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?
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
The thing about hats
I’ve been bitten by the hat making bug. For years I’ve made shawls/cardigans/socks/sweaters - anything but hats, really. And now suddenly I can’t stop. I’ve even set about designing one. But it’s not ready, because the thing about hats…
I’ve been bitten by the hat making bug. For years I’ve made shawls/cardigans/socks/sweaters - anything but hats, really. And now suddenly I can’t stop. I’ve made nine since September. It turns out hats are quick, fun, and really good for using up odd skeins. Huh.
The impending festive season definitely has something to do with it. “Quick! Gift! Knit!”, I see everywhere, from chunky cables to classic rib to round-and-round-and-round sort of tubes. I get it, I do. Five of those nine hats were not for me or my own kids, not made out of necessity but for the heck of it. And seeing how happy they are, to receive something that is warm, pretty and (hopefully) a good fit has been really fun.
September Hat by Caroline Dick
I’ve even set about designing one. I thought, I only have one hat pattern in my portfolio so far, I was given two skeins of perfect, midnight blue tweed at Edinburgh yarn festival, it’d be good for a bit of end-of-year publicity, etc.
The thing about hats, however, is that they’re like everything else I design. Best not rushed. When I rush, I make mistakes or end up with compromises I later regret.
The thing about hats, whether made for yourself or someone else, is that they’re like sandwiches. They always make the receiver happy, this fact you’ve taken the time to butter the bread all the way to the edges and melted the cheese to just the right level of bubbliness and maybe even gone the whole hog with all the toppings. I ate a rye bread open sandwich piled high with nut butter, apple slices, pumpkin seeds, dates and honey at a cafe in Edinburgh. The equivalent of a perfectly slouchy, nubbly grey hat with a little cable, perhaps?
When I stuck a sample of my new design on my best friend’s head, saw how much she liked it and how beautifully it accentuated her blue eyes… I had to let her keep it. I shared that sandwich with her, too.
So I haven’t released the pattern yet. I’ve made an ochre sample and started another blue one, I’m working out multiple sizes, putting options for both a snug beany and a slouchy hat in… I won’t be able to say, “cast on this last minute Christmas gift!”, but I don’t mind. I like the idea of someone getting to this pattern in the quiet of January, or whenever suits them, of them taking their time over the tiny ridges and delighting in the little puffs that go up and up.
An act of spiritual belly-filling, in the making, the wearing and - for me as a designer - the not-stressing about “keeping up”.
See you in January?
P.S. If you do want to crochet a new hat this side of Christmas, I made some tweaks to the instructions for the Lomma Hat (it’s free"!) so they are easier to understand.
P.P. S. I will also be running a promotion cum fundraiser from 21 to 31 December, so follow my social media outlets if you want to keep an eye on that.
An Autumn {love} Story
Usually Autumn is brief here, but this year has been strangely warm, and so at the beginning of November, when I would expect there not to be a single leaf left anywhere, I found myself with the chance to photograph a new design outside.
The coming of Autumn always causes a feeling of melancholy in me, so profound I can almost taste it. It’s a kind of delicious flavour. There is something indulgent about savouring memories of long, warm summer days, feasting on the last bursts of colour, and not being able to help but feel a bit sad when the last of nature's bounty has gone. It is, after all, just so more-ish.
My recipe for for dealing with the sadness is warmth. Steaming soups, sourdough toast, melted butter for our bellies. Wool, wool and more wool over our shoulders, hands, heads. I unwrap all our jumpers with a sense of importance, and the kids just think it's funny to try on all of last year's hats at once.
Usually Autumn is brief here; King Winter comes swiftly and mercilessly, stifling everything for almost 6 months. But this year has been strangely warm, and so at the beginning of November, when I would not expect there to be a single leaf left anywhere, I found myself with the chance to photograph a new design outside.
Not inside, struggling with the lack of natural light and wracking my brains for appealing props, but out in the soft glow of the Autumn sun and marvelling at how much there still remained to enjoy.
Well, photograph the new design was the intention. I got distracted by the model.
With two small children and two jobs, life is full. Very often good-full but also challenging-full, and in either case there is very little time or space for us to just be. Ourselves, a couple.
Even this session was typically rushed; We wolfed down our lunch at a local cafe, spent just half an hour messing about with light and leaves and sleeves. Then it was straight back to work before the evening shift of dinner-bath-bed-COLLAPSE.
