not be a valuable contribution, to say the least. What I will state, however, is that I am against the oppression, abduction and murder of any peoples in any circumstances, and that I fully support calls for an immediate and lasting ceasefire.
F OR T H E C R O C H E T E R S
HAVET SHAWL RIFF - how to incorporate lace and two colours into the wings
The Havet Shawl pattern was originally designed for a rustic, very woolly wool - the kind that still smells a bit sheepy when you unwind the skein. The colours are deep and rich, picking up the natural dark hues of the Zwarbles fleece that is part of the blend. And most importantly for the finished look and feel of the shawl, it blooms with blocking, fluffing out into the gaps between stitches. As a result, the first, blue and green sample of Havet is lightweight, incredibly soft to the touch, and also very warm.
To recreate this original sample it's important to use a similarly untreated wool, but this is by no means the only option. Indeed, part of the fun in both designing and making is to see where the combination of stitches and yarns take us, how much we can bend the 'rules', etc.
In making another sample I really just wanted to have fun with colours without worrying too much about how the yarn would behave. I'm sure I'm not the only one who's been wooed by the bright, popping colours and speckles that can be achieved on superwash-treated merino. The hand-dyed ones, the one-offs, the really special treats... The three skeins I used for my second Havet are all slinky, smooth superwash merino yarns. The dappled green {oh how I was sold on that dapple!} and the coral pink are single-ply, while the yellow is a 4-ply of which I had lots of tiny leftovers.
I knew that the resulting shawl would be very different from the original. Superwash yarns are kind of compact, and they barely change with blocking. You can stretch them into whatever shape you need, but the fibres that make up the strand won't shift at all. They certainly won't go fluffy and fill in any gaps between stitches, so a shawl made at a gauge as loose as this pattern calls for with a non-SW will be quite translucent. As the photo below demonstrates, the stitches in the original sample on the right are a bit fuzzy, while the ones in the second sample on the left are much crisper and the gaps between the stitches in green are more noticeable. Which one you choose really comes down to personal preference - a pattern may guide you but there is no right or wrong.
As well as the difference in style and texture, for the second sample I used three rather than two colours. On a complete whim, I decided to mimic the lace as I switched gradually from the dark green to the yellow in the wings of the shawl. If you want to do the same - perhaps because you have three fingering weight skeins in three colours, not two - I've roughly worked out the maths and written the instructions below. I should point out that I ignored the instructions, totally winged it (pun very much intended), and hoped for the best. Therefor, these instructions have not been tested in the same way as my for-sale patterns normally are.
HAVET SHAWL RIFF - how to incorporate lace and two colours into the wings
Dark green = colour B / Yellow = colour C
Follow the pattern until the stitch count for each wing equals a multiple of 8 + 1.
E.g.: total wing st count 73 sts - 72 (multiple of 8) + 1
Somewhere close to a multiple of 8 + 1 is fine too; Just skip fewer or more stitches in the first extra lace row as needed. Any wobbly edges will be blocked out anyway.
Extra row 1 (lace row): In C, [ch 3 (counts as 1 TC), TC 1] in first st, skip 3, *ch 1, [TC 1, ch 2, TC 3] in next st, skip 3, [TC 1, ch 1, TC 1] in nect st; rep from * until 8 sts rem to central lace panel, skip 3, ch 1, [TC 1, ch 2, TC 3] in next st, skip 3, TC 2 in last wing st, work appropriate lace row in A, change to C, TC 2 in first st, skip 3, [TC 3, ch 2, TC 1] in next st, ch 1, *[TC 1, ch 1, TC 1] in next st, skip 3, [TC 3, ch 2, TC 1] in next st, ch 1; rep from * until 1 st rem, TC 2 in last wing st, turn.
Extra row 2 (lace row): [Ch 3 (counts as 1 TC), TC 1] in first st, skip 1, *skip 3, [TC 3, ch 2, TC 1] in next ch-sp, ch 1, skip 4, [TC 1, ch 1, TC 1] in next ch-sp; rep from * until 10 sts rem to central lace panel, *skip 3, [TC 3, ch 2, TC 1] in next ch-sp, ch 1, skip 4, TC 2 in last wing st, work appropriate lace row in A, change to C, TC 2 in first st, skip 4, [TC 1, ch 2, TC 3] in next ch-sp, skip 1, *skip 3, [TC 1, ch 1, TC 1] in next ch-sp, skip 4, [TC 1, ch 2, TC 3] in next ch-sp; rep from * until 4 sts rem, skip 3, TC 2 in last wing st, turn.
