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R O W A NKNITTING & CROCHETMagazine Number 54Digital Edition

KNITTING & CROCHETMagazine Number 54Digital Edition

DESIGNERSMarie Wallin • Martin Storey • Lisa RichardsonKaffe Fassett • Kate Davies • Sarah HattonVibe Ulrik • Julia Frank • Gemma AtkinsonAmanda Crawford • Jennie Atkinson • Josh Bennett

EDITOR’SLETTERIt is with great pleasure to introduce the turning page edition of Magazine 54.The turning page really does bring the magazine to life. The next best thing tohaving the magazine actually in your hands. Once you have viewed all thesebeautiful designs why not go that step further and become a Rowan subscriberto the magazine and have it delivered direct to your door.2013 is the perfect season for Rowan with knitwear sitting centre stage of thefashion world creating the drama for the season ahead. Many of the catwalkdesigners have drawn inspiration for their collections from historic referencessuch as the Baroque. Fashion is also looking to the handicraft textiles of EasternEurope and the nomadic lifestyle.The Rowan designers have taken these strong trends and worked the differentkey looks into three distinctive stories.ROMANCING…. inspired by the dark beauty found in haunting andmysterious landscapes. The mood of this exquisitely beautiful collection is darkbut romantic and sometimes sinister with a touch of gothic. This story has alittle bit of everything from lace knitting to simple textures and some morecomplicated colour work.FOLK… is inspired by traditional folk patterns. A patchwork of reclaimedlayering pieces, pay homage to richly patterned kilims and rugs to create a richtapestry of colour and texture.- a truly Rowan story that will appeal to theknitters amongst you that like a challenge with the rich colours and tweeds ofthe autumn. Knit yourself one of these exquisite designs or knit for the specialperson in your lifeESSENTIALS… continues to promote the key shapes of the season in asimpler and more accessible way.Whatever yarn, colour or design appeals to your creative side I hope you enjoythe magazine.Kate BullerRowan Brand ManagerON THE COVERBerenice Wrap by Marie WallinPhotographer Peter Christian ChristensenArt Direction & Styling Marie WallinHair & Make-up Frances Prescott (One Make Up)Model Anna Quirk (Bookings Models)Rowan Brand Manager Kate BullerRowan Head Designer Marie WallinDesign & Publications Manager David MacLeodMarketing and Publications Co-ordinator Lyndsay KayeRowan Digital Marketing Manager Karl HallamRowan Graphic Designer Paul CalvertGraphic Designer and Web Assistant James KnaptonRowan Designer & Pattern Editor Lisa RichardsonRowan Assistant Designer Gemma AtkinsonYarn & Photoshoot Co-ordinator Ann HinchliffeGarment Co-ordinatorVicky SedgwickKnitting Co-ordinator Andrea McHughGarment finishing Lisa Parnaby & Pauline EllisRowan Magazine Design Layout Simon WagstaffWith special thanks to the following handknitters:Andrea McHugh, Sophia Reed, Audrey Kidd, Helen Betts,Yvonne Rawlinson, Gwynneth Allen, Marjorie Pickering,Clare Landi, Paula Dukes, Violet Ellis, Ann Banks, Carol Bayless,Ros Miller, Ella Ferguson, Janet Mann, Linda Watson,Brenda Willows, Janet Oakey, Glenis Garnett, Val Crutchley,Sandra Richardson, Linda Blaire, Cindy Noble, Val Deeks,Fiona McCabe, Margaret Morris, Wendy Shipman, Angela Warner,Elsie Eland, Wendy Stevens, Jenny Cooper, Honey Ingram,Elizabeth Jones, Joyce Limon, Chris Davies, Judith Chamberlain,Jenny Shore, Jyoti More.All rights reserved. Reproduction in whole or any partof all material, including illustrations, in this magazine is strictlyforbidden. No part may be reproduced, stored ina retrieval system, or transmitted in any form or by any meanselectronic, electrostatic, magnetic tape, mechanicalphotocopying, recording or otherwise without prior permissionof the copyright owners having been givenin writing. The designs in this magazine are copyrightedand must not be knitted for re-sale. Reproduction of thispublication is protected by copyright and is sold on thecondition that it used for non-commercial purposes.Yarn quantities are approximate as they are based onaverage requirements.First published in Great Britain in 2013 by Coats Crafts UK.Green Lane Mill, Holmfirth, West Yorkshire, England, HD9 2DXE-mail: mail@knitrowan.comCopyright Coats Crafts UK 2013Reprographics by Gemini Marketing Solution Ltd

CONTENTSSTORIES65494ROMANCINGA beautiful collection of romantic lace andpatterned knits photographed in the historicsetting of Haddon Hall, Derbyshire.Includes 3 FREE downloads formembers and behind thescenes videos.FOLKThe patterned folk textiles of nomadiceastern cultures inspires this colourfulcollection of women's and men's knits.Includes 3 FREE downloads formembers.ESSENTIALSA collection of the key shapes and textureson trend, designed into simple, easy to wearstyles that compliment the season'sESSENTIAL looks. With behind thescenes videos.FEATURES46528892110112INSPIRING THE GENERATIONSAn introduction to the amazing designresource that is the Knitting ReferenceLibrary at the University of Southampton.KATE DAVIESAn interview with Rowan's newestdesigner, Kate Davies.CIRCLES, STEEKS & STITCHESAn interesting insight into the mystique ofknitting on the round.HOW TO - STEEKINGA step by step guide to working steeks.LOVE MOHAIRInteresting facts about the Mohair fibre.ROWAN DESIGN AWARDSThis season sees the students of WinchesterSchool of Art designing a collection ofvintage inspired knits. 6 FREE downloadsformembers and videointerviews.REGULAR FEATURES118124126TRAVEL JOURNALInteresting information on the locationfor ROMANCING.WHAT'S NEWOur seasonal review of currentpublications, exhibitions and otherinspiring events and products.ROWAN MEMBERS CLUBSFurther information on ourmembers clubs.Click on the symbol where it appearsfor a link to further information.DOWNLOADClick on the download button where itappears to download the pattern PDF