It was a nice half an hour though. Full of soft light. Of observing and connecting, however briefly. Of remembering a Before, with melancholy. For just a short while, all the drudgery, loneliness and friction that inevitably make up the darker side of an intense relationship sort of faded into the background.
I can't believe it's been 10 years since he wandered into my office 5 times a day, under the pretense of needing to use the photocopier. He's a good 'un, my husband (and he's hot, in my unbiased opinion). Although he wouldn't give me back my cardigan.
PATTERN RE-RELEASE: Seaglass Shawl
Light and drapey, versatile and cosy - the Seaglass Shawl has it all. As fun to make as it is to wear, the main body of this triangular shawl works up quickly in easy TC filet stitch. It then moves into a section of beautiful, colourful mixed stitches, and is finished off with a delicate picot edge. And... there are kits!
Light and drapey, versatile and soft- the Seaglass Shawl has it all. As fun to make as it is to wear, the main body of this triangular shawl works up quickly in easy TC filet and solid TC stitch. It then moves into a section of beautiful, colourful mixed stitches, and is finished off with a delicate picot edge.
And... there are kits! To make the sample for this re-release I teamed up with Petra from Fru Valborg. She hand-dyes on the the most beautiful, cruelty-free merino yarn to produce original and exquisite palettes. There simply had to be kits!
But there is of course also choice: you can either buy the pattern on its own from my Ravelry store, or purchase a kit from the Fru Valborg webstore. Any purchase of a kit will INCLUDE a copy of the pattern at a 10% discounted rate, along with 2x 100g skeins and 2x 50g skeins of either pure merino yarn or a nylon + merino blend (so you'll be able to use any leftovers for socks!). The kit will retail at 835 SEK.
The Original Colourway: Glacier Bay Dark (CC3) | Azure (MC) | Muddy Pink (CC2) | Oak Light (CC1)
Amethyst (CC3) | Hold Your Breath (CC2) | Fog (CC1) | Ice Mint (MC)
From Afar (MC) | Sweet Honey (CC2) | Flame (CC1) | Amethyst (CC3)
Fidelity (MC) | Chocolate (CC3) | Crazy Daisy (CC2) | Sweet Carolina (CC1)
Emmy Lou (CC1) | Ice Mint (CC2) | Mud (MC) | Storm (CC3)
We spent hours pouring over the colour combinations, and so along with the original colourway we hope there's something for everyone. Jewel or pastel, moody or light... And of course EVERYONE gets at least one speckle! Please note though: the above pictures show 4x 100g skeins, but the 2nd and 3rd contrast colours (CC2 and CC3) will come in 50g skeins. Do you have a favourite yet?
There will also be a CAL (crochet-a-long) and giveaway. More details to follow soon, so stay tuned.
Size
220 cm (top edge) x 150 cm (side edges) x 80 cm (middle top to tip)
Materials + Notions
3mm (D/3) crochet hook , or as required to obtain gauge
scissors
wool needle
Yarn: Fru Valborg Merino Single (fingering; 365m per 100g skein; 100% superwash merino) - 3 skeins in Azure (MC); 1 skein in Oak Light (CC1); 1 skein in Muddy Pink (CC2); 1 skein in Glacier Bay Dark (CC3)
With special thanks to Fru Valborg for providing yarn support
Actual Yardage Used:
MC (Azure) - 200g / 730m
CC1 (Oak Light) - 58g / 212m
CC2 (Muddy Pink) - 38g / 139m
CC3 (Glacier Bay Dark) - 16g / 59m
Yarn Alternatives
Any fingering to 4-ply yarn (look for a meterage of 340 to 380m per 100g) will result in a similar drape. Use 100% cotton for a light, summery shawl or a merino/merino+silk blend for a warm and luxurious feel.
Gauge
21 sts x 11 rows = 10 cm measured over main patt (3 rows of TC filet, 1 row of solid TC) after blocking.
NOTE: The original sample of this shawl, as it appeared in Crochet Now, uses TC filet st throughout for the main body of the shawl. This version uses a little less of the MC yarn and has a looser structure.
Construction
This triangular shawl is worked flat from the top down, with increases at the far edges and the tip.
Skill Level
Intermediate - includes simple increases and mixed stitches
Pattern
The pattern includes clear written instructions, UK to US term conversion chart, and a hand-drawn illustration (PDF only).
You can purchase the PDF download for 45 SEK (about $5.35) from my Ravelry Store, or visit Fru Valborg for a kit that includes both pattern + yarn.
This pattern originally appeared in Crochet Now issue no. 15.