Extra row 3 (Up & Down patt row): In B, work first 2 sts in patt, *work next 6 sts in patt, skip next ch, work next st in patt, skip next ch, work next st in patt; rep from * until 9 sts rem, work next 9 sts in patt, work appropriate lace row in A, change to B, work next 9 sts in patt, *work next st in patt, skip next ch, work next st in patt, skip next ch, work next 6 sts in patt; rep from * until 2 sts rem, work next 2 sts in patt, turn.
You will now have 4 more sts than you did on the last ordinary row. Continue in pattern with colours A & B as follows:
Rep R3 of main pattern once, rep R4 of main pattern once, then rep R3 of main pattern twice. 12 sts added. Total wing stitch count should again be a multiple of 8 + 1.
Using colours C and B, repeat the three Extra rows once. 4 sts added. Using colour B, repeat R3 of main pattern twice. 4 sts added. Using colours C and B, repeat the Extra rows once. 4 sts added. Repeat R3 of main pattern once.
Switch to colour C, rep R3 and R4 of main pattern until shawl reaches desired dimensions.
As you can see, I worked the extra lace rows on the wings three times in total, and decreased the number of green rows in between each time. I used exactly one 400m skein of green, one 400m skein of yellow, and about 200m of coral. The shawl feels lacy and appropriate for mild weather. And the colours make me smile every time I look at them, which is exactly what those Special Skeins are meant to do!
What would you go for - rustic and warm, or bright and lacy?
Pink Grapefruit and Pineapple Marmalade - aka Anti-Winter Jam
This year I decided to make my own marmalade to chase away the Winter Greys. But fancy, with pink grapefruit and fresh pineapple.
One of my favourite things about Summer and early Autumn is turning the abundance of fruit into jars and jars of jam. I'm always a bit sad when the season ends, but then, just a few months later... Marmalade! I love marmalade. In fact, I'm the only one in my family who does, and I have to admit I eat it in huge, tooth-rotting quantities all winter long ON MY OWN. I'm also quite picky about it; I want a full flavour and lots of peel. Outside of the UK (which I called home for many years) it can be quite tricky to find "proper" marmalade - the kind that is not too sweet - and the imported stuff is becoming ever-more expensive. So this year I decided to make my own. But fancy, with pink grapefruit and fresh pineapple. If this doesn't chase away the Winter greys...
This marmalade is heavy on the fruit and light on the added sugar. I used Kylee Newton's excellent book, The Modern Preserver, to learn the basic techniques of jam and marmalade-making.
Pink Grapefruit and Pineapple Marmalade
3 pink grapefruit
1 fresh pineapple
5dl water
300g jam sugar
Cut the peel from the grapefruit, reserving the flesh. Remove as much pith as possible from the peel, then slice into very thin strips. Chop the flesh into 1cm cubes, discarding any pips and pith.
Remove the skin and tough core from the pineapple and discard. Cut the flesh into 1cm cubes.
Put all the fruit and zest in a large with the water and bring to a boil.
Lower the heat to add the jam sugar, stir until it has dissolved, then bring the mixture back to the boil. Boil steadily, stirring frequently for 20-30 minutes (or until the grapefruit peel has softened).
When ready*, pour into hot, sterilised jars and seal.
Will keep unopened at room temperature for up to six months, or a few weeks in the fridge once opened.
PLEASE NOTE:
This recipe makes the most of the natural sweetness of the pineapple, and doesn't use as much water or jam sugar as commercial recipes tend to. As a result, the water may separate and pool in the jar if stored for a while. This doesn't affect the flavour at all - just stir it back in before spreading.
*Newton recommends the wrinkle test to check whether a jam or marmalade has reaching its setting point. Place a couple of small dishes in the freezer before you start. When the mixture has come to a rolling boil for the required amount of time, take it off the heat and drip a little bit of it onto one of the dishes. Put in the fridge for a minute or so, then gently push the jam with your finger to see if it wrinkles. If it does, it's ready! If not, return the mixture to the boil and repeat the test after five minutes.
TUTORIAL: Crochet Ribbing pt. Two | DC and slip stitch
When I think about what sets apart my successful crochet projects from the not-so-successful ones (or the absolute disasters, because we all have those), I can come up with a few reasons:
Wrong yarn - wrong weight, or wrong type of fibre
Wrong fit (for garments) - everyone has a different body shape, of course, and knowing enough about what suits you - tailored or boxy? Long or short? - is very important to the ultimate success of a garment. More about that in a later post!
