This enjoyable and fast sweater knit has come to a end. My Carbeth sweater is bound off, blocked, and finally dry.
I used two mystery cones of yarn held double for this project. One a wooly, rustic black and the other a soft, smooth blue. These cones were purchased from Scrap It Up, the creative reuse store in Cincinnati. I would highly recommend a visit to this shop if you’re near the city – the diversity of supplies is incredible.
I used the Patty Lyons ssk decrease recommended on MDK: it’s mainly just slip one then pass it back to the left needle then knit through the back loops. Patty Lyons also has a one move version of this decrease, but I found that actually made my stitches looser rather than tighter.
Blocking was simple, I followed the plate method and used a 10″ plate. Surprisingly my sweater took three days to dry. Probably because it’s been raining in STL for the past four days and everywhere is quite humid.
This was a great basic and easy sweater. I think I’ll wear it often in the deepest part of winter as it’s toasty warm (I might even say boiling). Hopefully I can get a few more wears before Spring arrives.
My wonderful friend from my PhD program is having a baby! So to celebrate, I knit her this sweet monster baby toy. This is Gort from the Big Book of Knitted Monsters by Rebecca Danger.
Toys like these monsters are my favorite way to use scraps of yarn. I use larger leftovers for the body and those small offcuts for the stuffing. Unravelling thrifted sweaters produces a surprising amount of yarn scraps – some of the scraps used to stuff Gort were from 2015.
Speaking of stuffing toys with scraps, I once heard an experienced toy knitter say that the only reliable way to stuff plush and full toys was to use poly-fil (or some sort of polyester batting) specifically for toy use. I’ve never used polyester filling for my toys. I’ve stuffed with lambs fleece, roving, and mostly scraps of yarn and fabric. I have never had a toy collapse or grow lumpy. I prefer to use scraps as it saves them from the landfill and serves a wonderful purpose.
The body is stripped with worsted weight yarn – the dark blue hails from my mother-in-law’s stash while the light blue marl was from a wedding blanket I knit in 2015.
I decided to embroider the facial features on this monster to make it baby safe. The embroidery process was a bit nerve-wracking, but I pulled myself together and tried my best to plan it out. I think this little toy has a friendly face, perfect for small ones. Though, I did have a bit of a crisis immediately after finishing the face as I feared it could come across as terrifying. Thankfully, everyone who saw the monster disagreed and thought it was adorable and said it was overreacting.
This little monster is going off to meet it’s new family this afternoon! I’m hoping it will fit right in and be a loved for many years.
The audio podcast was an essential part component to my full immersion into craft culture. Listening periodically to devoted makers describe their crafting journeys has tuned me into my own perspective on craft. These podcasts continue the tradition of oral education in traditional crafts. I imagine that, at one time, discussing projects, techniques, patterns, and materials was something done by makers who lived close to each other; family members, close friends, and neighbors. Now, as a general knowledge of needlecrafts has disappeared from collective culture, finding these important places of communication requires a little extra effort. Enter: the podcast – today’s version of folk knowledge.
Here are my top five
Love to Sew. Helen and Caroline are my two favorite hosts of any podcast. They make me giggle out loud in elevators, nod along in the hallway, and dream up sewing projects after every episode. I have learned valuable skills and tricks from these two and the wonderful folks they interview. Also, the theme song is brilliant. My favorite episode so far is this one. Overall theme of this podcast: you can make anything.
Mrs. M’s Curiousity Cabinet. Everything about this podcast is my style. From Meg’s attention to the ecological implications of making to her soothing presentation of her making journey – this podcast inspires me to keep asking questions about my habits and materials. Her research oriented approach to knitting and sewing really satisfies my academic side, but I think even non-research folks will love this podcast. Each episode is packed with information and inspiration. Meg even answered a question I posed to her in a comment on instagram (in this episode)!