Oh I do like to be beside the seaside
News of my latest designs, featured in the Crochet Now "Beach Comber" issue.
Are you a sea person or a mountain person? I don't know what the theory behind it is, but I've always been told that you are either one or the other.
I think I might be the former. I did love the majesty and drama of the Alps (how could I not?) when we lived near them in Italy, and all the pretty little towns nestled around the lakes at the foot. If I had to choose though, I think I would always opt for the sea. The openness, the wind to blow out all the cobwebs in your brain, the freedom to just walk and walk and walk in a straight line. I get antsy when I haven't seen or smelled the sea for a while, even in the depths of winter.
Plenty to draw on then, when Crochet Now magazine announced "Beach Comber" as one their Spring themes for this year. The May issue is out now, and I've got not one but two beachy designs in it: the Sea Glass Shawl and the East Coast Treasures Wall Hanging.
Both took me out of my comfort zone - I don't design shawls much, the mandalas were a total first - but in the end they turned out exactly as I'd hoped.
Sea Glass is a lightweight shawl inspired by the treasures my Bean and I like to collect from our local beach here in the south of Sweden: stones and bits of driftwood (him), brightly coloured sea glass (me). Then, the rippling sea to wash it all in, represented by rows and rows of rhythmic TC filet stitch.
Made in Scheepjeswol Sunkissed (100% cotton 4-ply), it grows quickly, has a bit of fun with different colours and stitches towards the bottom, and is so easy to throw on over any spring or summer outfit.
For the East Coast Treasures wall hanging, on the other hand, I looked to the Norfolk beaches where my husband grew up and where we still try to spend some time each summer. Each of its three contemporary mandalas is inspired by a specific feature of this rugged coastline: the dunes, the sea and the (occasional!) sunshine, the driftwood.
For this pattern I used Vinnis Colours Nikkim, a hand-dyed, hand-balled cotton from South Africa which comes in the most delicious, vibrant colours. The maths in these mandalas in particular proved quite the brain bender; I changed colours and stitches and then hook sizes and HOOP sizes... and I ended up with a big pile of rejects before getting them right. But you know what? I'm not that sorry, because isn't it a pretty pile!
Issue 15 of Crochet Now is in UK shops now, or you can buy a digital copy through any of the platforms listed on CN's where to buy page.
Shrug, bolero, or capelet??
Is it a shrug, a capelet, or a bolero? Meet Betty, my latest 1950s-inspired pattern for Crochet Now.
I like all of the designs that I've been commissioned to do this past year (which is lucky, isn't it!) but every now and again I make a sample that I really don't want to send in. Because I don't want to take it off.
This little number, a 1950s-inspired shrug/bolero/capelet - I eventually settled on bolero - was one such design. Commissioned by Crochet Now for their retro-themed issue, it is exactly the kind of practical-but-pretty thing I like to wear myself. So now I am eagerly awaiting the day the sample finds its way back to me. Because I really don't think I'll take it off, at all, all summer. I'll wear it over a dress, or team it with one of my million stripey tees with jeans.
Betty is worked up in Blacker Lyonesse, a DK blend of wool and linen. I've always shied away from linen as it's quite stiff, but this yarn is wonderful. It has all the crispness of linen, but with the softness, drape and memory (i.e.: it holds its shape, unlike pure linen which can go very baggy) of wool.
The construction is very simple, just a flat rectangle with tapered edges that are seamed up into sleeves at either end. The ribbed collar (for which a tutorial is available here) is worked directly into the selvedge edge.
It's ever so versatile, and can be made small and snug or large and loose - it all depends on how much coverage you want. And for a little Mama and Me style? We can do that.
Issue 14 of Crochet Now is in UK shops from April 20th, or you can buy a digital version through any of the platforms listed on CN's where to buy page.
PATTERN RE-RELEASE: Floss Scarf
Floss feels light as feather yet gives incredible warmth - the perfect antidote to winter’s heavy layers.This scarf was designed to use up small leftovers of beautiful alpaca silk and mohair yarn. It combines them into a captivating stitch pattern - a bit of lace, some mindless panels of dc, ombre-effect colour changes using linen stitch - to ensure Floss is as fun to make as it is lovely to wear.
Floss feels light as feather yet gives incredible warmth - the perfect antidote to winter’s heavy layers.
This scarf was designed to use up small leftovers of beautiful alpaca silk and mohair yarn. It combines them into a captivating stitch pattern - a bit of lace, some mindless panels of dc, ombre-effect colour changes using linen stitch - to ensure Floss is as fun to make as it is lovely to wear.