Poor finishing - ends not securely sewn in, ugly seaming or wrong/lack of ribbing/edging
It’s this last one that I want to focus on in this current series, because a poor finish can really ruin an otherwise well-executed project. It’s the boring bit at the end, I know, but it does make a difference. Ribbing especially can have a huge impact on to whether a garment fits properly, and how well it lasts with frequent wear.
There are several ways of working crochet ribbing, each with their own characteristics - super-stretchy, or nice and neat, or just easy to do. In the second part of this series on crochet ribbing (you can see the first part here), I want to show you how to create a neat and fairly stretchy rib using a combination of DC (SC for you US folks) and slip stitches.
This ribbing is crisp with a little stretchiness, but it still “pings back” into shape quite easily, making it a good all-round technique. So far I’ve used it for the side panels of the Clifton Cardigan (to give the garment waist shaping without actually having to do any shaping! - pictured below) and the edging of the Kishie Vest.
DC and slip stitch ribbing
Use it for:
Areas that need to sit snugly on the body, such as necklines, sleeves edges and hems, or that need a bit of flexibility without the danger of becoming ruffled over time, such as hat brims. An added bonus of this technique is that the wrong side of the fabric - the side that sits against the skin - is completely flat, so it’s a good choice for anyone with sensory processing issues related to clothing.
Avoid it when:
You need a very stretchy or drapey fabric, such as on the main body of a garment or shawl, or when you need the fabric to be reversible.
Make it your own:
Experiment with different hook sizes - a small hook for a very tight and stiff rib, a larger hook for something with more give.
Increase or decrease the number of repeats when working directly into a selvedge edge; You can work more repeats for a straight, looser finish, or fewer to give you a more drawn-in effect (see instructions on attaching ribbing to a selvedge here).
To ensure the side edges of your ribbing don’t ruffle, pull the turning chain at the beginning of each row as taut as you can.
Materials
a crochet hook that is the same size, or 0.5mm less, than the size recommended on the label of your chosen yarn
Yarn: this rib works with any yarn weight or type. The final fabric will be influenced more by the inherent drape of the fibre than the ribbing technique itself.
The Technique
This type of ribbing combines rows of DC on the right side of the work, and slipped stitches worked into the Back Loop on the wrong side. The next row of DC is then worked into the remaining, unworked loop of the previous DC row. In effect, that row of slipped stitches creates a little ridge that sits on top of the DC row. When you’re new to this technique it can be somewhat tricky to figure out where to put the DC stitches in particular, so in this tutorial I’ve used two different-coloured yarn to make things clearer. You don’t need to do this, but you might want to as practice before you get stuck into a pattern.
For this tutorial, I’ve used a cotton and a wool-blend yarn in DK weight with a 4.0mm hook.
Difficulty Level
Confident Beginner
Stitches + Abbreviations
BLO - back loop only
Ch - chain
DC - double crochet (SC in US terms)
RS - right side
Sl st - slip stitch
WS - wrong side
Note: this tutorial uses UK crochet terms
Instructions
Row 1 (RS): Start with the desired number of foundation DC stitches (or make a starting chain, then work one row of DC sts). Turn
Row 2 (WS): 1 ch (does not count as a st. Pull taut), 1 sl st in BLO to end. Turn
Row 3 (RS): 1 ch (does not count as a st. Pull taut), 1 DC in remaining, unworked loop of the previous DC row.
Repeat rows 2-3 as required.
Copyright notice:
You may not reproduce, either partially or in full, any of the photos or the text contained in this tutorial without obtaining written permission from me first.
Thank you and happy crocheting!
A subtle shift
If I were to mention the dropping temperatures or the dwindling harvest in my part of the world, how many of you would gleefully think of gorgeous woolly sweaters and deliciously melancholic evenings? Would there also be a fair few who, as a new friend lovingly reminded me at the weekend, would want to punch me in the head because EVERYTHING IS DYING?
If I were to mention the dropping temperatures or the dwindling harvest in my part of the world, how many of you would gleefully think of gorgeous woolly sweaters and deliciously melancholic evenings? Would there also be a fair few who, as a new friend lovingly reminded me at the weekend, would want to punch me in the head because EVERYTHING IS DYING? I have to admit that I'm personally ambivalent about the coming of Autumn - I love me some handknitted socks, but I don't relish the November weeks sat desperately staring into my SAD lamp.
