Without tempting fate, this should be my last WiP Wednesday about this project. I did quite a lot more work on this sweater after my most recent post about it, which I think is worthy of some blog space.
Finishing the sleeves was quite straightforward and I joined the sleeves and body for the yoke. It was quite fun to work the marlisle pattern again, which was just as well because the first few rounds of the yoke feel incredibly long after the relative speed of the sleeves.
Checking the finished projects on Ravelry, I saw that there was a lot of variability in the necklines. Some knitters (including me) write quite detailed notes on their projects, while others don’t add anything. It was hard to tell how my project was going to turn out. I added a lifeline before working the neck shaping and I’m glad that I did.
A few rows into the neck shaping as written, it became obvious that the pattern is for a boat neck. Boat is one of my least favourite necklines- I just don’t think it suits me. I ripped back to my lifeline before going on holiday.
In the end I decided to tackle changing the neckline in two ways. I added more increases (every other row rather than once every three rows) along the raglan seams in the body on both the front and back. Since I have quite broad shoulders, I don’t like excess fabric to accentuate that part of my body. I also changed the short-row shaping on the front neckline.
I had to do some more ripping when I accidentally knit the additional raglan decreases before I had calculated the changes to the neckline shaping. I used a combination of eyeballing and maths to work out how I wanted it to look. I think I’ve mentioned before that one of my pet peeves is having a t-shirt showing when I am wearing a sweater. I just think it looks messy. So my aim was a close neck that should cover the layer beneath.
I took some pictures of the notebook pages where I did my quick maths. Kate Davies wrote a recent blog post about knitting and creativity. It discusses the idea that knitting is ‘relaxing’ at the expense of allowing knitting to be creative, engaging and absorbing. This relates to the idea that ‘women’s work’ is something straightforward and mindless, or even frivolous.
Even when following a pattern, knitting can involve a lot of processes that are not remotely relaxing. Undoing work can be frustrating. Figuring out how to change a design is a highly creative problem-solving endeavour, bringing to bear all the knowledge one gains through years of practice. It is an engineering project. Part of the reason I write all of these WiP posts is to give an impression of the work that goes on behind the scenes. When you say, “I made it,” most people have no idea of what that actually means.
In the end, I didn’t have quite enough of the light blue kidsilk to finish the sweater, so I had to buy one more ball. Somehow I hadn’t noticed that the balls are £8.95 each last time I went to John Lewis! I will have most of a ball left over.
The neck ribbing is virtually done now, so the final stage will be the finishing. I am using I-cord edging throughout, which I hope will give a very clean finish. It’s currently a bit warm for a sweater, but knowing English weather I imagine I will find an opportunity to get some pics once this garment is ready to wear.
Previous posts in this series
This sweater has been in my WiP basket for several months now. Shortly after my last blog post (and taking this photo), I ran out of turquoise yarn.
I was also a bit uncertain about how to do the ombre on the sleeves. All in all, I was not feeling so inspired by this project, but fortunately that gave me the impetus to finish my She Loves Wool sweater that had been similarly languishing.
Looking at this photo with fresh eyes, I felt that it probably was time to start changing colours soon. I think it will make sense visually to have the colour change over my elbow.
Another complicating factor was the yarn. I had hoped that I had salvaged enough from my Bay sweater for this whole project but, alas, that was not the case. Even worse, I wasn’t sure which colourways of Kidsilk Haze I was working with.
I’m sure Stitch’n’Bitch, my bible in my early years as a knitter, recommends that you never throw ball bands away and thus avoid these problems. I know I followed that advice for quite some time, but old ball bands are a super annoying thing to have lying around the house. I’ve discarded them all in various house moves.
What would make sense in the modern world would be to record this information on Ravelry. Now-me generally does that (I would like to be more fastidious about including all info, including dye lots), but unfortunately the Monique of 2013 did not. I have the colour recorded as ‘blue-green.’ I was fairly sure that the colour was ‘peacock’ but when I checked the Rowan website, there are two other shades that fit the bill. I had hoped to buy the extra yarn on eBay, but in the end I made the pilgrimage to John Lewis, praying that they had the right colours in stock. I took my swatch with me to compare.
Not an exact match, but perhaps it is unreasonable to expect the colours to be a super close match when you buy extra yarn over six years later.
I wasn’t sure whether I would have enough of the lighter colour either, but I decided not to buy more at this stage. What I will do to try and circumvent that problem is make the section with the sequins longer than originally planned. I also wanted to use up the Kidsilk Haze Glamour.
I spent quite a bit of time knitting over the May bank holiday weekend. I was coming off an incredibly stressful week, and I needed the time to myself.
I finished the second sleeve and realised it made more sense to use up all of the turquoise yarn in the sleeves. Hopefully this will mean I have enough of the pale blue to finish the yoke without having to purchase any additional yarn.
