Digital Mag 54_LR.pdf

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R O W A NKNITTING & CROCHET

Magazine Number 54

Digital Edition


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KNITTING & CROCHET

Magazine Number 54Digital Edition


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DESIGNERS

Marie Wallin • Martin Storey • Lisa Richardson

Kaffe Fassett • Kate Davies • Sarah Hatton

Vibe Ulrik • Julia Frank • Gemma Atkinson

Amanda Crawford • Jennie Atkinson • Josh Bennett


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ON THE COVER

Berenice Wrap by Marie Wallin

Photographer Peter Christian Christensen

Art Direction & Styling Marie Wallin

Hair & Make-up Frances Prescott (One Make Up)

Model Anna Quirk (Bookings Models)

Rowan Brand Manager Kate Buller Rowan Head Designer Marie Wallin

Design & 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 Ellis

Rowan Magazine Design Layout Simon Wagstaff

With 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 Mor ris, 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 part

of all material, including illustrations, in this magazine is strictly

forbidden. No part may be reproduced, stored in

a retrieval system, or transmitted in any form or by any means

electronic, electrostatic, magnetic tape, mechanical

photocopying, recording or otherwise without prior permission

of the copyright owners having been given

in writing. The designs in this magazine are copyrighted

and must not be knitted for re-sale. Reproduction of this

publication is protected by copyright and is sold on the

condition that it used for non-commercial purposes.

Yarn quantities are approximate as they are based on

average requirements.

First published in Great Britain in 2013 by Coats Crafts UK.

Green Lane Mill, Holmfirth, West Yorkshire, England, HD9 2DX

E-mail: [email protected]

Copyright Coats Crafts UK 2013

Reprographics by Gemini Marketing Solution Ltd

It 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 to

having the magazine actually in your hands. Once you have viewed all these

beautiful designs why not go that step further and become a Rowan subscriber

to the magazine and have it delivered direct to your door.

2013 is the perfect season for Rowan with knitwear sitting centre stage of the

fashion world creating the drama for the season ahead. Many of the catwalk

designers have drawn inspiration for their collections from historic references

such as the Baroque. Fashion is also looking to the handicraft textiles of Eastern

Europe and the nomadic lifestyle.

The Rowan designers have taken these strong trends and worked the different

key looks into three distinctive stories.

ROMANCING…. inspired by the dark beauty found in haunting and

mysterious landscapes. The mood of this exquisitely beautiful collection is dark

but romantic and sometimes sinister with a touch of gothic. This story has a

little bit of everything from lace knitting to simple textures and some more

complicated colour work.

FOLK… is inspired by traditional folk patterns. A patchwork of reclaimed

layering 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 the

knitters amongst you that like a challenge with the rich colours and tweeds of

the autumn. Knit yourself one of these exquisite designs or knit for the special

person in your life

ESSENTIALS… continues to promote the key shapes of the season in a

simpler and more accessible way.

Whatever yarn, colour or design appeals to your creative side I hope you enjoy

the magazine.

Kate Buller

Rowan Brand Manager

EDITOR’SLETTER


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STORIES

ROMANCINGA beautiful collection of romantic lace andpatterned knits photographed in the historicsetting of Haddon Hall, Derbyshire.Includes 3 FREE downloads for

members 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 for

members.

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.

FEATURES

INSPIRING 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 Winchester School of Art designing a collection ofvintage inspired knits. 6 FREE downloadsfor members and videointerviews.

REGULAR FEATURES

TRAVEL 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.

CONTENTS

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54

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46

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110

112

118

126124

Click on the symbol where it appears

for a link to further information.