AIDAFine Lace, Kidsilk Haze &Anchor Artiste MetallicMarie Wallin

8SALOMEKidsilk HazeVibe Ulrik

10SALOMEKidsilk HazeVibe Ulrik

LA BOHÈMEFine Lace, Kidsilk Haze &Anchor Artiste MetallicMarie Wallin

CARMENKid ClassicMarie WallinCARMEN16

CARMENKid ClassicMarie WallinCARMEN

ALCINAKidsilk HazeJulia FrankALCINA

VERDIFine Lace & Kidsilk HazeMartin Storey

VERDIFine Lace & Kidsilk HazeMartin Storey

LA SCALAFine Lace & Kidsilk HazeMartin Storey25

BERENICE WRAPKidsilk HazeMarie Wallin

CORELLIPure Wool 4plyJennie Atkinson

PURCELLPure Wool 4PlySarah HattonPURCELL

RAMEAU WRAPFine Lace & Kidsilk HazeSarah Hatton

JULIETFine LaceLisa Richardson

SILLAKidsilk Haze & Pure Wool 4plyJennie Atkinson

VIVALDIKidsilk HazeVibe Ulrik

BIZETPure Wool 4ply& Anchor Artiste MetallicLisa Richardson

MADAME BUTTERFLYKidsilk Haze &Anchor Artiste MetallicMarie Wallin

Photographer: Peter Christian Christensen. Styling: Marie Wallin. Hair & Make Up: Frances Prescott (One Make Up)Art Direction: Marie Wallin. Model: Anna Quirk (Bookings Models). Location: Haddon Hall, Derbyshire.45

Inspiring theGenerations:The KnittingReference LibraryWords by Linda Newington.The Knitting Reference Library (KRL) is part of the University ofSouthampton Library, and is located at Winchester School of Art, acampus of the University. The KRL was launched at the first In the loopconference in 2008 and is founded on the bibliographic collections ofRichard Rutt, Montse Stanley and Jane Waller. Each collector possessed aserious passion for knitting, their individual approaches are illustratedthrough the resources they collected and established as an essential part oftheir working lives.The library comprises of nearly 2000 books, 425 journal and magazinetitles, an estimated 12,000 knitting patterns and hundreds of knittingpattern books. It includes many widely known classic books from theVictorian period through the decades of the twentieth century to thepresent day.Richard Rutt and the history of hand knittingRichard Rutt (1925-2011) once popularly known as the knitting bishop, was a scholar and knitterknown for his classic book A history of hand knitting published by Batsford in 1987, it remains a keytext on the subject.I first met Richard Rutt at his home in Falmouth to discuss the generous donation of his library.Many return visits were made to discuss knitters and their books whenever I made a trip down toCornwall. It was always a pleasure to meet with him and his wife Joan and to chat over tea and cake.I also saw many examples of his and Joan’s knitting including hats, gloves, cardigans, jumpers and coats.A particular distinction and strength of his library is the range and number of Victorian knitting bookswhich commenced publication in the 1830s. These are small books that include recipes, more akin toguidelines rather than the strict instructions of patterns, sometimes with illustrations in either black andwhite or hand coloured. They promoted knitting at this time through mass publication. They areinteresting antecedents to the contemporary printed knitting pattern and the “how to knit” books oftoday. Rutt devotes a chapter to The Victorian age and the belle époque in his book providing context andinformation about a number of the lady authors. He also gives a check list of English knitting literaturepublished before 1910 which lists these small works. He knitted a group of “pence jugs” from theVictorian patterns to test their accuracy and to learn the technique first-hand.On the left: Examples of someof the vintage knitting patterns.A further feature of his library is the back runs of magazines including Weldon’s, Stitchcraft, and VogueKnitting.

His knitting pattern collection is especially strong on menswear from the 1920s through to the 1980sincluding many gems of popular culture. A reference to the Beatles is made by Patons in a dark andmoody image of a look-alike Beatle wearing an edge to edge cardigan under the title The LiverpoolLook. An unknown classic may be the book entitled The manly art of knitting by Dave Fougner, publishedin 1972 by Schribner which includes knitting patterns for dog and horse blankets, a hammock and cap.He also collected books on knitting from other countries including Korea and Scandinavia.Montse Stanley: tradition and renewal an expert of construction and techniqueMontse Stanley (1942-1999) was born in Barcelona and established her collection as the KnittingReference Library in her Cambridge home before its acquisition by the University in 1999. Hercollecting started in rather an unexpected way with photographs and postcards on the theme ofknitting. They were acquired when attending postcard fairs with her husband Thomas Stanley whopossessed one of the largest postcard businesses in the UK.Montse Stanley is well known amongst the knitting community for her charisma, enthusiasm andknowledge which is clear from her many publications and the inherent legacy of her collection. Theindispensable The handknitter’s handbook: a comprehensive guide to the principles and techniques of handknitting first published in 1986 by David and Charles has been reprinted and translated many times.It is apparent that she worked closely with the collection of knitted objects which richly illustrateher approach to construction, design and technique especially in the third revised edition dated1993. I detect that she considered knitting traditional yet inventive, aesthetically beautiful andutilitarian, every day and kitsch, fashionable also comforting, even humorous. This is seen in her copyof Wild knitting published in 1979 by Mitchell and Beazley with many surprising projects for unusualitems such as an armadillo cape, unusual dresses and a selection of punk ties.Her collection of knitted objects numbers about 1000 items. It comprises clothing, bags and purses,accessories, domestic items and novelties. The bags and purses date from the late 18th centurythrough to the mid 20th century and are complimented by books detailing the techniques not onlyin Victorian publications but also in secondary sources for example, Classic beaded purse patterns by E.de Jong-Kramer, Lacis 1996.Her library includes a run of the Girls Own Annual dating from 1881 to 1923. In some copies thereare small markers with pencil notes in her hand writing all denoting references to knitting. She alsocollected fiction, again noting in pencil on the title pages of Agatha Christie murder mysteries allreferences to knitting.She reveals particular interest in her cultural background with books and knitting patterns booksfrom France, Italy and Spain. They include some interesting works such as Spanish costume ofExtremadura by Ruth Matilda Anderson published by the Hispanic Society of America in 1951 withmany reference to knitting. There is also a copy of Andean folk knitting: traditions and techniques fromPeru and Bolivia by Cynthia Gravelle LeCount, published by Dos Tejedoras in 1990 richly illustratedas yet to be superseded.Her own expertise as related to the construction of garments and objects is clear in further publishedwork Knitting your own designs for a perfect fit, published by David and Charles in 1982 as it notablyincludes some of her own designs. The emphasis on construction was intended to encourageknitters to develop their own patterns by learning the appropriate skills and techniques through aEuropean approach as illustrated in Continental knitting by Esther Bondesen published by MauriceFriedberg in 1948. This is the practice in Shetland and many other textile cultures where knitting isembedded in a way of life and construction is part of learning.Jane Waller a vintage originalJane Waller’s first book on knitwear entitled A stitch in time: knitting and crochet patterns of the 1920s,1930s & 1940s published by Duckworth in 1972 remains a classic of an earlier vintage knitwearrevival. I remember visiting Jane to view the knitting patterns at her home in London. Whilst feelingquite excited about acquiring such an unusual collection I was also thinking rather nervously aboutthe practical issues of sorting, cataloguing and storage.Waller started her collection through a chance house clearance when she found and rescued a largenumber of knitting patterns and women’s magazines. This was the start of her longer term projectto recognise their relevance and special value to knitters. Waller also published a compilation ofvintage patterns for menswear The man’s knitting book: classic patterns from the ‘20s to the ‘50s publishedby Thames & Hudson in 1984, she describes the cardigan as “sensible and functional notfashionable.” It is interesting that fashion designers have rehabilitated the cardigan for men as analternative piece of clothing now seen as signifying urbanity and understated subversity.On the right: Further examples ofpublications within the collection.38