I tried my best to make the sleeves match by weighing the yarn as I went along. Unfortunately I only have digital food scales that measure to the closest gram. Not especially helpful with mohair, which is incredibly light. Hopefully a local drug dealer will donate a more precise scale to one of the charity shops I frequent.
I have now ripped the first sleeve back to the turquoise area to insert the remaining yarn. The sleeves are lovely and quick to work so should be on to the yoke soon.
I really really hope I am going to come out with a sweater that I am happy with. I have put a lot of work into recycling two old garments into this piece so I will be quite heartbroken if I don’t like the way it turns out. That being said, I am having a cropped sweater moment so it should slide seamlessly into my wardrobe as long as all goes to plan.
Previous posts in this series
I fell in love at the London Knitting and Stitching Show around a year ago. The second I saw Lauren from Guthrie and Ghani’s Kelly anorak, I was gone. I immediately bought the pattern, zip and some of the beautiful waxed cotton they had in stock.
I had this Liberty tana lawn in mind for the lining from early on in the process. I think it’s a cute print but since buying I’ve felt that it’s a bit twee for a dress (even for me). However, I think the cotton lawn below goes better with the main fabric so I will use that instead.
I felt a bit weird asking to have photos taken in someone else’s coat, but also necessary.
Lauren made the 6 and I initially thought that I would do the same even though my measurements are closer to the 12. I am going to compromise and go with the 10.
I can see that the fit of the 6 across the shoulders is good, which means that what I probably ought to do is a full bust adjustment (FBA). I was reading someone else’s blog post in which she mentioned not liking making FBAs. I thought that was silly until I realised that I am exactly the same. When I first bought my sewing machine, I was quite keen on the old FBA and made one on my Bettine dress pattern. Since then… nothing. I think part of it is the fact that none of my RTW clothes have FBAs and yet they fit fine. Although, realistically, whenever I buy a shirt I have a choice to get a size that fits in the shoulders but risks gaping at the bust, or is slightly large in the shoulders with less risk.
For me personally I think it relates to my perception of my body. I was quite a bit larger when I was in my late teens and early twenties. My bust was absolutely enormous- I wore G cup bras. Since losing weight a few years ago, my bust has reduced a lot in both back and cup size. This has been such a relief and a big part of the reason I feel so much happier and more comfortable in my body. So, to me, I don’t have an especially full bust anymore. At the same time, most clothing and pattern companies draft to a B or C cup, so an E cup certainly is still an outlier.
When I wiggled around in the jacket a bit more, it was clear that I would need a bit more room. You can see in the side photo especially that the fit isn’t quite right. I’m so glad I risked social awkwardness to get the pics! I will also need to lengthen the sleeves and shorten the body. I really like the length of my purple SuperDry raincoat, which is shorter than the Kelly.
I’m hoping that I can try to enjoy the process of making this jacket. I’ve commented before that this has been something I have always found difficult- I am very outcome-oriented. However, this jacket will require a lot of patience from me. I will need to do extra things that are not in the pattern booklet. I will probably need to learn from mistakes.
Lauren’s blog post contains a lot of helpful information. I had a few dilemmas about this project, like whether to line or underline, how much to shorten the body. I paid £10 for a 26″ zip but really I want this jacket to be around 24″ long. I’m reluctant to spoil the lovely zip by shortening it.
Eventually I decided against buying the lining expansion pack. The main reason I would have bought it would be to tidy up the guts of the jacket.
I was also a little heartbroken to see that Guthrie&Ghani are now stocking the waxed cotton in yellow. Owning a yellow rain jacket is a small dream of mine. It’s definitely in the back of my mind that I may make a second version… Perhaps with a simple cotton lining for warmer days.
After doing some prep in early January, including buying the technical fabric to quilt my lining, I hit a roadblock. I didn’t have any thread in the correct colour. My work finally took me near the Goldhawk Road and I was disappointed to see that the shop where I normally buy my notions was closed.
I remembered that some stalls in the market sell bits and pieces and I managed to find some thread that matched my lining fabric. I didn’t feel comfortable using this random non-branded thread for sewing the shell of the coat, so I will probably wait until I am in the Oxford Street area to visit John Lewis or Liberty. But at least I can now make a start on the lining.
It has just hit me- have I become a thread snob???
I popped to Liberty but forgot that they have gutted their haberdashery section. I will have to make a trip somewhere else before I can start sewing the main fabric.
I found some time to quilt my lining recently. I followed the directions in Lauren’s blog post (linked above). I will say that it was quite tricky to get the lining to sit flat on the insulation. I found it helpful to roll the fabric up as you can see in the timelapse below. It’s also important to press your fabric before putting it on the insulation.
As Lauren says, the quilting is a time-consuming process. It took me several hours. But I enjoyed it- it’s quite meditative.
I am now ready to cut out!
