A New Slow Sweater, What it Says, and the Idea of Knitting “And”

  

MMHenley 3

  

You know how sometimes you see someone, a stranger, and without meaning to, you imagine that whatever they’re wearing and whatever car they drive are the things they have chosen out of all possible options, that these things say something meaningful about their personality and their life? And then you look at yourself, your car, and maybe your clothes, and realize how many other circumstances played a part? I feel like we who make our own wardrobes move slowly (slowly, please cut yourself some slack, it’s going to be a process) towards the point where at least for what we wear it’s true: our clothes say exactly what we want them too. (My car is another story, I don’t know about yours. It does say that I would rather duct tape the mirror back on and buy better food than other possible options …)

This sweater feels like a step towards what I want to say with my knitting. It’s made with Mountain Meadow Wool (they’re a woman-owned company using US wool from the West, committed to eco-friendly practices) in a sheep-grown color (“natural dark gray”) which I love. I feel like the message that real wool is beautiful and good comes through, even if you saw me and assumed I bought this sweater (although if you saw my car you’d know I couldn’t afford it). You can also see that I love texture and value detail, and hate being cold.

  

MMHenley 1

  

I’m pretty sure this was supposed to be my One Year, One Outfit project for 2016. I started planning it in late 2015, started knitting as spring came around, and brought it with me on the road last summer, but it took until this spring to finish. This was a long knit for a whole lot of reasons. The textured stitch patterns just take longer; there was more stopping and checking and thinking than with plain stockinette or one pattern all over. Sweaters are big, and pretty soon I wouldn’t necessarily take this one everywhere I went. Making something only loosely “inspired by” a pattern (the Cotswold Henley by Meghan Babin) takes a lot of thinking, and measuring, and planning, and sometimes ripping out and knitting again. All totally worth it, but time consuming, and sometimes I ended up not knitting because planning the knitting was daunting and I was too tired or overwhelmed.

When we got home in the fall, I really wanted to keep making progress on it, so at first I decided I would work on the sweater before bed, instead of spinning, until the sweater was done. I love spinning before bed, and it has to be said that I did not love knitting the sweater during that time as much. Sometimes I would just skip it. After a while I realized that, although I’m not the kind who likes having a bunch of projects in progress, this was a false choice—it’s actually healthy for me to have a little knitting and a little spinning going on at the same time. I also realized something about how I like to work that I kind of already knew; knitting is an “and” activity for me. I love knitting while traveling, knitting while hanging out with friends, and knitting at meetings, but I really don’t love sitting quietly by myself and knitting. I’d rather do something else with that time. So I went the other way; I started spinning at night again, and hauling an extra tote bag full of sweater-in-progress with me to social events and anywhere else I could see that I might have some down time. That worked much better, and before long the sweater was actually done!

  

MMHenley 2

  

I believe that it’s done and that I knit it, but I’m having trouble believing that I get to keep it, if that makes any sense. In other words, I got pretty much exactly what I wanted. Of course there are a few things I’ll change in the next version, but there always are. I’ve decided that just shows that I’m still on a journey.

I started wearing it as soon as the last seam was sewn, and it went on quite a few outings this May, and into June in our variable mountain weather. The yarn has pilled some, but I’m hoping that how brilliantly it held up to being ripped out and re-knit (ahem) multiple times in certain sections means that the pills will be temporary and not terminal. I drafted Bryan to take the photos of it on me on the last cool day we’re likely to have until fall, and then carefully packed it away. Getting it out when the weather turns again is going to be such a treat!