The extensive range and variety of knitting patterns, pattern books and women’s magazines datingfrom the 1920s provide a rich resource for the fashion historian and contemporary designer. Theimage of knitting in the early patterns is remarkably glamorous and stylish. It is this quality that JaneWaller identified and brought to knitters in the 1970s which Susan Crawford has continued andrefreshed. The many visitors to the KRL both professional designers and students continue to beinspired by the quality of these images and designs.The magazine Women’s weekly is also part of this collection. It is one title amongst many popularwomen’s magazines held in the KRL unexpectedly retained given the academic context of theUniversity. They richly illustrate the prevalence of knitting and dress making as thriving domesticactivities over the decades with some notable peaks and troughs.Are you in the loop?I co-organised with Jessica Hemmings the first knitting conference entitled In the loop: knitting past,present and future in 2008 at Winchester School of Art. A constant buzz from the conversationamongst the generations of knitters who attended as delegates was heard throughout each day. TheKnitting Lounge located in the Rotunda proving a popular venue. The conference resulted in apublished book In the loop: knitting now edited by Jessica Hemmings and published by Black Dog in2010.In the loop 2: tradition and renewal took place at the Shetland Museum & Archives in September 2010and was co-organised with Dr Carol Christiansen. A day trip on Sunday up to Yell and Unst in thefar north of Shetland proved an unforgettable experience. Prior to the conference we had theopportunity to identify the constancy of knitting and the new generation of knitters through aninterview on Radio 4 for Woman’s Hour.In the loop 3: the voices of knitting took place at the Winchester Discovery Centre in 2012 once againincluding a variety of themes. The themes of adornment, exploration and discovery, sport, voices andwell-being were richly explored by the keynote speakers.In the loop 3.5: making connections is at the planning stage and will be taking place as part of theShetland Arts International Textile Festival 31 July to 5 August 2013.And FinallyThe Knitting Reference Library today comprises books, exhibition catalogues, knitting patterns,journals and women’s magazines. It covers knitting, crochet, tatting, macramé and netting. There isalso contextual material broadly covering costume, dress and other aspects of textiles. The earliestprinted works date from the Victorian period of the 1830s, the latest include the publications oftoday. New resources are acquired regularly to ensure the library reflects the diversity of approachesto knitting in the 21st century.Montse Stanley’s collection of knitted objects, knitting tools, postcards and photographs is located inSpecial Collections at the Hartley Library at the Highfield Campus, University of Southampton.This resource compliments the published material enabling the potential link between object andtext.Contact informationOur website is at www.soton.ac.uk/intheloopThe Victorian knitting manuals have all been digitised and may be accessed via our website link atwww.soton.ac.uk/intheloopA pilot project to digitise knitting patterns has recently been completed. The digitised patterns areavailable via www.soton.ac.uk/intheloopOn the left:More examples of patterns.All images courtesy of the KRL,University of Southampton.E-mail enquiries to www.wsaenqs.soton.ac.ukThe books and journals are all catalogued and indexed on the University’s online catalogue whichis accessible via the internet at www.soton.ac.uk/librarySpecial Collections may be contacted in the first instance by e-mail at archives@soton.ac.uk51

01 02Kate DaviesKate Davies’s designs celebrate the colours and patterns of the scenery that surrounds her and her recentcollection was inspired by the history and landscape of the Shetland Islands.We met up with Kate in Edinburghto hear her thoughts on craft, inspiration, and why knitting a sweater is just like writing a poem.I suppose I’ve had a rather unconventional route into designing. I grew upin Lancashire and was taught to knit by my grandma and to sew by mymum. I think much of my aptitude for designing comes from thesewomen, who taught me to be resourceful and adaptable as well as to trustmy creative instincts. My grandma kitted out the whole family in herfavourite knitting patterns from Woman’s Weekly, and as a teenager, Ienjoyed spending Friday nights with my mum at local jumble sales, pickingup clothes which were later divided up and added to the mending pile formodification. I wasn’t so keen on stitching up my own school clothes, butI really enjoyed these jumble-sale customisations, which made me thinkabout how dressing oneself is always to some degree a creative act, andbegan a long-standing obsession with fashion and textiles.When I left home, I took a different professional route, and after threeUniversity degrees, became an academic, researching and teachingEighteenth Century History and Literature at the University of Sheffield,52