First released in Issue 9 of Crochet Now, Floss is now available for individual purchase from my Ravelry store.
Materials
2.5mm (C/2) and 3mm (D/3) crochet hooks, or as required to obtain gauge
scissors
wool needle
Yarn: Rowan Fine Lace (lace; 400m per 50g ball; 80% alpaca, 20% wool) -
1 skein each in Antique 921 (A1), Cameo 920 (B1), White 944 (C1), Retro 923 (D1), and Cobweb 922 (E1);
Rowan Kidsilk Haze (fingering; 210m per 25g ball; 70% mohair, 30% silk) -
1 skein each in Shadow 653 (A2), Vanilla 670 (B2), White 612 (C2), Hurricane 632 (D2) and Ghost 642 (E2)
Total yardage required
Approx. 550 metres / 600 yds
Yarn alternatives
To achieve the contrast in texture of this design, use a combination of smooth and fluffy yarn in lace to fingering weight (2-ply to 4-ply). For example, team a fine merino or alpaca with a mohair or a brushed alpaca, or a shiny yarn containing silk with a more rustic wool.
To focus on only the stitch pattern and ombre effect, use any yarn weight in a set of five complementing shades. Bear in mind that final size and yarn quantities will vary, and remember to use the appropriate hook size for your yarn.
Important: Always go up at least half a hook size for the linen stitch sections to ensure the edges of the scarf remain straight. Floss must be blocked well to open up the stitches and ensure a good drape.
Gauge
10 x 10 cm/4” x 4” = 20 sts x 23 rows over DC in FLO, using smaller hook and measured after blocking.
Sizing
One size - ca. 181 x 26 cm / 72” x 10”
Gauge is not crucial for this pattern, but a different gauge will result in a narrower or wide scarf. Length is easily adjusted by working additional rows. To adjust the width, increase or decrease the number of starting stitches based on a multiple of 8+1.
You can purchase the PDF download in US and UK terms from my Ravelry store now.
40SEK (about €4.00, plus VAT if applicable)
PATTERN RE-RELEASE: The Bretonbone Top
Bretonbone is a practical, modern layering piece inspired by the classic Breton top. It works up quickly and suits lots of different fibres - cotton for summer, cotton+merino for mid-season, alpaca or wool for winter. This pattern includes options for both DK and aran weight yarns. Available in sizes XS (S, M, L, XL, XXL)
Bretonbone is a practical, modern layering piece inspired by the classic Breton top. It works up quickly and suits lots of different fibres - cotton for summer, cotton+merino for mid-season, alpaca or wool for winter. The pattern includes options for both DK and aran weight yarns.
First released in Issue 6 of Crochet Now, Bretonbone is now available for individual purchase from my Ravelry store.
Construction
The Bretonbone Top is made in rows of Herringbone Half Treble Crochet from the bottom up in two panels - front and back. The shoulders and neckline are shaped using short rows. Once the front and back panels have been seamed, the cap sleeves are worked in the round directly into the selvedge edges using rows of slipped stitches. Finally, a crab stitch round is worked into the bottom and sleeve hems for a neat finish.
Sizing
XS (S, M, L, XL, XXL) - to fit bust size 76 (86, 96.5, 106.5, 117, 127) cm / 30 (34, 38, 40, 46, 50)"
This top is designed to fit with 5cm positive ease. It finishes on the hips and has a boxy, forgiving style that suits lots of different body shapes. Ideas on how to adapt the pattern to suit your own body shape are included in the pattern.
Materials
Crochet hooks: 4.5mm & 5mm / 7 & H/8 with DK yarn, or as required to obtain gauge; OR
4.0mm & 4.5mm / G/6 & 7 with aran yarn, or as required to obtain gauge
scissors
wool needle
Yarn – DK: DROPS Cotton Merino; 3 (3, 4, 4, 5, 5) balls each in Mustard 15 (A) and Off White 01 (B); 1 (1, 1, 2, 2, 2) ball(s) in Light Grey 20 (C); OR
Yarn – aran: LANAR Serena 1 (1, 2, 2, 3, 3) skeins in Muschio 00523 (A); LANAR Ecolana 1 (1, 2, 2, 3, 3) skeins in Avorio (B); LANAR Big Merino 1 (1, 1, 2, 2, 2) ball(s) in Grigio Medio (C)
Total yardage required per size
A & B 720 (720, 960, 960, 1200, 1200) m / 790 (790, 1050, 1050, 1320, 1320) yds in total
C 120 (120, 120, 240, 240, 240) m / 130 (130, 140, 260, 260, 270) yds
Yarn alternatives
Choose either a yarn that is on the heavy end of DK, or an aran/worsted weight yarn.