Making (formerly Woolful). This is a hugely popular podcast, and the first proper knitting podcast I ever listened to back in 2014. It’s new iteration – combining Ashley Yousling’s Woolful with Carrie Hoge’s Making Zine (one of my favorite designers and publications) is pure magic. The story telling and interviewing in this podcast is beautiful.
Curious Handmade. I’m really late to the game on this one. Helen Stewart is a veteran in the knitting podcast genre, but I didn’t start listening to her until last November… I now realize what I was missing. Helen has this ability to describe knitting projects and patterns with words that renders the need for images useless. This podcast really inspires me to dream up perfect projects that fit into my life, while moving slow enough to make space for realistic expectations with our crafty time.
Live from Here with Christ Thile. Okay this isn’t a podcast, its a radio show. It’s also not about crafts, its about music, laughter, and pure radio magic. I had to include it because I love this show and knit to it all the time. Prairie Home Companion was one of my favorite things while growing up in Minnesota – though not without serious issues (like obvious sexism). Chris Thile has transported this show into the 21st century with modern artists, storytelling, and content. Every one of my favorite musicians has been on this show in the last two years including Brandy Carlile, Abigail Washburn, and just this whole episode with Marcus Mumford, Corrine Bailey Rae, Trevor Noah, and Gabby Moreno…). I love to listen to this show while eating wild rice soup and staring at my Dala Horses and dreaming about cross country skiing.
Sometime in the middle of January, I sat down to plan out the next few months in terms of knitting projects. By the next few months, I really mean that my knitting schedule is booked until July. I think this spurt of scheduling was brought on by my ordered approach to my graduate school coursework. Every paper and assignment is documented in the calendar and every reading assignment is broken down into digestible bits. This makes a lot of sense for graduate school; blitz reading 500 pages of Ancient Christian primary sources is equivalent to death. However, this was the first time I’ve applied my heavy organizational method to my craft. Previously, I knit whatever popped into my head, usually motivated by the yarn that was available. I would sometimes schedule knitting projects by deadline – especially helpful for Christmas gifts, but it was never really part of my crafty life.
At the moment, my knitting mojo is high and I have a lot of projects I want to complete. Each of those projects fills an important void in my wardrobe. I tend to feel overwhelmed when I have a lot on my plate without direction. Sometimes this leads me to feel stressed about how many knitting projects I want to complete in the next year and doubtful that I could manage to finish them. This doubt, that I won’t complete the projects I want to in time, is not grounded in actual fact. If I look at my knitting history (thanks ravelry!), it’s clear that I am actually quite good at finishing projects (no UFO’s here folks) and I tend to be highly productive when it comes to knitting.
By scheduling my knitting life for the first half of the year, I am simultaneously relieving myself of the stress of unknowns while also combatting the doubt that I can actually accomplish my goals. I’m embracing my knitting schedule as a experiment in empowerment through realistically evaluating my skills in knitting.
So what’s this schedule? February has three projects in the line-up.
A quick scrap buster to gift to a friend. I’ll share more about this project after it’s completed. Ugh, secrets are the worst.
Birkin by Caitlin Hunter. I’m knitting this sweater using yarn gifted to me from various parties. While I probably wouldn’t have picked this yarn on my own, it’ll work just fine for this sweater. For the main color I’m using Manos del Uruguay Alegria in the Petal colorway. For the colorwork I’m using selections of Bergere de France in Cyclamen (pink), Elephant (dark grey), Meije (white), and finally some unknown stash yarn (light grey). I would prefer to use stickier yarn for colorwork; all of these yarns are superwash and have some nylon content (except maybe the light grey?). However, as these yarns are in my stash and available, I’d like to use them despite the fact that they’re not my favorite. Also, because I already have a Birkin sweater (designed by Amy Miller), I’m calling this sweater my St. Valentine sweater because of its general pinkness.