03 04and later the Universities of York and Newcastle. My work often took meto the U.S., where I spent long periods working in some wonderfulresearch libraries. On one of these trips to Philadelphia, I becamefascinated by how textiles were central to the lives of a group ofeighteenth-century women writers whose letters I was reading. As well asexchanging poems and essays, these women spun, sewed, knitted, andswapped patterns for lace collars and embroidery. It was their enthusiasmfor textiles that inspired me to start knitting again. From the moment Itook up my needles I found it immensely enabling to create garments thatdidn’t exist in the world of mainstream fashion, and I particularly enjoyedthe way that knitting connected me to a place or to a moment, allowingme to bring an idea to life in a very material way.In this respect, as in many others, I find that designing is very similar towriting, an activity which I also enjoy. Essentially, you are giving free-reinto your creativity, but there is a tremendous amount of hard work involvedas well. I feel that technical knowledge is just as important as artistry: in thesame way that its crucial to know about rhythm in order to write a goodpoem, I think its also desirable to have reasonable technical knowledge ofone’s craft in order to create a beautiful garment. For me, these things arehand in glove. I enjoy the nitty-gritty of figuring out a technicalconundrum, and the actual crafty process of making, just as much as anylightbulb moment of inspiration, and I think that the pleasure I find indesigning arises from this singular combination of creativity, process, anddiscipline.Designers are often asked the “where do you find your inspiration”question, which I find a little odd. I think that if you are someone whoenjoys texture, pattern and colour, then the world is constantly alive withinspiration, whether you are on the streets of Kyoto or out in the ScottishHighlands. Because I live in Scotland, and because I love to be outdoors,the colours of this landscape and the textile traditions that have shaped itare endlessly inspiring to me. But inspiration is everywhere, and I thinkthat a hat or a sweater can be an opportunity to celebrate many beautifulthings that are often overlooked, from pavements to vegetables. I also thinkthat, while its important to take yourself seriously, its also crucial to retaina sense of humour. That way you are able to recognise when an idea isprobably a bad one, such as the time I attempted to knit a sweater inspiredby the curious texture of a rhino’s behind.katedaviesdesigns.com01. Kate.02. Blaithin Cardigan.03. Funchal Moebius - inspired by the mosiac pavements of Madeira.04. Nepal Wrap from the FOLK collection.53

f o l kKnitted in beautiful autumnal coloursinfluenced by the British countryside, theFOLK collection is inspired by thetraditional patterning of Eastern Europeanfolk art, creating a collection of relaxedknits for both women and men with anomadic spirit.55

KASHMIR SCARF WRAPKid ClassicKaffe Fassett

IZMIRFelted TweedMarie Wallin

BALKANBALKANColourspunBrandon Mably

KILIM WRAPFelted TweedKaffe Fassett

MARASHRowan TweedMartin Storey

ISTANBULISTANBULFrostMarie Wallin

68MILASColourspunJosh Bennett

RYAFrost & Kid ClassicLisa Richardson

DHURRIEFelted Tweed AranLisa Richardson

72BODRUM MENSRowan Fine TweedMartin Storey

BODRUM WOMENSRowan Fine TweedMartin StoreyBODRUMWOMENS

SOUMAK SCARF WRAPRowan Fine TweedLisa Richardson

ARMENIAFrost & Kid ClassicMarie Wallin

UKRAINEColourspun & Rowan TweedMarie Wallin

ANATOLIAFelted TweedMarie Wallin

NEPAL WRAPRowan Fine TweedKate Davies

Photographer: Sheila Rock. Styling: Marie Wallin. Hair & Make Up: Frances Prescott (One Make Up). Art Direction: Marie Wallin.Models: George Waters (Select Model Management) and James Crabtree (Select Men). Location: Erwood House, Powys, Wales (www.lightlocations.com).HOLBEINFelted Tweed AranMartin Storey86

NEPAL WRAPRowan Fine TweedKate Davies

01 05Circles, steeks& stitchesWords by Dr Kate DaviesThere really is no “right” or “wrong” way to knit:different styles suit different individuals, and a widevariety of methods and techniques exist to match anequally wide variety of garments and fabric types. Yetknitting is a community with its own particular trendsand followings, and like any other community, notionsof “either / or” divide it. Do you knit English orContinental? Top-down, or bottom up? Do you workback-and-forth, or in-the-round? Such questions oftechnique — of the “best” stretchy cast-off method; ofthe “right” way to strand the yarn in colourwork —can transform a bunch of friendly knitters into fiercelyopposing camps, each with its own passionateadherents. And there is perhaps no technicalopposition more fundamental, or more divisive, thanthat which is perceived to exist between knittingback-and-forth and knitting in-the-round.01. Traditional Setesdal costumeincluding sweaters.02. Girl knitting a sock on Whitby Pier c.1880by Frank Meadow Sutcliffe. Courtesy of theFrank Meadow Sutcliffe Gallery.03. Knitting Madonna (detail of Annunciationfrom the right wing of Buxtehude Alter,Bertram Minden, 1400-1410.88

02 04The standard arguments of the two camps go as follows:The back-and-forth faction insists:I like a sleek well-fitted garment. Knitting back and forth allows a garment to be carefully shapedusing the best tailoring techniques.The torso is composed of curves and lumps of differing proportions. Tailored pieces create the bestlines to accommodate these complicated shapes.In the beginning was the sewing needle. Early humans fitted the first garments to the body bystitching pieces of animal skin together with seams. It must be right.The pattern writers of knitting’s ‘golden age’ created beautiful vintage garments designed to beknit in pieces, back and forth. They knew what they were on about.Flat knitting follows industry standards of garment construction and pattern design. Fashion knows best.Against which the in-the-round faction counters:I hate sewing seams and finishing. Knitting in the round involves little or no finishing.The torso is basically a tube, supplied with two smaller, narrower tubes. Therefore all sweatersshould be knit in tubular fashion.The beginnings of knitting were circular. Medieval paintings depicted the Virgin Mary knitting inthe round. It must be right.Folk knitters all over the world have knitted socks and ganseys in the round for centuries. Theyknew what they were on about.Elizabeth Zimmermann once designed a seamless yoked sweater which was violated by editors‘translating’ it into back-and-forth instructions. EZ knew best.03While these two positions may seem intractably opposed, in fact, there are elements of truth in both.Though back-and-forth knitting has certainly dominated the standard lexicon of commercialknitting patterns since the 1920s, instructions for many items (socks, gloves, hats) have habituallybeen written to be knit in the round. And while the knitters of Estonia and Shetland, Norway andthe Faroe Islands have produced in-the-round garments for centuries, these women were alsotalented seamstresses who used sophisticated tailoring techniques to add shape, structure anddecoration to their knitted ganseys and jackets. Today, despite the strong antipathy that one methodor another can arouse among some knitters, there is more interplay than ever between methodsassociated with knitting back-and-forth and knitting in-the-round. Commercial patterns areincreasingly written to accommodate many different techniques of flat and circular knitting, whileknowledge of aspects of both methods — of the speed and ease of knitting in-the-round or of thestructure and clean finish of knitting back-and-forth — lends knitters the freedom to modify theconstruction of garments in ways that best suit them. One such technique — which enables an inthe-roundjumper to be easily transformed into a flat cardigan — is the practice that is known assteeking. Because steeking involves taking scissors to one’s creations, it strikes fear into the heart ofmany knitters. But this technique, common to all Northern knitting traditions, is much simpler towork than many knitters imagine.06