Gauge
a 10x10 cm / 4x4” swatch should consist of 12 rows of 14 stitches in HHTC, using larger hook and measured after blocking
You can purchase the PDF download in US and UK terms from my Ravelry store now.
45SEK (about €4.50, plus VAT if applicable)
PATTERN: Window into Winter Shawl
Window into Winter is a modern, geometric shawl design which takes inspiration from the stark lines, dark skies and glistening snows of the Swedish winters. However, it is just as a much a view out of winter, too: The contrasting border mimics the shape and colour of the winter aconite, a cheerful little yellow flower that is the first to appear after the long, cold months.
Some projects just aren't meant to be rushed, are they. I bought the yarn for this shawl in June 2015, started it that autumn, and ripped it all out again in about February last year. I almost gave up at that point, but then decided to redraw the diagram and slowly, ever so slowly it grew.
And here it is. A triangular shawl with a modern, geometric pattern which takes inspiration from the stark lines, dark skies and glistening snows of the Swedish winters. However, it is just as a much a view out of winter, too: The contrasting border mimics the shape and colour of the winter aconite, a cheerful little yellow flower that is the first to appear after the long, cold months.
You can purchase a copy of this pattern, in either UK or US terms, from my Ravelry store now.
For the main body of the shawl I used Alpaca Tweed by Lanar. They're based in Italy and a little hard to get hold of elsewhere, but if you do happen to be in Milan one day, you must go there. It is heaven. As is this yarn - it is soft and warm yet light, and has a delightful rust-coloured speckle to it. I teamed it with a little Iloyarn Alpaca Superfine for the border.
If a trip to Italy isn't on the cards, there are lots of lovely tweeds out there that you could use instead. Some that immediately spring to mind are Brooklyn Tweed Loft, Debbie Bliss Fine Donegal or, if you're in Scandinavia too, Sandnes Garn Tweed.
Another idea, though, is to go for a single semi-solid or variegated yarn for the body and a contrasting solid for the border. You won't get the geometric pattern, of course, but you know. Colour changes = ends. I realise some people might not like ends. I'm currently toying with the idea of doing a second Window into Winter in Malabrigo Silkpaca. Yum.
Anyway, without further ado. here are all the pattern details.
Construction
This triangular shawl is worked flat using the wedge stitch in a C2C (corner to corner) construction. Step-by-step photos on how to work the C2C wedge stitch are included in the pattern. A photo tutorial of the standard wedge stitch (required for the tension square) is available here:
http://www.emmyandlien.com/blog/pattern-tutorial-crochet-wedge-stitch-sampler-granny-square
The border is worked directly into the shawl edges at the end. A colour change diagram is included in the pattern. Of course, colour changes = ends to sew in. If you wish to avoid this, the shawl would look equally beautiful in a solid, semi-solid or variegated yarn.
Sizing
One size - finished shawl measures approximately 190 x 80 cm (75” x 32”)
Size can be easily adjusted by adding or removing rows. You can also use a different yarn weight, although remember to change your hook size accordingly too. Final yarn quantities will vary.
IMPORTANT
To open up the stitches and improve drape, this shawl must be blocked.
Materials
3.00 mm (D/3) crochet hook, or as required to obtain gauge
scissors
wool needle
Yarn:
Lanar Industria Alpaca Tweed (sport weight; 80% wool, 20% alpaca; 370m / 404 yds per 100g ball) - 2 balls each in Avio (yarn A) and Naturale (yarn B)
Iloyarn Alpaca Superfine (fingering weight; 100% alpaca; 183 m / 200 yds per 50g ball) - 1 ball in Gul 7225 (yarn C)
Yarn alternatives
Use any fingering (4-ply) or sport (5-ply) weight yarn containing a high percentage of wool and/or alpaca for a light yet warm shawl.
Gauge
4 repeats of wedge st over 4 rows = 12 x 12 cm (4.75” x 4.75”) using 3.00 mm hook after blocking (see tension square instructions on p.X).
Obtaining the correct gauge is not crucial for this pattern, but please bear in mind that final dimensions will vary if you gauge is wildly different.
You can purchase the PDF download in US and UK terms from my Ravelry store now.
40SEK (about €4.00, plus VAT if applicable)