  

MMHenley 4

There are two different stitch patterns, but they’re hard to see unless you’re really looking. I possibly should have gone with something bolder/more contrast, but then again subtle is my jam …

  

A few knitting notes: I wanted this to fit over my thickest winter shirt/sub-sweater (I hate being cold). I used Karen Templer’s idea of in-the-round “seams”. This is seriously brilliant as far as I’m concerned. Knitting seems so perfectly adapted to be made in the round, to be shaped organically, to be seamless, and I’ve never been willing to give all that up for the structure that seams can add. Now I just might get both! I made a pretty detailed/extensive chart of measurements for various sections of the sweater when I was planning where the “seams” would go and how big the whole thing should be, based on trying on an old sweater and marking it with pins. I’m really looking forward to having that chart and this sweater for planning future sweaters. I’ll be able to look at them and compare pattern measurements and know how big I want the sleeves, or how wide across the shoulders, etc.

  

MMHenley 5

Guts: Picked up stitches around the neck/placket, and where the sleeve joins the body. “Seams” closed with mattress stitch between the two stitch patterns vertically in the body, and horizontally near the bottom of the sleeves.

  

For now, I’m enjoying knitting socks in spare moments. Compared to this sweater, they seem to appear instantaneously! I have a pair almost done already. I think the speed is mostly due to the “and” factor; socks are really suited to occupying my hands while other things are going on. They’re small enough for me to keep the whole project in the bag I usually carry, and I purposefully kept the stitch patterns simple enough that I can keep track without needing to refer to a pattern most of the time—which also means I don’t have to stop much for deep thinking. I could really use some new socks, so I may just make a few pairs before settling down to anything big and complicated again.

I’d love to hear any thoughts you want to share about big versus small projects, or crafts you like to do on your own in a quiet space versus things that are good for groups and busy times, or where you are in your journey of what you’d like your wardrobe to say …

  

MMHenley 6

 

A Winding Road to a Versatilde Headband

 

versatilde headband on 1

  

Hello! Life has just been a flood, a river of things lately, but this space has still been on my mind, and now seems like as good a time as any to share a somewhat long-lost project.

I took a workshop on Versatildes with Cat Bordhi in July of 2015. As you know if you’ve been reading here for a while, Cat is my knitting heroine—and Cat if you’re reading this I’d like to include a sincere and hearty thank you for all your warmth, humor, and love of knitting and of the world in general that shines through in your classes and projects!

I wanted to make something that I knew I would wear using the Versatilde ideas, and as usual I wanted to experiment, so I sketched this headband and started working on it during the workshop. It didn’t actually take that long to finish knitting it, and it was a fun journey. I’m usually a note-taking, think-it-through kind of person (as you might have noticed), but I really enjoyed Cat’s way of making these, which is much more about enjoying the process and not over-thinking decisions. There isn’t a chart, instead you decide things like when to make cable crossings and increase/decrease at the sides as you go, following a few suggestions to make it flow organically.

  

versatilde headband flat

  

I’m not sure if I over-thought it at the end. My original plan was to close it with buttons, but I couldn’t find any that went with the wool and the pattern without distracting from it, so eventually I just sewed it closed. Somehow, it took me the rest of the time until now to get photos of the finished thing and type this up … these things happen.

  

versatilde headband sewn 2

 

versatilde headband sewn 1

 

This yarn is semi-worsted spun Romney from Solitude Wool. I got it because I’m interested in single-breed wools, and I wanted to try some samples for another project, so it was already in my stash. I was also curious how I would feel about Romney next to my face, since it’s more of a “medium” wool, rather than a super fine one like Merino. It turns out it’s totally OK (at least for me, these things are individual of course). At first I could feel a little bit of a prickle, but certainly not enough to keep me from wearing it—if it’s cold I want my ears covered! And I was surprised to find that it softened more in the first wash, so that the prickle was less noticeable. I really like this yarn; it’s wooly, sturdy, and a little bit smooth/slick, and the finished fabric has both some drape and some spring. Also, whatever processing they use, it smells the best—sheepy and soft and clean. I wouldn’t choose this yarn for underwear, but other than it that it would be good for all kinds of things.

  

versatilde headband on 2

  

My plan worked; I’ve worn this headband quite a bit. It’s especially good for cross-country skiing and hiking when the weather’s cold, since it allows some heat to escape out of the top of my head while protecting my ears from the wind, which can be vicious around here. It stays on well too. And, you know, that art-deco-meets-rustic look is really big in the woods this year, right? But seriously, I’m really pleased with how this came out, and glad I’ll have it in my wardrobe for more cold seasons to come!