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The etymology of the “steek”The word ‘steek’ has its root in the general Middle English verb ‘steken’meaning to shut or fasten. By the Eighteenth Century, ‘steek’ was a termcommon to Shetland, Scots and Northern English dialects and, while itmight be used in reference to a closed gate, door, or mouth, it was mostoften associated with needlework or knitting. In Scots, the verb, ‘to steek’meant to sew, darn, or knit:“Wull ee steek this slittin oxter afore it geets ony woare?”Will you stitch this fraying underarm before it gets any worse?Or, when used as a noun, the word ‘steek’ simply meant ‘stitch’.“For want of a steek a shoe may be tint”For want of a stitch, a shoe may be lostWhile in some parts of Scotland and Shetland the word “steeking” stillprimarily means to stitch or close, in contemporary knitting parlance, theword has mutated and morphed to signify the opposite: that is, for mostknitters, steeking now means to cut open, rather than to fasten shut. Thus,in pattern books that have been produced over the past thirty years or so,one finds the word “steek” being used in reference to what, in sewing, iscommonly called a seam allowance (a few stitches that are workedadditionally to the main pattern). Put simply, then, for today’s knitters, a“steek” is a bridge of extra stitches, connecting two separate pieces ofknitted fabric, enabling them to be worked swiftly in the round. Preparing,reinforcing, and then cutting open this seam allowance (the practice nowcommonly known as “steeking”) transforms the tube back into flat pieces.Why use steeks?Steeks can be inserted into any kind of knitted fabric, but their mostcommon application is perhaps in knitting a cardigan using the Fair Islemethod of stranded colourwork. This is because carrying and purling twoshades of yarn can prove tricky: many knitters find that the purl stitchescreate significant differences in their tension, or are much slower and morecumbersome to work. But if a steek is cast on in the places where theknitting would have to be divided to be worked back and forth — namely,at the cardigan’s centre front opening, and sleeves — the knitter can workthe entire garment in the round, without purling, all the way from hem toshoulders. When the steeks are cut open, the extra cast-on stitches act justlike seam allowances around which the knitter can pick up stitches tocreate button bands and sleeves.But don’t steeks unravel?Knitted fabric certainly likes to unravel, but it does so horizontally. Steekstitches are cut on the vertical, making them far less likely to do so. Asanyone who has pulled back their knitting will know, wool is also a very‘sticky’ fibre which likes to retain its shape. If one is knitting with a purewoolor majority-wool yarn then it is very easy to work a steek simplybecause the stitches ‘want’ to hold their shape rather than to unravel. Thatsaid, because the cut edges of the steek are generally used to pick up asleeve or edging afterwards, it is useful to reinforce them before cutting tohelp them deal with any strain they might take afterwards. Steeks can beprepared, reinforced and finished in a wide variety of ways. Taking a lookat the interiors of a range of historic and contemporary cardigans that havebeen knitted in the round, before being “steeked” open, illustrates just howdifferent steeks can be.Steeks: an inside viewFigure 04 on the previous page, shows the front button bands of a 1920scardigan knit in several natural shades of Shetland wool. The band has beenworked in corrugated rib; buttonholes have been cut vertically into theband; and machine stitching has been used to attach a reinforcing grosgrainribbon to the inside. Figure 05 on the previous page, shows the grosgrainbutton-band reinforcement from the inside, and, to its left, the raw edgesof a steek, which has been cut open, and folded back to the inside of thegarment, away from the bands. The steek has not been reinforced, orstitched down: because the natural Shetland wool is very ‘sticky’ and has atendency to felt, the knitter has trusted to the natural action of wear, and,over time, the steek edges have slightly felted together and adhered to theinside of the cardigan. Leaving steek edges ‘raw’ and allowing for felting inthis way is a common feature of many Shetland hand-knitted garments,such as the yoked cardigans that are still produced and sold today.Figure 06 on the previous page shows the front button band of a cardiganthat has been knitted in an Argyle pattern, and figure 07 on the left showsthe interior of the same button band. A steek has been cut to create thecardigan front opening, and the raw edges have been trimmed back, boundover, and secured to the inside with blue blanket stitch. Figures 08 and 09,which also show the front and interior of a button band, illustrate adifferent and rather more laborious method of securing raw steek edges tothe inside of a cardigan. Rather than casting on extra stitches for a steekbridge and knitting across them, the knitter has wound both strands ofworking yarn round her needle several times. Each time these woundstrands are encountered, they are dropped off the needle, creating a giantladder of strands across the cardigan front. When the knitting is complete,the knitter cuts this ladder in two, creating a series of ends, which are thenindividually woven in to the back of the work (figure 8). A button bandhas then been picked up from the edge of the wound steek, and workedin moss stitch. The careful finishing of the ‘wound steek’ has made theedges of this 1930s garment extremely neat and durable.Figures 10 through 13 show recently-knitted colourwork cardigans thatuse similar techniques of steeking and reinforcing as those used in theearlier garments. For the cardigan in figures 10 and 11, a crocheted steekhas been worked, a button band has been picked up along the steek edge,and a ribbon reinforcement has then been hand-sewn to the inside. Ratherthan leaving the steek edges raw, the crochet reinforcement has beencarefully removed, and the steek edges lightly hand-stitched down to theinside. In figures 12 and 13, a ‘sandwich’ edging has been worked to coverand enclose a crocheted steek, securing the cut edges, and rendering themcompletely invisible.Steeks: beyond the cardiganAs we can see from these examples, there are a wide variety of ways to cutand finish a steek. And, because shaping can easily be worked around aseam allowance, steeking is a technique that can be used to knit just aboutany garment or object. Steeks easily lend themselves to the creation of teacosiesand blankets, dog jackets and tank tops. Once you are able to cut upknitted fabric without fear, you really can make just about anything.Inventive knitwear designer, Stephen West, discovered just that in hisradical transformations of some favourite thrift-shop finds. Discovering atraditional Setesdal sweater in an Amsterdam vintage store, Stephen had anidea. “The wide drop shoulder construction lent itself perfectly to legs,” hesays:“so I transformed the sweater into a pair of tailored pants. I spent the dayexecuting my first crocheted steeks, and re-seaming the fabric using threeneedle bind-offs and kitchener stitch. I used the arms and shoulders of thesweater for the pant legs, and part of the sweater body for the waist. Iappliqued a section from the stranded fabric for a cod piece, which is linedwith super-soft merino wool.”Figure 14 shows how Stephen transformed the sweater into pants. Thesteeked Setesdal pants were just the beginning. Once Stephen startedsteeking, he found he couldn’t stop:“I’ve now made several other pairs of repurposed sweater pants and theykeep me toasty-warm as I roam the streets of Amersterdam. I’ve haddozens of onlookers stop in their tracks staring, laughing, or congratulatingme, and offering to buy them.”Stephen thinks that knowing how to work a steek has given him thefreedom to transform any piece of knitted fabric into a different shape. “Ihope to inspires more knitters to relax and have fun with their knitting.”He says, “the possibilities are endless.”AcknowledgementsThe author would like to thank the Frank Meadow Sutcliffe Gallerywww.sutcliffe-gallery.co.uk and the Shetland Museum and Archiveswww.shetland-museum.org.uk for their permission to reproduceimages from their collections.91