What I do love about the shifting seasons though, whether early or late, is the opportunity to take stock. Funnily enough, this is not something I ever feel like doing on the 1st of January. Show me a budding leaf or an emerging mushroom, however, and I suddenly notice what else has shifted. This year, I think it's the kids.
After almost 8 and 3/4 years of parenting, I should know that change comes slowly. Sure, sometimes they make leaps that stop you in your tracks, in a mixture of pride (in the child in question) and shock (at your own inevitable ageing alongside them). The trouser legs that suddenly flap halfway up the calves, vocabulary far richer than it was a mere week ago, a clap-back delivered with a completely straight face.
Most of the time though, I don't know something has changed until I realise I struggle to remember a time it wasn't so. At some point, I stopped needing to rock them to sleep. "Mornings" no longer start in what is clearly the middle of the night. Somehow I don't just have a little more time to put into the garden rather than into keeping small humans from self-destructing, there is also a kid correctly identifying plants alongside me.
The current shift is a step in the journey to adulthood (for them) and a life post-tiny-dependents (for us) that feels simultaneously miniscule and seismic. As of this term, I only have one child to collect from school. The older one cycles home by himself now, all of 7 minutes along mostly cycle paths. This new routine means I add a good 20 minutes to my work day, depending on levels of faffery and general cooperation in the small one. In the grand scheme of things it's such a small amount of time it's almost irrelevant - just enough for an extra cup of tea.
And yet. It hit me yesterday that I have two, maybe three years left of doing any school runs at all. Will there soon come a time when I simply wait for the click of their key in the door, and realise with a start that it was once different? Will I know when they've flung themselves into my arms and tell me they've missed for the last time, and remember to hold on extra tight before they inevitably spread their wings even wider? Probably not. Better have that extra cup of tea.
UPCOMING RELEASES
There's a lot of stock-taking going on at work, too. After half a year spent focusing entirely on magazine commissions, and therefore not being able to show anyone anything for months, so much is being released. More kids flying the nest! Last month marked the release of one of my favourite patterns to date, I think, and happily the response on social media was fantastic as well.
Kishie Vest
The end of September sees the release of a new garment pattern as well as the start of what I hope will be a long and brilliant adventure for all involved; The first issue of new crochet magazine Moorit, brainchild of the amazing Alyson Chu, will go on sale (and if you're in the UK, you can still pre-order a copy now). I poured my heart & soul into every stitch and every line of this highly-textured, versatile vest (do have a look at how Moorit styled it), so I hope you all fall madly in love with it!
A summer's work
…But if all that sounds very down and pessimistic, in reality our summer was filled with abundance too. A different kind, not one of a carroussel of places, faces, and suitcases bulging with things-we-must-bring-back. We've had to work a little harder to find joy close to home….
School summer break 2021 turned, inescapably, into another staycation. [There is a Swedish word for this, too: "hemester", an amalgamation of "hem" (home) and "semester" (vacation).]
With the border to the UK still closed, our second vaccinations not scheduled until the very end of the kids' time off, and being kind of unable to keep up with changing travel regulations in Belgium & France anyway... There is no doubt that, with every month that goes by, the heartache of not seeing family and friends abroad only grows. I don't know what to do with that loss - none of us do.
But if all that sounds very down and pessimistic, in reality our summer was filled with abundance too. A different kind, not one of a carroussel of places, faces, and suitcases bulging with things-we-must-bring-back. We've had to work a little harder to find joy close to home. Another thing I guess many of us have had in common, throughout this pandemic {I saw someone call it The Motherf*cking Panny, which I think is thrillingly accurate}.
We found it, of course we did. Maybe most of all me: As someone who instantly wilts like a sad flower in heat, nowhere is more perfect than Sweden in summer. I've dragged everyone else along, up the trees laden with tiny cherries, into freezing cold lakes, and through forests heaving with both mosquitoes and blueberries. The garden has given us handfuls of sweet peas, French beans and all sorts of tomatoes. The heavy clay sod I got Mr E+L and the neighbour to shift in June? That's now the beginnings of a community garden, a strip crammed with sunflowers and runner beans and insects. Soon we'll dig up the potatoes and foist apples onto anyone who passes.
I'm not always sure that everyone else shares my enthusiasm, equally reserved for fruit picking and the pulling on of knitted socks during an inevitable August (and July too, if I'm honest) cold spell. Although...