 

The Star Blossom Hat, A Pattern for Solstice

A free pattern to knit and embroider.

 

embroidered-hat-1

 

I designed this hat for myself, and decided to share the pattern after a friend declared it her favorite thing I’ve ever made. It feels like a really good time to put a little bit of beauty out into the world right now. I’ve been collecting the pieces of this pattern—the photos, the drawings, the yarn specs—in spare slices of time over the past weeks, and now it’s ready to go!

The Star Blossom Hat is mainly seed stitch ribbing, shaped with short rows for a longer back to cover your ears, and designed to be long enough to turn up all around. It has a stockinette stitch top to serve as a background for some sweet and simple embroidery, reminiscent of a cherry blossom or a starburst.

Yarn

Lucky me, I had a big skein of my friend Lauren’s handspun just sitting in my stash. All I remember her telling me about it is, “It’s alpaca.” It was just waiting for this hat I think. Assuming that Lauren didn’t go into production on this and start selling it around the country without telling me, here are the characteristics you want to match in your yarn to get a similar look and feel:

•It’s worsted weight, about 9 WPI.
•It has bounce. 4” of yarn will stretch another ½”, and then easily spring back. It needs a little elasticity so the ribbing pulls in just enough to keep its shape on your head. My yarn has some drape too, like most all alpaca, which is not a drawback here, but also not necessary for this shape to work.
•It’s not too fuzzy. An alpaca yarn with a lot of “halo” effect would obscure the textured stitches and the embroidery, so opt for something fairly smooth.
•It’s a 2-ply yarn, and each ply is a slightly different (natural alpaca) color. It’s also a little bit thick-and-thin, being handspun. Neither of these characteristics is essential to the hat, but both give the texture of the stitches a little more dimension.
•It’s soft enough to comfortably touch my face.

This hat took just about exactly 130 yards of yarn. 150 yards would give you plenty for swatching and margin of error.

Spinning geek details on the original yarn for those interested:

•Angle of twist 27°
•3.5 – 5 twist bumps per inch in plied yarn
•587 yards/pound

Yarn scraps for embroidery:

These are also something I’m lucky enough to have; little bits and pieces from my grandmother’s stash which I’m pretty sure were dyed with natural materials by her or her fiber friends. You can use any scraps you have in colors you like! Or even ask your knitting friends to share and swap scraps. Embroidery is my ultimate use for tiny bits of yarn too beautiful to get rid of. These are singles (one ply) yarns, which gives the stitches a soft fuzzy look.

 

embroidered-hat-2

 

Gauge

Before blocking I got 5.5 to 6 sts/inch in seed stitch ribbing, and 5 sts/inch in stockinette.
After blocking I got 5 to 5.5 sts/inch in the ribbing (stretched slightly during blocking) and the same 5 sts/inch in stockinette.

Needles:

I think I used US size 4. I knit pretty loosely. Size 5 would probably be a more common recommendation … the point is it doesn’t matter, use the size you need to get the gauge you want!

Sizing

I have a fairly big head, and I hate hats that squish my hair (or worse, my head!). Straight around my forehead, with the measuring tape snug but not tight, measures 22.5 inches, and that’s the size I made the hat (using 5 sts/inch for math). This gives me my personal hat fit of dreams: snug enough to stay on my head, but never tight or uncomfortable. I highly recommend that you measure the hat recipient’s head and take her/his preferences into account. You may have to modify the decreases for the top a bit, but that’s a small price to pay for a hat that really fits!

Seed Stitch Ribbing

This is just so nubbly, I’ve been knitting it into everything lately. I wanted a combination of stitches that would look good on the right or wrong side, so the brim of the hat could be turned up, and this is what I came up with. The columns of ribbing are always purl knit purl, with two stitches of seed in between.