steekinghow toInstructions written by Dr Kate Davies.Here, we’ve illustrated how to practice working a steek over a simplecolourwork swatch (A). The basic methods illustrated here can be usedfor converting any jumper pattern into a cardigan.1. First, you’ll need to ensure that the pattern is balancedaround the centre (where the cardigan fronts will be). If thepattern is not symmetrical, you may need to add extrastitches to complete a full repeat at the end of the round.In the example swatch shown, the pattern is worked over amultiple of 8 stitches, plus 1 to balance the end of theround. (B).2. Next, you’ll need to decide whether you would preferto work a crochet or a machine-sewn steek. If you areworking a crocheted steek, you should cast on the numberof stitches your pattern requires, plus a small odd numberof stitches for the steek (I recommend 5). If working amachine sewn steek you should cast on the number ofstitches your pattern requires, plus a small even number ofstitches (I recommend 6). (C). Whichever method youprefer, work your steek in a simple stripe sequencealternating the yarn shades. These stripes will make it easierfor you to identify the individual stitches later, and showyou where to reinforce and cut.3. The round will begin to right-of-centre with the firststeek stitch. When switching yarn shades, always do so onthis first stitch of the round and, when you have finishedknitting, weave in any yarn ends along the back of thework to one side, away from the steek stitches (where youare going to reinforce and cut later) (D, E, F).4. If following the crocheted steek method, you’ll nowneed to work two lines of double crochet around thesteek’s centre stitch (stitch 3 of 5). Work the first line fromtop to bottom, and the second from bottom to top, so thatthe two lines pull away from the centre stitch. (G)5. With a pair of sharp scissors, carefully cut up the centreof the steek, separating the two lines of double crochet (H).The crochet edging contains the raw yarn ends and createsa neat, sturdy and flexible edge along which to pick upstitches (I, J, K)6. If following the machine-sewn steek method, you’llnow need to work two lines of machine stitching up thecentre of stitches 2 and 4 of your 6 steek stitches. (L, M)Then, using a pair of sharp scissors carefully cut your steekthrough stitch 3. The machine stitching holds and securesthe raw edges of the steek, creating a firm edge alongwhich to pick up stitches (N,O).7. Have fun!92

AFKBGLCHMDINEJO93

94ANGELACocoonVibe Ulrik

96ERINKid ClassicAmanda Crawford

98SHERRYKidsilk HazeMarie Wallin

100SHARONFrostLisa Richardson

CHRISTINECocoonMartin Storey101

102MARYFelted TweedJulia Frank

LAURAFelted Tweed AranVibe Ulrik103

104MELISSAPure Wool 4plySarah Hatton

WENDY WRAPCocoonJulia Frank105

106STACYKid Classic & Anchor Artiste MetallicGemma Atkinson

SHANNONCocoonGemma Atkinson107

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CRYSTALKidsilk HazeMarie WallinPhotographer: Peter Christian Christensen. Styling: Marie Wallin. Hair & Make Up: Frances Prescott (One Make Up).Art Direction: Marie Wallin. Model: Ray (Select Model Management).109

Love..........mohairwords by Marie WallinContinuing our series of interesting fibrefacts, this season the spot light is onMOHAIR. This truly wonderful, versatileand luxurious fibre is an importantcomponent in many of our beautiful Rowanyarns including: Kidsilk Haze, Cocoon, KidClassic and the new Fine Art.MOHAIR is the lustrous long and strong hair of the Angoragoat. Used alone or in blends, this soft and hard wearing fibreimparts its unique characteristics to a wide variety of end usesbut is mainly used in fashion garments, textiles and knittingand weaving yarns.HISTORY Believed to have originated in the Himalayas, theAngora goat was first domesticated in Turkey, where the nameAngora was derived from Ankara, the province where the goatsthrived. Heavily protected from export with an export banuntil the 19th century, the first Angora goats were importedinto the South Africa in 1838 and into the United States in1849. They came to the UK in 1881 when animals wereimported from South Africa by the Duke of Wellington.TODAY the major producers of mohair fibre are South Africa,Texas in the US and Australia. However there are small pocketsof Angora goats being bred for their mohair in numerouscountries throughout the world. Over the years the climate andgeography of these very different areas, together with thedifferent breeding programmes adopted by each country, haveled to very different characteristics of the mohair fibre produced.QUALITY American fleeces tend to be dense with a long01

staple length producing a marvellous lustre. South Africanfleeces are noted for their evenness of the fibres, whilst mohairfrom Australia is regarded as being the fineness.CHARACTER The distinctive properties of mohair give riseto a soft luxurious handle which has a great durability. Theseproperties make it desirable for use in quality products fromclothing to furnishing. Mohair has an excellent affinity for dyesand colours produced on mohair fibre have an unmatchedclarity. Fabrics made of smooth mohair do not crease, mat orpill and dust and dirt can simply be brushed off.MOHAIR FIBRE FACTS02• All mohair sold commercially is graded and sorted priorto sale. The grades are sorted by the staple length of thefibres: long, medium and short.• Grading is defined by the fibre diameter or micron, eg.Super Fine Kid Mohair (the finest quality) has adiameter of 24 – 26 microns.• Mohair of 13 to 16cm length commands the maximumprice.• Angora goats are first sheared at six months of age andthen at six month intervals.• The first clip generally provides the Super Fine fibre,whilst good Kid fibre is produced at 18 months of age.• The fibres then become coarser as the animal ages.• The Angora goat produces mohair at rate of 2.5cm (1”)a month.• Mohair, like wool fibre is a natural insulator.• Mohair is naturally flame retardant.References: www.angoragoats-mohair.org.uk01 & 03. The Angora goat.0302. A close up of the curly fleeceof the Angora goat.111