Last weekend the 8yo came blackberry picking with me. Or rather, he held the box while I wrestled with the thorns. But at one point he looked around the thriving meadow and said gravely, "Mum, are we in the middle of nowhere?". I laughed and pointed out the noise of the nearby ring road and the 3-minute cycle ride home.
"But is feels like it, doesn't it Mum. All I can see is green and it's kind of magical."
My heart did a little leap.
You get it, I thought. Though I'm not sure whether I can take credit or whether you're just being your usual amazing You, though you might prefer to leave off from the juice-stained fingers and tuck straight into the finished crumble... You know how much this is all worth. And I hope, my lovely child, that it goes some way to making up for what you've lost as well as give you something to fight for.
Over the coming two months I can finally reveal the patterns I’ve been working on this year, starting with this piece of bright & woolly bling:
Dawn to Dusk Shawl, out now in issue 139 of Inside Crochet Magazine. Photo taken by my 8.5yo!
Maker's Maintenance - Getting the most out of your knitwear and crochetwear
A while ago I ran a poll on Instagram, asking whether anyone wanted to see how I look after my knit & crochet wear. The overwhelming response was "yes", …
A while ago I ran a poll on Instagram, asking whether anyone wanted to see how I look after my knit & crochet wear. The overwhelming response was "yes", but then WOOSH SeptOctNovBERBERBER happened, there was no light to photograph anything by, the kiddos were off school, etc etc. Here we are in late November (well into the woolly season for us), and I haven't shown anyone a thing.
BUT Lo and Behold we got some good natural light last week. So. Would you like to see how I look after my yarny things?
To my mind, rather a lot goes into "looking after" your clothes, starting from before you even make a purchase (whether that be for a finished item or for the materials to make one). To simplify things, however, let's assume you have yarny things in the wardrobe, and you want them to last. Then, let's make categories:
General care
Fixing problems
Resources
1. GENERAL CARE
It may sound rather obvious, but caring for your yarny items can extend their lifetime significantly. Although everyone has accidentally shrunk a wool sweater in the washing machine at some point, it really is worth taking time to learn how to clean and store things properly.
CLEANING
Before you do anything, ask yourself whether your item really needs washing. Could you air it out instead, or spot-clean with a damp cloth? If only a proper wash will do, try to:
Handwash, or machine wash on the delicate/wool cycle, using just a little bit of wool/silk detergent. Pad out the load with a couple of bathroom towels to prevent excessive spinning.
Tackle stubborn stains with sunlight rather than harsh detergent.
STORAGE
In most parts of the world it's really hard to stop fibre-loving critters from getting into your home, so the best thing to do, at the very least, is to stop them from getting to your clothes. Storing your items properly will also help prevent them stretching or becoming misshapen.
When your items are in use:
Place any items bought second-hand in the freezer for at least three weeks, to kill off any moth eggs and such.
Store sweaters and cardigans flat, not on hangers.
Use lavender sachets or cedar wood (sand lightly every now and then to release the scent) to repel moths.
Riffle through cupboards and drawers regularly, to let in air and light, and to check for pests.
Out of season
Carefully check for signs of damage, fix anything that needs fixing, wash everything, and then store in vaccuum bags or plastic containers with lockable lids.
Use lavender sachets or cedar wood to repel moths.
2. FIXING PROBLEMS
As much as I think it's important to properly look after knit & crochet wear (and all clothes in general), that doesn't mean I'm precious about using them. The only way to honour the resources that go in to producing good yarny items (whether by me or a garment worker) is to wear them. That means, of course, that even with the best care they will eventually show signs of wear. Knowing how to deal with this, and keep items looking good*, is invaluable to extending their lifetime.
PILLING
Lots of fibres pill, from cheap acrylic to super-fancy, hand-dyed merino. I don't think there's much you can do to stop it (besides choosing a hard-wearing fibre, like Lettlopi wool, in the first place) but it is quite easy to solve: get a de-piller. With a little effort, yarny things look like new again (check out the difference on the socks below!). I have a wool comb as well as an electric de-piller. The latter is a bit of an investment, but worth it to me; all four of us wear wool for at least six months of the year, and it also helps me to keep my samples looking fresh for photos and shows. At the beginning of autumn I stick on a podcast and set to work on all the sweaters, hats, and socks. It's strangely therapeutic...
Remember: Gentle does it, even if it takes a little longer. Keep your fabric flat while you depill, and go very easy with fine fibres.