It does look a little confusing at first, so put as many markers as you need, until you can see where the ribbing columns are and which are the seed stitches that should always alternate.

embroidered-hat-seed-rib-chart

Pattern

Cast on 115 stitches (or the number you determined from your head size). You’ll need a multiple of 5 stitches for the seed stitch ribbing pattern. I used this cast on.

Bring the beginning and end of your cast on stitches together, and knit in the round, in the seed stitch ribbing pattern, until the hat measures 6 1/2 inches tall. (If you have extra yarn, you can knit further at this stage, which mean you can make a deeper turn-up in the brim of the hat when it’s done).

Short rows:

Reserve 40 stitches (or about 1/3 of your total stitches if different) which will be the center front of your hat, by placing a marker on both sides of them. Keep knitting around until you are 4 stitches away from reaching the first marker again, and then turn and knit back until you are 4 sts away from the second marker. (Remember to match the patterns to what you see on the wrong side as you work back.)
Continue to work back and forth, each time stopping 4 sts away from the last turning, until there are 5 groups of short rows or 6 “steps” on either side of center front, and about 40 sts in the middle that will be the center back. The back of the hat should measure 8 to 8 1/4 inches tall.
Work around on the right side, integrating the turning stitches. My favorite is Cat Bordhi’s “Thanks-Ma” method, which uses a clever pick up to make the “steps” basically disappear. Cat’s video explains it specifically for her sock heel, but I’ve used it on all kinds of things since learning it. Still, if you have another favorite short row method feel free to use that instead.
Then knit one more round on the right side, maintaining the patterns, to smooth everything out.

You shouldn’t need to change the numbers in this section, unless your stitch count is very different from mine. If short rows freak you out, you can also skip them altogether, and just keep knitting in the seed stitch ribbing pattern until the hat is 6 1/2 to 8 1/2 inches tall, depending on how much you want to turn up the brim.

 

embroidered-hat-6

 

Crown:

Switch to stockinette stitch and knit one round plain (knit every stitch). Place a marker at the beginning of your round.
Round 2: Work a K2tog (decrease 1) at every column of knit stitches from the ribbing pattern (23 times around). Or you can think of it as k2tog, knit 3, repeat around. I just think it looks nice to line up the decreases at the knit columns.
Round 3: Same as round 2 (decrease 23 sts again in the same places, or k2tog, knit 2, repeat).
Rounds 4-8: Knit these 5 rounds plain.
Round 9: Decrease at every column again (k2tog, knit 1, repeat).
Rounds 10-14: Knit these 4 rounds plain.
Round 15: knit every two stitches together all the way around (k2tog, repeat).
Rounds 16-18: Knit these 3 rounds plain.
Round 19 to finish: Continue k2tog until there are only 6 stitches left.
Break the yarn, leaving a tail, and thread the tail on a blunt needle, and through the remaining stitches, continuing in the order you would knit them. Thread the tail through the top of the hat to the inside, and pull the last stitches snugly together. Secure the yarn on the wrong side of the hat.

If your stitch count is different, I suggest trying the same number of decreases in each decrease round as you have knit columns from the ribbing, and using my spacing of plain rounds between. If that doesn’t work or you have questions feel free to get in touch, I’d be happy to help you figure it out! I unraveled my crown twice to come up with this formula. It should have a little curve (like your head), but not be too loose or floppy, to show off the embroidery.

Embroidery

I used just two stitches; the simplest running/satin stitches (in two different groupings), and Colonial knots, both which I explain in this post.

I used pins to visually mark the placement of the five knots nearest the center, and then based the other motifs on those, moving outward.

embroidered-hat-drawing-1

Tips for embroidery on knits:

Whatever stitching you add will also add some bulk and stiffness to the knitted fabric. You can minimize this by:
•Taking the shortest path on the wrong side between the end of one stitch and the beginning of the next.

embroidered-hat-drawing-2

•Stretching the fabric gently after every few stitches (minimizes puckering).
•For longer stitches between motifs on the wrong side, catching a little bit of the yarns in the fabric as you go along, so you don’t have long floats that can catch on things (I show this for yarn ends in this post).