Click on the download button where it

appears to download the pattern PDF

DOWNLOAD


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http://www.youtube.com/watch?v=y-fcP3z1TpU


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AIDA

Fine Lace, Kidsilk Haze &

Anchor Artiste Metallic

Marie Wallin

http://www.youtube.com/watch?v=Kb57Zrp6Ex0


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SALOME

Kidsilk Haze

Vibe Ulrik

http://www.youtube.com/watch?v=sHohokM2quk


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SALOME

Kidsilk Haze

Vibe Ulrik

http://www.youtube.com/watch?v=sHohokM2quk


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L A BOHÈME

Fine Lace, Kidsilk Haze &

Anchor Artiste Metallic

Marie Wallin

http://www.youtube.com/watch?v=hBX-FO3cihk


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CARMEN

Kid Classic

Marie Wallin

CARMEN

http://www.knitrowan.com/designs-and-patterns/patterns/carmen-0http://www.knitrowan.com/designs-and-patterns/patterns/carmen-0


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CARMEN

Kid Classic

Marie Wallin

CARMEN

http://www.knitrowan.com/designs-and-patterns/patterns/carmen-0http://www.youtube.com/watch?v=VvqaOwO37XAhttp://www.knitrowan.com/designs-and-patterns/patterns/carmen-0


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ALCINA

Kidsilk Haze

Julia Frank

ALCINA

http://www.knitrowan.com/designs-and-patterns/patterns/alcinahttp://www.knitrowan.com/designs-and-patterns/patterns/alcinahttp://www.youtube.com/watch?v=shtBOj-SNfw


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V ERDI

Fine Lace & Kidsilk Haze

Martin Storey

http://www.youtube.com/watch?v=u_nTmu3y2Uo


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V ERDI


Martin Storey

http://www.youtube.com/watch?v=u_nTmu3y2Uo


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L A SCALAFine Lace & Kidsilk Haze

Martin Storey

http://www.youtube.com/watch?v=BU8K6ALlJpk


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B ERENICEWRAP

Kidsilk Haze

Marie Wallin

http://www.youtube.com/watch?v=V-vIB_FtbRI


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CORELLI

Pure Wool 4ply

Jennie Atkinson

http://www.youtube.com/watch?v=IMsonQUEXNA


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PURCELL

Pure Wool 4Ply

Sarah Hatton

PURCELL

http://www.knitrowan.com/designs-and-patterns/patterns/purcellhttp://www.knitrowan.com/designs-and-patterns/patterns/purcellhttp://www.youtube.com/watch?v=FePPEh3p17A


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R AMEAUWRAP


Sarah Hatton

http://www.youtube.com/watch?v=uUzcvt2d6dY


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JULIETFine Lace

Lisa Richardson

http://www.youtube.com/watch?v=MsuOxZo2JMI


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SILLA

Kidsilk Haze & Pure Wool 4ply

Jennie Atkinson

http://www.youtube.com/watch?v=Ge3KljcgFfA


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VIVALDI

Kidsilk Haze

Vibe Ulrik

http://www.youtube.com/watch?v=k9Fh1Mf1q18


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BIZET

Pure Wool 4ply

& Anchor Artiste Metallic

Lisa Richardson

http://www.youtube.com/watch?v=t0mEF6ymOrs


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MADAME BUTTERFLYKidsilk Haze &

Anchor Artiste MetallicMarie Wallin

http://www.youtube.com/watch?v=5ztO-6eLdQw


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P h o t o g r a p h e r : P e t e r C h

r i s t i a n C h r i s t e n s e n . S t y l i n g : M a r i e W a l l i n . H a i r & M

a k e U p : F r a n c e s P r e s c o t t ( O n e M a k e U p )

A r t D i r e c t i o n : M a r i e W a l l i n . M o d e l : A n n a Q u i r k ( B o o k i n g s M o d e l s ) . L o c a t i o n : H a d d o n H a l l , D e r b y s h i r e .