Handknitted stripey socks, halfway through a de-pilling session
HOLES
Again, you can minimise the risk of getting holes by choosing hard-wearing fibres to begin with, and working to a tight gauge will also help. Otherwise, however, holes are kind of inevitable. My kids knock through their knees, I seem to have spikey elbows, and socks especially wear thin quickly. I really don't think a hole should spell the end of a garment's life, so over the years I've collected lots of mending materials as well as techniques. I won't lie; It's rare for me to actually get to the bottom of the mending pile, but I do try to plug away at it regularly.
My favourite techniques for yarny items are:
Darning - Probably the most time-consuming and fiddly fix, but I love how it looks. I use thrifted darning wool and leftover sock yarn, and don't worry about matching colours at all. It becomes a little creative outlet in itself.
Patches - Much as I love darning, really big holes on elbows and knees are sometimes just easier to patch. I like these knitted patches by Purl Soho, although I often use leftover bits of woven fabric as well. Etsy is a great place to buy ready-made wool patches.
Swapping out parts - For very frayed cuffs, the easiest fix might well be to simply swap them out. You can buy ready-to-sew ribbed cuffs, or make your own. For the kids fleece below I plan on using the legs of a pair of holey wool socks that I just didn't feel like darning. I’ll let you know how that goes!
Embroidery - More of an embellishment than a fix, and definitely not a quick one at that, but very fun to do.
STRETCHED/MISSHAPEN
Sometimes the reason an item is shoved to the back of the cupboard is because it's got so stretched it just doesn't fit anymore. No amount of de-pilling is going to make it look good. I find it intensely frustrating when this happens, because the cause of the stretching is often precisely the item having been so well-loved.
If the item is only a little stretched or misshapen, the first thing to try is to re-block it. If the item was made with a fibre that has "memory", such as a non-superwash wool, that might be enough to save it. If not, it's time to get creative (and a little brave, probably).
Reknit/crochet the problematic portion - Depending on how the item is constructed, you might able to work straight into the edge. I covered dealing with stretched hat brims previously. Otherwise, you will have to unravel or cut off a part, pick up live stitches, and re-knit/crochet from there. There are some good tutorials to be found on Pinterest for this.
Get the sewing kit out - Sometimes the best option is to look at the item from a tailoring point of view, and take in hems/seams or add a thin elastic.
Alter the thing completely - If taking in seams is likely to add too much weird bulk where it shouldn't be, and reworking a portion is just too hard, go for the chop. Re-work it into something totally new. The photo below shows a top and skirt that started life as a (shop-bought) above-the-knee dress. A very well-loved dress, until the bottom part stretched too much for its length. I didn't think I'd be able to take in the sides, nor re-knit the cabled bottom in a way I'd be happy with. So I cut it in half at the waist. The bottom half became a below-knee skirt, for which the A-line shape was perfect. I then added a couple of sections to the top-half, to make that part wearable too. It did take a while and tested all my sewing/knitting skills, but I now wear both items regularly (again).
3. RESOURCES
HOW TO WASH WOOL - a more detailed blog post from MamaOwl, with great tips and a few FAQs
HOW TO GET RID OF CLOTHES MOTHS - another useful post from MamaOwl
VISIBLE MENDING - a beautiful, clearly-written book by maker Arounna Khounnoraj
MODERNE BRODERI - a GORGEOUS book on embroidering knitwear and clothing, by Warunee Bolstad (currently only available in Norwegian, but the Plystre site has kits and a short tutorial in English too)
BUYING SECONDHAND - though not related to caring for your knits, I had to include this series of Instagram stories by Africa from The Vitamin D Project. Her IG account is like an ode to all things woolly, she’s recently launched a website, and I love it all.
Do you have any tips for getting the most out of you knit & crochet items? Is there anything I’ve mentioned that you particularly love doing, or struggle with?? I’d love to hear about it in the comments!
* I want to add a note about the cultural sensitivity associated with wearing clothes that look "good". I'm fully aware that, as a thin white woman of obvious economic means, there is no danger in walking around in clothes that have been visibly patched up. Quite the contrary - "visible mending" is incredibly trendy and I would be lying if it didn't do my career any good; More than once I've been paid to mend or alter items for friends, after they've seen what I'm wearing. I very much doubt that would be the case if I were Black, or plus size, or visibly disabled, given all the tropes around wealth and skill that surround these marginalised groups.