 

embroidered-hat-5

 

That’s all, folks! I really hope you all enjoy this pattern, and if you decide to make it of course I’d love to see! It’s now up on Ravelry as well.
Take care everyone and enjoy your winter!

 

News April 2016: Flag Wool and Me-Made-May

Hi everyone!  Just a couple of quick things today.

First off, I’m teaching at my hometown wool festival Flag Wool and Fiber again this year, and it’s coming up: June 4 & 5.  I’ll have a brand new class on modern free-form embroidery, and I’ve really been enjoying researching and brushing up my stitching skills for that. I’m also doing a “Knitter’s Toolbox” class that’s intended to take your knitting to the next level. Click through to the festival’s site to read more about both classes.

 

knitter's toolbox

 

Second, it’s almost Me-Made-May!  After some debate I’ve decided to pledge to wear only me-made (not just -altered or -repaired) garments this year, with a few exceptions: raincoat (not about to try making one when I have an almost-new one), socks (not enough me-knit ones yet), and then there’s a jacket which I would love to finish by May … but it might very well not happen, so I left myself a little wiggle room (if it’s cold enough for a jacket I’m wearing one, me-made or not).

We’ll see how this goes.  I’m not sure that I’ll feel more self-sufficient wearing only things I cut from scratch rather than things I altered or fixed so I could wear them, and I’m pretty sure there are a couple of garments I’ll miss wearing.  But this pledge seemed like the next logical step in the wardrobe direction I’ve been headed, and I’m curious to see how I end up feeling about it and what I’ll discover.  I’d also like to share (most likely on Instagram) a little more of my MMM than I have in the past couple of years.  Even though that can be hard on the road, I’m going to try.

And launching soon, a project which is actually a fusion of the two items above—I hope you’ll stay tuned!

A Failed Attempt

 

It’s so tempting for our online lives to show only the bright side; just our beautiful finished projects (neatly ironed), our best ideas translated fluidly into tangible objects. I’ve definitely swept my share of failed makes under the rug, never to see the digital light of day. And actually I think that’s fine too—some things we learn from, and some we just don’t want to talk about. I’m going to talk a little bit about this one though, and see how it goes.

 

failed refashioned sweater 2

 

I had so many reasons to love this sweater and try to save it. My mom knit it for my grandma, and after my grandma passed on I took it, thinking I could turn it into something I would wear. It started out as your classic grandma Aran cardigan; white and long and covered in cables and textures, slightly too big for me, with a high neckline and little pearly buttons. Although I’m sure it could have fit right into some people’s wardrobes with minor adjustments, it made me look ridiculous. Maybe I should have stopped right there, but I have a lot of faith that things can be refashioned to work in a new wardrobe (built on a solid foundation of makes that have worked out).

My first attempt to refashion the sweater was a few years ago, and included: shrinking/felting it slightly, dyeing it with tea, widening the neckline, and knitting new bands for the bottom and cuffs. It was a fair amount of effort, and I still didn’t wear it much. It felt strange, and the strain on the neckline proved too much, the yarn started to pop in several places. Not sure what to do next, I put it in a plastic bin in the garage, and there it sat, occasionally nagging at the back of my mind.

I got it out again last fall at the start of Slow Fashion October. What could be a more appropriate project? And I had a plan, in several steps, thought out beforehand, which looked good in my head. I trust those plans and my ability to envision how they will come out.

I dyed more yarn and ribbon in tea. I stitched the ribbon in to reinforce the neckline. I shorted the body and used the extra to add a collar onto the (ridiculously wide) neck. I figured out what stitch pattern I had used before, and knit another piece for the collar, and then another one because the first one didn’t work (actually I think there were three attempts at the collar). I wasn’t convinced it was great, but I also wasn’t able to take a step back from all I had invested, and I went ahead and overdyed the whole thing  with madder, hoping for some kind of warm soft brown. It came out, well, salmon, and that’s when I was forced to take a step back.