- 2.3m waxed cotton from G&G £65.55
- Liberty tana lawn £23.25
- Pattern £16
- Zip £10
- Extra insulating material and snaps £30.60
- Thread £3
I’ve been meaning to sew myself a pair of trousers for winter and thought that corduroy would be perfect. I normally can’t resist bold patterns so the texture of the corduroy was a nice balance; a more mature solid garment that still has some interest to it. I love to wear navy as a neutral colour so I’m excited to add these to my wardrobe for the upcoming seasons.
This is my third pair of cigarette pants! I think they make a great addition to my blue pants and zebra shorts. I wrote a post for Minerva Crafts about these trousers so check out the full post over on their site for more details.
Just to note for next time, watch the grain line placement when positioning the pattern pieces to cut out as this affects fabric usage quite a lot. I possibly could have used less fabric if I had been more mindful of this.
These trousers are breathing new life into my autumnal wardrobe. I’m loving wearing them with a tucked-in shirt. It makes me feel all androgynous and cool.
Fabric 2m of 21 wale cotton corduroy provided for free by Minerva crafts. For the facings I used the leftover Liberty tana lawn from my first pair of Carrie trousers. All other notions came from stash.
Pattern Paid £120 for workshop and pattern was included. This is my third use.
I managed to see another inspirational exhibition in Helsinki. My flatmate and I were visiting our Finish friend and I read that we were just in time to catch the Grayson Perry show at the Kiasma gallery. I went to see his exhibition when I was in Bristol for a conference less than a year ago but was still keen to see more.
Folk Wisdom contained some different pieces to the last Perry exhibition I visited. Again, I was impressed by how prolific he is as an artist and how he brings methods that might be traditionally regarded as craft into the realm of high art.
I love Perry as a cultural commentator. The image below is just part of one of his huge tapestries, itself part of a series. However, it really captures an issue that comes up a lot in my work as a psychologist.
I’ve been noticing how artists that inspire me have included my current interests in their work. For example, the textiles on show at the Frida Kahlo exhibition I visited. Similarly, I was taken by the garments Perry had made.
I have been getting more interested in beading since doing some work on the vintage jacket I picked up. I’m hoping to do an embroidery and/or beading class at the Royal School of Needlework soon. I noticed that part of one of Perry’s tapestries was beaded.
While in Helsinki we were staying near an adorable LYS called Snurre. Of course I coudn’t resist possing in and my flatmate was very patient while I looked at every single skein in the shop. I had hoped to get yarn that was linked to Finland in some way but they were a little low on stock. I ended up getting this, which I plan to use for some new fingerless gloves/mittens to match my planned Kelly anorak, if I ever get around to making it. I impulse-bought the buttons, which are made from coconut husk and would be perfect for a cardigan.
I also picked up this hemp yarn at the local craft store in my friend’s hometown. I’m planning to use it to make some plastic-free kitchen scourers.
Finally, we managed a visit to the national craft museum in Jyvaskyla. I highly recommend it. It’s got lots of interactive exhibits, which are always a plus for me. I resent not being allowed to touch stuff in museums. I tried my hand at the loom pictured and I’m even more sure that I want to have a proper go at weaving.
A few weeks ago I went to the Frida Kahlo exhibition that is currently on at the V&A. Titled Making Herself Up, it displays a lot of her personal artefacts. I believe that her husband’s will requested that Kahlo’s bathroom remain sealed for a number of years after both of their deaths. The exhibition explores how she created and curated her image as well as how she presented herself in her artwork.
I thought I knew quite a lot about Kahlo before attending the exhibition. Looking back, I’m not sure why I was under that impression. I never really studied her when I was doing art at school. I was going through a phase of antifeminism at the time and for some reason picked Roy Lichtenstein as the artist I studied for my GCSE art project. Many a regret was had.
Anyway, it was really interesting to learn about her life and how it influenced her as an artist. In particular, I had no idea that she was disabled.
One of my favourite parts was seeing the display of her clothing. Her personal style evolved quite a lot over the years and she seemed to be very mindful of her image. I liked the way that she wore traditional Mexican clothing.
Many of the pieces were embellished with beautiful embroidery or beading, which must have been done by hand. It was also interesting to think about how Frida’s dress enabled her to present herself in the way she wanted in spite of her health and physical challenges.
I felt quite an affinity with Frida through the exhibition, in particular a love of colour and being inspired by flowers and animals. I had chosen an outfit especially to wear to the exhibition. Sometimes I curate my image very carefully, but there are also days where I don’t bother. I generally don’t think that I dress in a notable way until I see a picture of myself in a group and realise that I am wearing every colour of the rainbow while everyone else is monochrome!
I tried to get a selfie with the Frida earrings I couldn’t resist buying from the gift shop. I discovered that, even with a machine designed to take self-portraits in my pocket, I’m not very good at it!