HARPERSTWINSET112HARPERS TWINSETFelted TweedMeghan Lewis

ROWAN DESIGN AWARDS 2013Winchesterschool of artWords by Dr Margy Cockburn.Amazing what a challenge can realise and theRowan Design Award 2013, executed for thefirst time with the students of WinchesterCollege of Art and Design, is no exception.Non-knitters have morphed into passionateaficionados, garter stitch novices have come upwith completely novel ideas, historical figureshave been stylistically reinvented, familyrelationships have been given a boost as all handswere called on deck and the marvel that is theKnitting Reference Library at Winchester hasbeen thoroughly pillaged and proved, yet again,just what an inspirational resource it is.The ‘Between the Wars’ brief set by Marie Wallin,Rowan’s Head Designer asked students toconcentrate on the traditional stitches, colour andgarment detailing of the 1930’s and 40’s. Takingadvantage of the wealth of design inspirationfound within the Knitting Reference Library, thestudents were asked to design six contemporary,women’s wear hand knits to reflect this heritagetrend. The final six selected designs are shownover the next few pages and we hope that thesebeautiful knits will inspire you to look at vintageknitting patterns in a new light.

BETWEEN THEWARS CARDIGANBETWEEN THE WARS CARDIGAN, Pure Wool DK & Wool Cotton, Katie AgarWOVEN CABLETUNIC DRESSWOVEN CABLE TUNIC DRESS, Felted Tweed, Emma Middleton114

LAND GIRL'S FAIRISLEPure Wool 4ply & Rowan Fine TweedLucy JonesLAND GIRLS MOVINGCABLE SWEATER115

LAND GIRL'S MOVING CABLE SWEATERFelted TweedLucy JonesLAND GIRLS MOVINGCABLE SWEATER

AMELIASWEATERAMELIA SWEATER, Felted Tweed, Alex Pengelly117

travel journalwords by Marie WallinHADDON HALLRomancing locationNestling in the valley of the River Wye,about two miles from the Derbyshiretown of Bakewell, lies Haddon Hall.Celebrating its description by Pevsner as‘the English castle par excellence’, itproved to be the perfect setting for ourstunning Romancing collection.Haddon Hall is a good example of afortified manor house, offering the visitorwith fine examples of medieval and Tudorarchitecture and beautiful gardens restoredin the early 20th century by the 9thDuchess of Rutland.118

The History of Haddon HallBuilt of Derbyshire gritstone and limestone, thehall seems originally to have followed the planof a Norman fort and it was in 1195 thatRichard de Vernon was granted permissionfrom King John to build an enclosing wallaround the Norman courtyard, tower, chapeland probably other wooden buildings whichcomprised Haddon. It wasn’t until 1370 that thewalls were raised and battlements added duringthe reconstruction of the house by Sir RichardVernon VI. However the large size of thewindows built during this period suggests thatdefence was no longer the main priority andinstead the emphasis was on the wealth andstatus of Sir Richard. The Great Hall or theBanqueting Hall was also added during thisrestoration as well the kitchens (which werehoused in a separate building to minimize thefire risk to the main house).119

The chapel was also extended during the 14thcentury and alterations continued into the 15thcentury with the addition of a new chancel and newwindows in 1427. During the latter half of the 15thcentury further extensions were made to the chapelwhich saw the addition of the bell tower and theexquisite fresco seccoes on the walls.Towards the end of the 16th century, several roomswere altered by Sir John Manners and his wifeDorothy Vernon, who acquired the Haddon Hall onthe death of her father, Sir George Vernon. Sir Johnand Dorothy constructed the beautiful Long Galleryin the typical Elizabethan style. This major buildingproject was proved to be the last phase of building. In1703, Sir John Manners, 9th Earl of Rutland andgrandson of the original Sir John and Dorothy, wascreated 1st Duke of Rutland and Marquess ofGranby by Queen Anne and the family moved toBelvoir Castle, leaving Haddon Hall empty. The hallremained uninhabited for 200 years until the 9thDuke and Duchess of Rutland in the early 20thcentury instigated the extensive restorationprogramme which still continues to this day.120

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Now, Haddon Hall is once again thefamily home of the Manners familyand is owned by Lord EdwardManners. It is thanks to him and thededication of the staff that it is nowperhaps the finest example inEngland of medieval and Tudordomestic architecture.Haddon Hall is open to the publicon Saturdays, Sundays and Mondaysduring April and October and opendaily from May to September. Pleaserefer to www.haddonhall.co.ukfor up to date visitor informationincluding special events andChristmas opening times.122

The Rowan crew would like to thank Janet and herteam of dedicated staff from Haddon Hall for theirkind hospitality and help.The crew stayed at the Devonshire Arms, Pilsley,Derbyshire. www.devonshirepilsley.co.uk123