It wasn’t just the color, it was the spottiness of the color that really got me down. I knew this could be an issue dyeing garments (even though I haven’t had many problems using tea) and I had tried to strategize against splotches, but evidently not well enough. On top of all that, it was inescapably not my style—particularly that blasted collar.

 

failed refashioned sweater 3

 

I put it down, knowing it was no good, but not emotionally ready to let it go. It’s been a while since I had a downright project failure, particularly of something that I put this much effort and planning into. I still have plenty of “um, well, I won’t do that again,” learning moments, but at this point in my creating life, the results are usually fixable, or cause just a minor inconvenience in the finished garment. I had kind of forgotten what it feels like to have to give up completely on something that I’d worked so hard on, and how it takes the wind out of your making sails for a while. I definitely felt a little intimidated to start another project after this one.

The best silver lining I can come up with so far is this: that remembering this feeling is good for me as a teacher, in the same way that remembering what it’s like to be a beginner is good for me. There’s one big difference though: being a beginner is super fun if you have confidence you’ll get there in the end, but making a failed project is still no fun at all. I do know that my present confidence and skill is built on a whole bunch of projects that didn’t go very well (to one degree or another). And I’ve reminded myself that no time is ever wasted, as long as you’re making and learning, and enjoying the process. I just finished reading Big Magic by Elizabeth Gilbert, and one of my favorite things about that book is how much she is reassuringly down-to-earth about stuff like this: everyone fails, everyone has droughts of creativity, and crises of confidence (even highly successful authors). What makes the difference is whether we can use the good parts of a bad experience to move forward, or we get so bogged down in the bad parts that we give up on this path entirely and look for another one.

Needless to say, one crummy sweater will not derail me from the path of any of the fiber arts I love. Thinking about this one still stings a bit, mostly because I can still see the potential in some parts of it … but I’ve accepted that I cannot make it into what I want, and I’m ready to put it in the charity pile, and let it go to meet its future, which whatever that may be, is not my responsibility any more. It took a couple months of the sweater sitting in the corner in our bedroom for me to get to this point. To tell the truth I think, with the benefit of a little hindsight, that the whole second attempt was doomed, because the neckline from the first attempt was beyond saving.

But now, I’m ready to take what I learned, leave the sweater behind, and move on. I still trust my instincts, and my ability to plan a project in my head before I start. These skills are built on years of experience, and usually the plan works. Even when it doesn’t, it’s another step moving me forward on a path which I believe in with my whole heart.

 

Knitting 102 Cowl – Free Pattern

 

T with simple knit cowlWhen my cousin was about 12 years old, she knit me a scarf. I’m touched by this gesture every time I think about it. That’s a lot of time and effort to put into an object for someone else when you’re that young. The scarf (at left) is great, made from a colorful thick-and-thin yarn, but it’s kind of short. Then one day a couple of years ago I realized that if I added buttons and buttonholes to the ends, it could be a stylish cowl, and I’d probably wear it a lot more. Which I do.

Then I realized that a cowl like this, just a knitted rectangle with buttons added, would be a perfect second or third knitting project for my students. For when you can knit and purl, but maybe you’d like to make something besides a washcloth using your current skills, before moving on to knitting in the round and all that.

I made a sample one with some seed stitch columns added, and left it at the yarn store where I teach. One day not long ago I was over there, and the owner and one of the employees were telling me about how people ask for the pattern a lot. I was quite surprised. I agreed to write it out. Then I got to thinking, if I’m going to give this pattern to whoever comes into the shop, I’d like to give it to you guys too. So here you go:

 

Knitting 102 Cowl Pattern

 

102 cowl 1

 

To make this cowl, you’ll knit a long rectangle, and then use a simple crochet stitch to make buttonholes on one end. Sew buttons on to the other end, and it’s ready to wear!