I'm also aware that doing all of the things I've listed takes resources. Time, money, skill, in some way or form. Not all of us have them, nor can we be expected to obtain them. Do what you can, if you can.
Sweetpeas, a pandemic, and running a crochet business
One of the strangest, and trickiest, things about running a business in this pandemic has been the not knowing. Not knowing how to respond, how long it will last, what everything will look like when we eventually emerge. Much like our so-called leaders, I'm making it all up as I go along.
One of the strangest, and trickiest, things about running a business in this pandemic has been the not knowing. Not knowing how to respond, how long it will last, what everything will look like when we eventually emerge. Much like our so-called leaders, I'm making it all up as I go along.
I'm fortunate in that I have very little overheads. I don't employ other people, or hold stock that could go off, or rent premises that have suddenly become unaffordable. Our household doesn't rely on my income; That of my partner has remained stable and enough (what a luxury!).
Nevertheless, this Thing that I created over 4 years ago, which feels very much like an extension of my identity (and which has driven it, in some ways. Who knew that my Queer self would find room to peer out, shyly but very much THERE, from behind all the skeins of fluff??) - I didn't want it to disappear. Knowing what "it" was though, nevermind which direction to go in, was far harder to figure out.
I spent a good chunk of March painting frantically, bolted to my chair by severe anxiety. As one event after another was cancelled, as the commissions were retracted and the collaborations fell away, I started experimenting with making tool rolls. As though having something physical to sell might staunch the panic, this feeling that everything was trickling irretrievably through my hands. I realised I am not a professional sewist, and shelved the tools rolls.
I did carry on working on a couple of independent designs, without much conviction but just... Well I just did and did and did on autopilot, for what else was there to do. And all the while, Spring sprung like nothing had happened, until there were handfulls of sweetpeas but definitely no cucumbers.
Then in early May came an email that switched the light back on, as it were. There was mention of "curated content", "specially selected" and "exclusive discount" and for the life of me I couldn't see where the sender of said email was putting in any work at all. In the middle of SODDING PANDEMIC with thousands of people LOSING THEIR LIVELIHOODS. So that was a NO.
Instead, I finally did something I'd been (needlessly, for it was actually very easy) pondering for months: put in place an accessible pricing structure for my patterns. No more launch discounts, instead a maximum price that truly reflects all the work I put in, plus two permanently available discount codes that anyone can use, at any time. To coincide with the new pricing structure I released a new pattern, the Light Falls Shawl + Scarf, and it did well. It made me happy - the design, the collaboration with the yarn producer, how it was received. This is what "it" was. All along.
"It" has been long overdue a re-vamp, too. You know how it is with the Best of Intentions; I hit publish on the first draft of the Emmy + LIEN website four years to just get SOMETHING out there, and there of course it stayed. We still have boxes in the basement, un-unpacked, from when we moved house five years ago.
New logos, new webshop. More prominence for my illustrations alongside the crochet designs. I've got one new design and one re-release planned by the end of the year, and (PRAISE BE) I had a new commission confirmed this week too.
Within a month or so, I also hope to announce a new project that will see me paying forward the many, many priviliges I benefit from.
Stay tuned, and stay safe, dear ones.
OFFICIAL PREVIEW: DROPPE SWEATER
SIZES 1 (2, 3, 4, 5) {6, 7, 8, 9, 10}
Finished bust circumference: 71 (81, 92, 102, 112) {122, 132, 142, 152, 162} cm / 28 (32, 36, 40, 44) {48, 52, 56, 60, 64}”
SHAPE & FIT
Droppe is intended to be worn with 5-10 cm / 2-4” of positive ease around the bust, zero ease around the biceps, and 7.5-12.5 cm / 3-5” positive ease around the hips. This means it will fit loosely around the bust, have lots of swing around belly/hip but feel more snug around the arms. As this sweater has a top-down construction, however, it is easy to adapt it as you go to suit your shape and preference. Pattern includes directions on customising shape & fit.
Eline has an 86cm/34” bust, 92cm/36” hips, and 29cm/11.5” biceps. She wears a size 3.
CONSTRUCTION
Droppe is worked from the top down in a completely seamless raglan construction. Short rows raise the back slightly. Invisible increases are incorporated after separating for body and sleeves to create a swingy A-line shape. The sleeves are worked directly into the held stitches. I-cord edging provides a neat finish to both the cuffs and collar.