what’s newA whole season’s worth of knitting books, magazines andexhibitions covering all aspects of knitting and textile design.Rowan Angora HazeWith 14 beautiful luxurious designs by Martin Storey, this lovely brochure showcases one of our new yarns for the season,the exquisite Angora Haze.Rowan Angora Haze is available from Rowan stockists from 15th July 2013.Order code: ZB142 Visit www.knitrowan.com to view the collection online.Rowan Thick ‘n’ ThinSarah Hatton has designed 15 simple and very wearable garments and accessories using one of our new yarns for the season, the funThick ‘n’ Thin. With an emphasis on easy to make projects this fabulous collection will be perfect for the beginner hand knitter as well asthe more experienced.Rowan Thick ‘n’ Thin is available from Rowan stockists from 15th July 2013.Order code: ZB138 Visit www.knitrowan.com to view the collection online.Rowan Alpaca ColourFeaturing our exciting new Alpaca Colour yarn, this brochure showcases a collection of 17 contemporary and easy to wearhand knits by Lisa Richardson. This yarn has a beautiful blended colour effect which is perfect for plain and textured knitsalike, whilst the alpaca adds the super soft hand feel.Rowan Alpaca Colour is available from Rowan stockists from 15th July 2013.Order code: ZB143 Visit www.knitrowan.com to view the collection online.Rowan Autumn KnitsInspired by the continuing trend for heritage country wear, this is a collection of 14 sumptuous hand knits for women and men by MarieWallin. Using two of our most popular winter yarns Cocoon and Lima, together with our new yarn Lima Colour. Featuring cable textures,small tweed patterns and fairisles and knitted in fabulous autumnal colours, these lovely designs will be both a pleasure to knit and to wear.Rowan Autumn Knits is available from Rowan stockists from 15th July 2013.Order code: ZB144 Visit www.knitrowan.com to view the collection online.Rowan Little StarLittle Star is a charming collection of vintage inspired hand knits for girls and boys from 3 to 10 years of age. With 21 lovely designsby Marie Wallin using some of our popular yarns, Wool Cotton, Wool Cotton 4ply, Pure Wool DK and 4ply and also featuring ourbeautiful new Angora Haze. This is a collection that will be a must for knitting grandmothers and mothers alike.Rowan Little Star is available from Rowan stockists from 15th July 2013.Order code: ZB141 Visit www.knitrowan.com to view the collection online.Rowan PioneerInspired by the pioneer spirit of America’s Mid West, Martin Storey has designed a collection of 14 cosy, easy to wear hand knits forboth women and men. Using our popular Big Wool, Pure Wool Aran and Creative Focus Worsted yarns, this collection features looksranging from Amish inspired patterning through to Martin’s signature cable textures.Rowan Pioneer is available from Rowan stockists from 15th July 2013.Order code: ZB140 Visit www.knitrowan.com to view the collection online.124

Rowan Warm & ToastyThis fabulous collection showcases easy and quick to knit contemporary winter accessories and simple garments. Perfect for thebeginner hand knitter, the collection is designed by the Rowan design team and features 14 designs using our wonderful AlpacaChunky and Tumble yarns.Rowan Warm & Toasty is available from Rowan stockists from 15th July 2013.Order code: ZB139 Visit www.knitrowan.com to view the collection online.Aran & Nordic Knits For Kids - 25 designs for babies and young childrenMartin StoreyThe beautiful motifs and patterns of northern Europe have provided the inspiration for Martin Storey’s collection of cables andcolour knits for little boys and girls. Martin has chosen a range of Rowan’s natural wool yarns for a range of garments andaccessories as well as cushions and throws.Aran & Nordic Knits for Kids is available from Rowan stockists from Autumn 2013.Rowan (UK) St Martins Press (USA). Berry & Bridges Ltd. ISBN 978-1-907544-61-3 Price £15.95aran & nordic knits for kids25 designsfor babiesand youngchildrenMartin StoreySarah Hatton & Martin Storey - Designer KnitsTwo of Rowan’s popular designers – Sarah Hatton and Martin Storey – have joined forces to create a special ‘his and hers’ collection of20 knit designs for girls and guys. In it they showcase their talent for creating the kind of designs in Rowan’s classic yarns that knitterslove to knit, wear and just keep on wearing!Sarah Hatton & Martin Storey Designer Knits is available from Rowan stockists from Autumn 2013.Quail Publishing ISBN: 978-0-9567851-9-0 £15.99A Knitted Sock Society - 10 Modern sock designs using Rowan Fine Art.Rachel CoopeyThe Knitted Sock Society is a collection of 10 sock patterns knitted with Rowan Fine Art hand painted sock yarn. The patterns includetwisted stitches, cables, lace and colourwork, with geometric patterns, strong lines and intricate details.A Knitted Sock Society is available from Rowan stockists from Autumn 2013.Quail Publishing ISBN: 978-0-9567851-8-3 £9.95Dee Hardwicke’slittle colour knitsDee Hardwicke’s Little Colour Knits - 10 colourwork and textured designs.With a successful track record in creating beautiful, colourful ceramics, Dee Hardwicke fell in love with the Rowan palette of yarnsand has used them to create some brilliant knits for the home and for accessories.Dee Hardwicke’s Little Colour Knits is available from Rowan stockists from August 2013.Rowan/Berry & Co Publishing Ltd ISBN: 978-1-907544-62-0 £11.99Knit to Fit - Sharon BrantThe beauty of being able to knit is to have something unique, personal and most importantly a garment that looks like it has been madefor you! And that comes with the fit of the garment. This book will help you to understand the measurements given in patterns and howthat relates to your own shape, the importance of the tension square and how you can adjust the patterns to suit your own personal size.Knit to Fit is available from Rowan stockists from Autumn 2013.Quail Publishing ISBN 978-0-9567851-7-6 Price £9.95GEORGINA PARKSocks madesimple, plus 8patterns withRowan Fine Artsock yarnROWANsockKNITTINGWORKSHOPRowan Sock Knitting Workshop - Georgina ParkFor anyone who is keen to learn to knit socks, or wants to improve their sock-knitting skills, this small book offers all theinformation needed to raise your game. It covers basic sock knitting techniques, with step-by-step instructions and photographs,and offers 8 different sock patterns for all the family, all knitted in Rowan’s new Fine Art hand-painted sock yarn.Rowan Sock Knitting Workshop is available from Rowan stockists from Autumn 2013.Rowan & Berry & Co ISBN 978-1-907544-63-7 Price £8.99Club to Catwalk9th July 2013 – 16th February 2014Discover the creative explosion of London fashion in the 1980’s in this major exhibition at the V&A. Through more than 85 outfits,Club to Catwalk: London Fashion in the 1980’s showcases the bold and exciting new looks of the most experimental youngdesigners of the decade, including Betty Jackson, Katherine Hamnett, Wendy Dagworthy and John Galliano.The Victoria and Albert Museum, London. Admission charges will apply.Dress designed by Williams Brown, 1980. ©Victoria and Albert Museum.www.vam.ac.uk125

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