This concept is very adaptable. It’s easy to vary the yarn, stitch choices, and size to suit your own taste and knitting level.

 

102 cowl 4

 

Materials

Yarn: the sample is made in Cascade Baby Alpaca Chunky, a very soft yarn with a lot of drape and not much bounce. One skein is enough for a small cowl like this. The finished fabric hangs in liquid folds. If you’d like a cowl that will stand up more, choose a yarn with more body and spring.

Gauge: the finished sample has 4 stitches per inch in both stockinette and seed stitch. It’s OK if your gauge comes out a little bit differently, since exact size isn’t super important for this project. It’s still a good idea to make a swatch with your yarn and see if you like how the fabric is coming out, and measure your gauge to get an idea of how big your finished cowl will be.

Needles and Hook: try US size 8 (5mm) knitting needles, but keep in mind that you may need a larger or smaller needle to get the gauge you want (especially if you use a different yarn). You’ll also need a crochet hook in a similar size for the buttonhole loops. In my experience the hook size doesn’t need to be exactly the same for such a small section.

Finished size: the sample cowl is 8 ½“ wide and 22 ½” long. It fits fairly close around my neck, but is big enough to get over my head without undoing the buttons. You can compare the dimensions to any cowl you like to see if this seems like a good size for you.

 

Directions

Cast on 35 sts (or your stitches per inch x desired size in inches).

Other options: If you’re not quite ready for keeping track of the seed stitch columns, you can also make a perfectly good cowl using garter stitch (knit every stitch, every row) or using seed stitch across the whole piece. (A cowl made with all stockinette stitch—knit one whole row, purl one whole row—will curl up at the edges.)

For the seed stitch pattern, you’ll need an odd number of columns of stitches. In the sample cowl, there are 7 columns of 5 stitches each. You can also vary the number of stitches in each column if that works better with your stitch count.

First row (right side): work in seed stitch for 5 stitches (knit 1, purl 1, knit 1, purl 1, knit 1), and then knit 5 stitches. Repeat this sequence of 10 stitches (2 columns) two more times, and end with 5 stitches of seed stitch.

Note: You may want to put a stitch marker around the needle between the sections to help remember when to switch patterns.

Second row (wrong side): work seed stitch for 5 stitches (knit 1, purl 1, knit 1, purl 1, knit 1), and then purl 5 stitches. Repeat this sequence of 10 stitches (2 columns) two more times, and end with 5 stitches of seed stitch.

Note: this seed stitch in this pattern alternates every stitch between knit and purl, both horizontally and vertically. After set up in the first row, work a knit stitch on top of each purl stitch you see in the seed stitch sections, and vice versa.

Repeat these two rows until you reach your desired length for the cowl.

Bind off—not too tightly or the edge will pucker. Leave a long tail (a couple of feet long) and you can use it to make the buttonhole edge as well.

 

102 cowl 5

 

Crochet buttonhole edge
Go into the first stitch of your bind-off with a crochet hook. Pull a small loop of yarn through with the hook. Go into the next bind-off stitch the same way, pull another loop through, and then pull the second loop through the first loop so that you have only one left on the hook.

(I drew these illustrations for my students, who would also have me standing next to them to show them how to do it.  If this whole concept of crochet edges is new to you, check out this explanation from Knitty, which covers crocheting on to a knitted edge, as  well as the difference between a crochet slip stitch and single crochet stitch.)

 

crochet edge

 

Continue in the same way, going into each stitch as you come to it, pulling a loop though it and then through the loop you already have on the needle. This is called a “slip stitch” in American crochet terms.

You’re making a line of crochet stitches, which should look like another bind off row on top of the first one.

When you get to the place where you want to make a buttonhole, chain (pull loops through your working loop one at a time, without connecting to anything else) until you have enough stitches to just fit around your button.

You can make the buttonholes flat to the edge or more of a loop—your choice, depending on where you attach them—but either way they should be just big enough to push the buttons through, otherwise they may come loose while you wear it.