YARN
Eden Cottage Yarns Milburn 4-ply (fingering weight; 85% superwash BFL wool, 15% silk; 200 m / 218 yds per 50g ball) : MC: Steel (grey) - 5 (6, 6, 7, 8) {9, 10, 11, 12, 13} balls / CC: Catmint (light blue) - 1 (1, 2, 2, 2) {3, 3, 3, 4, 4} balls, 3, 4, 4} balls
Yarn Alternatives
This sweater is designed for a fingering weight yarn. Any fibre with a soft handle and gentle drape will produce good results. If using a (blend with) plant-based fibre such as cotton or linen, or a superwash wool, consider shortening the length of the body and the sleeves by 1-2cm/” to avoid excessive stretching over time.
Yardage required
MC: 1000 (1200, 1200, 1400, 1600) {1800, 2000, 2200, 2400, 2600}m / 1090 (1310, 1310, 1530, 1750) {1970, 2180, 2400, 2620, 2835} yds
CC: 200 (200, 400, 400, 400) {600, 600, 600, 800, 800}m / 218 (218, 440, 440, 440) {655, 655, 655, 875, 8751] yds
HOOKS, NEEDLES + NOTIONS
3mm hook, or as required to obtain gauge
9 removable stitch markers, in 3 colours if possible (1 for BOR, 4 raglan markers, 4 sleeve markers)
Wool needle
GAUGE 20 sts x 17 rows = 10 cm / 4” in HHTC, worked in the round and measured after wet blocking.
TECHNIQUES TO ENJOY
Foundation stitches / Herringbone HTC / Picots / Short rows / Increasing & Decreasing / Raglan shaping / A-line shaping / I-cord edge
PATTERN INCLUDES
Clear written instructions in UK terms / Stitch diagrams / Professionally tech-edited & test crocheted instructions / UK to US term conversion chart / Size schematic / Directions on choosing a size and fit, and making adjustments
For the love of tiny stitches
I can't resist the beautiful halo of a thin alpaca, nor the intricacy of tiny stitches. The way lofty sheep’s wool blooms into the smallest of gaps and trap pockets of air. A little puff stitch that sits just so, sometimes concealed…
You might have noticed that, as a rule, my patterns aren't of the quick-and-chunky variety. There's of course the odd exception (to prove the rule or, as my old English teacher put it, to bugger it up), but otherwise... It's lacy mohairs and bouncy 4-plies, a rugged DK at most.
I can't resist the beautiful halo of a thin alpaca, nor the intricacy of tiny stitches. The way lofty sheep’s wool blooms into the smallest of gaps and trap pockets of air. A little puff stitch that sits just so, sometimes concealed in folds of soft fabric only to pop out unexpectedly, delightfully. From a designer's point of view there are advantages too; Given the double-layer nature of crochet stitches, using lightweight yarns opens up possibilities that just aren't achievable with chunkier ones.
I do know that making a project in a lightweight yarn takes time. A lot of time. Often more than I have, too - when I'm making a hat as a gift or a sweater that will be outgrown by my kids in a season or two (if I'm lucky), speed matters. When it's something for me though, something that has to fit perfectly and that I will treasure for years...
It's okay if it takes a while. And it does. A sweater that I'm making as a personal project (as opposed to a work one, which I have to prioritise) can easily take me 3, 4, 5 months to complete. My first sock yarn cardigan took six months, I think? A Spring project turned into Autumn, but it was okay, still just as beautiful the next Spring.
Even if at the time, during the making itself, it sometimes feels like a bit of a battle. My children are almost-3 and 7, which puts them in the "Not Tiny but Still Quite Small" category. They still need me, a lot, and working out what I do and don't have time for is a never-ending brain teaser. I ring fence those 30 minutes at the end of every day with a fierce protectiveness. I'll squeeze in a few rows while I wait for a pot of pasta water to come to a boil, and I probably look forward to the children’s weekend screen time as much as they do. When I can involve them, even if it's just a case of making stuff alongside one another - they paint or build or make puzzles while I crochet - I do. Eventually and sometimes seemingly against all odds, the rows grow into a sweater or shawl.
I don't mean any of this in a "if I can do it, so can you", way. The only person who can understand the routines, needs and challenges in your household is you, especially at in this climate of uncertainty (as I write this Sweden has not been put in Coronavirus lockdown, but it very much feels like it's only a matter of time). Sometimes the only time-investment worth making is Quick and Chunky. But if you're in the mood for a few weeks, or months, of slowly plugging away at a swingy cardigan or a lacy shawl, I've got you covered.