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Richard Rutt and the history of hand knitting

Richard Rutt (1925-2011) once popularly known as the knitting bishop, was a scholar and knitter

known for his classic book A history of hand knitting published by Batsford in 1987, it remains a key

text 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 to

Cornwall. 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 books

which commenced publication in the 1830s. These are small books that include recipes, more akin to

guidelines rather than the strict instructions of patterns, sometimes with illustrations in either black and

white or hand coloured. They promoted knitting at this time through mass publication. They are

interesting antecedents to the contemporary printed knitting pattern and the “how to knit” books of

today. Rutt devotes a chapter to The Victorian age and the belle époque in his book providing context and

information about a number of the lady authors. He also gives a check list of English knitting literature

published before 1910 which lists these small works. He knitted a group of “pence jugs” from the

Victorian patterns to test their accuracy and to learn the technique first-hand.

A further feature of his library is the back runs of magazines including Weldon’s, Stitchcraft, and Vogue

Knitting .

The Knitting Reference Library (KRL) is part of the University of

Southampton Library, and is located at Winchester School of Art, a

campus of the University. The KRL was launched at the first In the loop

conference in 2008 and is founded on the bibliographic collections of

Richard Rutt, Montse Stanley and Jane Waller. Each collector possessed a

serious passion for knitting, their individual approaches are illustrated

through the resources they collected and established as an essential part of

their working lives.

The library comprises of nearly 2000 books, 425 journal and magazine

titles, an estimated 12,000 knitting patterns and hundreds of knitting

pattern books. It includes many widely known classic books from the

Victorian period through the decades of the twentieth century to the

present day.

Inspiring the

Generations:The KnittingReference Library

On the left: Examples of some

of the vintage knitting patterns.

Words by Linda Newington.


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His knitting pattern collection is especially strong on menswear from the 1920s through to the 1980s

including many gems of popular culture. A reference to the Beatles is made by Patons in a dark and

moody image of a look-alike Beatle wearing an edge to edge cardigan under the title The Liverpool

Look. An unknown classic may be the book entitled The manly art of knitting by Dave Fougner, published

in 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 technique

Montse 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. Her

collecting started in rather an unexpected way with photographs and postcards on the theme of

knitting. They were acquired when attending postcard fairs with her husband Thomas Stanley who

possessed one of the largest postcard businesses in the UK.

Montse Stanley is well known amongst the knitting community for her charisma, enthusiasm and

knowledge which is clear from her many publications and the inherent legacy of her collection. The

indispensable The handknitter’s handbook: a comprehensive guide to the principles and techniques of hand

knitting 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 illustrate

her approach to construction, design and technique especially in the third revised edition dated

1993. I detect that she considered knitting traditional yet inventive, aesthetically beautiful and

utilitarian, every day and kitsch, fashionable also comforting, even humorous. This is seen in her copy

of 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 century

through to the mid 20th century and are complimented by books detailing the techniques not only

in 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 there

are small markers with pencil notes in her hand wr iting all denoting references to knitting. She also

collected fiction, again noting in pencil on the title pages of Agatha Christie murder mysteries all

references to knitting.

She reveals particular interest in her cultural background with books and knitting patterns books

from France, Italy and Spain. They include some interesting works such as Spanish costume of

Extremadura by Ruth Matilda Anderson published by the Hispanic Society of America in 1951 with

many reference to knitting. There is also a copy of Andean folk knitting: traditions and techniques from

Peru and Bolivia by Cynthia Gravelle LeCount, published by Dos Tejedoras in 1990 r ichly illustrated

as yet to be superseded.

Her own expertise as related to the construction of garments and objects is clear in further published

work Knitting your own designs for a perfect fit, published by David and Charles in 1982 as it notably

includes some of her own designs. The emphasis on construction was intended to encourage

knitters to develop their own patterns by learning the appropriate skills and techniques through a

European approach as illustrated in Continental knitting by Esther Bondesen published by Maurice

Friedberg in 1948. This is the practice in Shetland and many other textile cultures where knitting is

embedded in a way of life and construction is part of learning.

Jane Waller a vintage original

Jane 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 knitwear

revival. I remember visiting Jane to view the knitting patterns at her home in London. Whilst feeling

quite excited about acquiring such an unusual collection I was also thinking rather nervously about

the practical issues of sorting, cataloguing and storage.