Carbeth by Kate Davies. I had already had this on my schedule for February, and it so conveniently was also in the minds of the hilarious ladies at Mason-Dixon Knitting. Their #bangoutasweater kal is all about Carbeth this month. I’m very excited to play along. I’m holding two strands (black and blue) together for this sweater. The yarn is unknown fiber content from cones which I found at Scrap It Up, the creative reuse craft store in Cincinnati. The black is quite thistly – and my guess is that it might be carpet grade wool? Holding it alongside the blue yarn (which is much softer) and a good soak in some water softens it up a bit. This sweater will be a true test in my skin’s readiness to accept scratchy fibers. I’ll probably have to toughen up a bit.
I’ll share more about my knitting plans as their (loosely held) deadlines approach. For now, I’m fully committed to finishing these three projects during the shortest month of the year. I see a lot of knitting in my future.
Also known as the sweater that was a little tighter than I planned.
This sweater is an hommage to my Minnesotan childhood winters. The natural white mimics a blanket of snow and the tonal blue reminds me of a the blue skies that can only happen on the coldest days. Would this sweater keep me warm when windchill hits -40 degrees? Probably not by itself. But I would be super stylish while waiting for the endless winter to end. (Also, -40 is the point where Fahrenheit and Celsius meet… v. cold)
This sweater is tighter than I planned. I don’t mean uncomfortable or ill fitting, it just doesn’t have as much positive ease as I imagined. I’ve decided that one of the reasons for this closer fit is due to the 100% merino of the body – it’s probably more like a sport weight than a fingering. Second, I made the crucial mistake of swatching flat rather than in the round. While my flat swatch matched gauge – once I started to knit in the round, I no longer had purl rows to bulk up my stitches. The fabric I produced in the round was much tighter than if I were knitting flat. So lesson learned… always swatch in the style in which you will knit. I’ve already fixed my bad habit in my next sweater project.
Domestic. Feminine. Girly. 1950’s Housewife. All “compliments” that require a huge amount of interpretation on my part to be received well. When I first picked up knitting I had no idea about its history or its current cultural connotations as a woman’s activity. As I began to knit around my family and friends, I heard comments using the adjectives above with greater frequency. Being called domestic or feminine felt more like an insult than a compliment. It has taken a lot of thought to reach the point where I say thank you when someone compares me to a 1950’s housewife rather than slam the door in their face.
If I’m being honest with myself, I am feminine. Identifying as feminine is difficult to do considering my strong identity as a tomboy and my rejection of anything girly as a child. This rejection was still present when I picked up knitting in 2011, completely unaware of its feminine connotations. I was also completely unaware how this new hobby would reveal years of internalized sexism. As I became more and more of a “knitter” I wrestled with what it meant for me to be feminine and my deeply held negativity about femininity.
Let’s return to my identity as a tom boy. This identity had a very clear origin: sometime in elementary school I chose to embrace all things “boyish” and reject anything “girly.” Previous to this point I was a huge fan of the characteristic girly stuff: dresses, pink, dancing, dolls, etc. I chose to push aside those interests and take on totally new interests like football, the color orange, and cargo pants. Now I find it absolutely hilarious that to my eight-year-old brain cargo pants and orange were the most boyish things I could imagine.
One of the reasons I rejected femininity as a child was because, in my community, feminine things were characterized as boring, frivolous, and limiting. If I was girly, I couldn’t enjoy playing outside or being loud and rambunctious – which I desperately wanted to do at all hours. Somehow I made the all-or-nothing calculation that if I were to be strong, athletic, and loud, I couldn’t be feminine. I identified with these traits that could be traditionally labeled masculine and gave up my feminine traits. While I am glad I embraced those parts of me that were loud and strong, I can identify that for most of my childhood I did not feel like I could be myself. My decision to reject the feminine had been detrimental to my sense of identity.