Reattach the chain to the edge by going into the bind-off stitch you choose, and making a slip stitch as you did before.

 

crochet buttonhole v2

 

The sample cowl has three large buttons and buttonholes, which line up with the three stockinette stitch columns.

 

102 cowl 2

 

Sew on your buttons to line up with the buttonholes.  I use the same method as I do with sewing thread, except the yarn only goes once each way through the buttons since it’s so thick.

 

102 cowl 3

 

Enjoy!  If you make one, I’d love to see it.

 

News Jan 2016

 

Arizona Fiber Arts Retreat, Things I Forgot to Mention, and More

 
Lately I haven’t been doing as good a job as I’d like keeping you all, lovely readers, updated when I have something going on outside of this blog.  I haven’t wanted to stick random announcements into tutorials or thoughts that will (hopefully) be read long after the news is relevant, but I also don’t want to pepper you with little posts for each bit of “look at this!” type news.  So I’ve decided to do a periodic news round-up when warranted.  Because this is the first one, there’s some overdue stuff as well as some newer items.

 

Old News

I wrote a few more articles that came out in Seamwork magazine this fall, and the latest one in the December issue.  Although I mentioned some of them in passing, I didn’t really point them out.  There’s one on how fabric is woven, and how to use your knowledge about that to improve your sewing.  It draws on what I learned when my grandma taught me how to weave, and uses a toy loom that belonged to my mom as an example.  The latest article is about five essential hand stitches, and it’s just what it sounds like, a tutorial on my most-used stitches.  I’ve been inspired by all the hand sewing and visible mending going on lately, and I’m happy to add to it!  Maybe my favorite article so far is the one on wool.  It was a total blast to research it, and I’m really happy with how it came out.  It covers some of the history and science of wool, and how to use that knowledge when you’re sewing with it. It also features my favorite (super easy) hand-wash method for all your lovely woolens.

As always, you can read any of the articles in Seamwork for free online.  I’ve also added links to the ones I’ve written in my category page (you can also get there by clicking “Sew” under “Tutorials + Inspiration” at the top of my site) so they’re included with the rest of the sewing info I’ve shared.

 

wool prep thumbnail

 

To wrap up the older news, I joined Instagram this fall, and also never mentioned it here outright.  My inclination at this point is to avoid anything that involves more “screen time”, but there was so much going on there, especially in the fiber arts world, that I decided to try it out.  And I think I like it.  It’s nice to have a place to share quicker projects, things in progress, and thoughts that won’t become their own blog posts.  And there was some surprisingly deep conversation going on there during #slowfashionoctober!  Still I’m determined to use it sparingly.  If you too are on this exciting/elitist/beautiful/frustrating/inspiring platform, do come say hi, I’m @frenchtoasttasha.

 

New News

The winter gathering at Arcosanti has a new name: Arizona Fiber Arts Retreat, and I’m teaching there again this year.  It’s coming up January 22 and 23, and as of this writing there are still spaces in both my classes.  One is on 3D wet felting, and one is making felt cuffs and beads (pictured below) while learning to use attachments, prefelts, and shaping in your felt making.  Click over to their new website for details and to sign up.  Observant readers of this blog may notice my digital fingerprints on the AFAR site, and indeed I’ve been spending a fair amount of time working on that lately.  It’s a bit surreal to be the one in our group with the most web skills, but there you have it!

Knitting classes are also starting up again at Purl in the Pines in Flagstaff.  The first session of my beginning knitting series is this Saturday (complete beginners welcome), along with a “knitting skills lab” where you can get all your questions answered and learn some new techniques.  If you’re interested, head on over to their class page for details.  It’s still snowing like crazy as I type this, but if the forecast holds, the roads should be clear by the time classes start.

 

Felt Cuffs with Tasha

 

I have a more contemplative post for the new year in the works too, but (appropriately enough) it’s taking a while to distill my “Slow” thoughts for that one.  In the meantime, if there’s anything you’d like to see in this space, or for classes etc. in 2016 feel free to let me know!