After years of schooling and some very helpful academic courses on feminism and theology, I realized that qualities labeled masculine and feminine could, in fact, be embodied in one individual. These traits that are labeled feminine or masculine aren’t actually inherently gendered. The color orange does not, at its core, belong more to men or women. The ability to follow a recipe for cupcakes does not inherently belong more to women than men. Gendered traits are formed by communities and cultures. I realized that in my community, those traditional feminine qualities get quite a bad reputation. Even though I was raised in the era of “girl power,” girly things weren’t considered powerful and girls could only feel powerful if they rejected femininity.
Because I believed words like domestic and feminine to be boring, I had a hard time imagining why someone would tell me, to my face, that I was so domestic or I reminded them of a 1950’s housewife. In my mind these phrases were akin to calling me boring, frivolous, or antiquated. However, now I understand that my association of femininity with frivolity was internalized sexism and revealed how my community valued (read: did not value) traditional feminine traits, qualities, and activities. After coming to terms with my community’s belittlement of the feminine, I began to explore the values of traditional femininity. I rediscovered my love of dresses, embraced my appreciation for the color pink, and owned my skills in baking, knitting, and sewing. Rather than hide my love for these things, I embrace these activities as equally valuable to my skills in more male dominated spheres like rock climbing, technology support, and building/fixing things.
My obsession with knitting, and perhaps my initial ignorance of its gendered history, was the spark that began my reunion with femininity. Now that I no longer view feminine qualities and activities as boring, I feel more connected to the strong, creative, and feminine women who have preceded me. Women like my great aunt Joan who was a master weaver, natural dyer, and spinner and my great grandmothers Eleanor and Mary Belle who could knit lace weight garments with their eyes closed. These women were previously just names on my family tree before I took up knitting. For them, traditional women’s crafts weren’t limiting, but provided necessities and freedom in the form of economic independence. When I think about them, being called a 1950’s housewife seems a bit more bad-ass than it did before.
My dreams of a full circle skirt knit in the log cabin style have been actualized.
I left my last post on this skirt a bit hesitant. I was unsure my design idea could even be realized and not at all confident my planning skills were up to the task. However, after taking a few gambles, I am pleased to say my skirt checks all the boxes. It’s full, flowy, light, high-waisted, and delightful. IT WORKED and I’m not totally sure how.
Here are some specs:
I originally planned for ten triangle segments to make up my skirt, that number shrunk to seven after a layout test.
I seamed the triangles together with a three needle bind off.
I finished the bottom of the skirt with an i-cord edge treatment.
Each triangle uses 40 grams of Brooklyn Tweed Shelter. Overall for the whole skirt I used seven skeins of yarn.
I picked up stitches for the waistband and knit a casing for elastic
The most difficult part of this project was decision making. I have no experience designing – and this was a pretty large and intense way to get my feet wet. I was baffled by the sheer amount of decisions that must be made in a garment. Stitch texture and yarn choice proved relative easy for me, but the waistband was more challenging. For a while I imagined I would knit the waistband separate from the body of the skirt and seam it together, but after mulling over this option for actual days, I determined that fitting a waistband to my body as well as the skirt would be beyond my skill level. So, I calculated the number of stitches needed to fit around my waist and picked up stitches to generally match this number. My waistband is taller than I imagined – but I think this height helps balance the volume of the skirt. It also ensure the skirt falls at a wearable length. One unintended result of my waistband that I love is how the body of the skirt (the triangles) start right at my hip.
I’m pleased (and surprised) that this skirt has turned out as I imagined. During the construction process I felt a bit nervous about knitting so far out of my comfort zone, but now that I’ve worked through the decision making process I feel quite empowered. I’ve tasted the sweet results of seeing a project from design idea to finished project – and they certainly are addictive. Now I wonder if I can go back to settling for patterns that aren’t quite right (answer: probably not). But I’m not in a rush to give up patterns entirely. I feel quite grateful to Karen Templer and her marvelous idea for the #fringeandfriendslogalong, without which I would be skirt-less and uninspired.