Waller started her collection through a chance house clearance when she found and rescued a large

number of knitting patterns and women’s magazines. This was the start of her longer term project

to recognise their relevance and special value to knitters. Waller also published a compilation of

vintage patterns for menswear The man’s knitting book: classic patterns from the ‘20s to the ‘50s published

by Thames & Hudson in 1984, she describes the cardigan as “sensible and functional not

fashionable.” It is interesting that fashion designers have rehabilitated the cardigan for men as an

alternative piece of clothing now seen as signifying urbanity and understated subversity.

On the right: Further examples of

publications within the collection.


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The extensive range and variety of knitting patterns, pattern books and women’s magazines dating

from the 1920s provide a rich resource for the fashion historian and contemporary designer. The

image of knitting in the early patterns is remarkably glamorous and stylish. It is this quality that Jane

Waller identified and brought to knitters in the 1970s which Susan Crawford has continued and

refreshed. The many visitors to the KRL both professional designers and students continue to be

inspired 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 popular

women’s magazines held in the KRL unexpectedly retained given the academic context of the

University. They richly illustrate the prevalence of knitting and dress making as thriving domestic

activities 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 conversation

amongst the generations of knitters who attended as delegates was heard throughout each day. The

Knitting Lounge located in the Rotunda proving a popular venue. The conference resulted in a

published book In the loop: knitting now edited by Jessica Hemmings and published by Black Dog in

2010.

In the loop 2: tradition and renewal took place at the Shetland Museum & Archives in September 2010

and was co-organised with Dr Carol Christiansen. A day trip on Sunday up to Yell and Unst in the

far north of Shetland proved an unforgettable experience. Prior to the conference we had the

opportunity 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 again

including a variety of themes. The themes of adornment, exploration and discovery, sport, voices and

well-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 the

Shetland Arts International Textile Festival 31 July to 5 August 2013.

And Finally

The Knitting Reference Library today comprises books, exhibition catalogues, knitting patterns,

journals and women’s magazines. It covers knitting, crochet, tatting, macramé and netting. There is

also 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 of

today. New resources are acquired regularly to ensure the library reflects the diversity of approaches

to knitting in the 21st century.

Montse Stanley’s collection of knitted objects, knitting tools, postcards and photographs is located in

Special Collections at the Hartley Library at the Highfield Campus, University of Southampton.

This resource compliments the published material enabling the potential link between object and

text.

Contact information

Our website is at www.soton.ac.uk/intheloop

The Victorian knitting manuals have all been digitised and may be accessed via our website link at

www.soton.ac.uk/intheloop

A pilot project to digitise knitting patterns has recently been completed. The digitised patterns are

available via www.soton.ac.uk/intheloop

E-mail enquiries to www.wsaenqs.soton.ac.uk

The books and journals are all catalogued and indexed on the University’s online catalogue which

is accessible via the internet at www.soton.ac.uk/library

Special Collections may be contacted in the first instance by e-mail at [email protected]

On the left :

More examples of patterns.

All images courtesy of the KRL,

University of Southampton.


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I suppose I’ve had a rather unconventional route into designing. I grew up

in Lancashire and was taught to knit by my grandma and to sew by my

mum. I think much of my aptitude for designing comes from these

women, who taught me to be resourceful and adaptable as well as to trust

my creative instincts. My grandma kitted out the whole family in her

favourite knitting patterns from Woman’s Weekly, and as a teenager, I

enjoyed spending Fr iday nights with my mum at local jumble sales, picking

up clothes which were later divided up and added to the mending pile for

modification. I wasn’t so keen on stitching up my own school clothes, but

I really enjoyed these jumble-sale customisations, which made me think

about how dressing oneself is always to some degree a creative act, and

began a long-standing obsession with fashion and textiles.

When I left home, I took a different professional route, and after three

University degrees, became an academic, researching and teaching

Eighteenth Century History and Literature at the University of Sheffield,

Kate Davies’s designs celebrate the colours and patterns of the scenery that surrounds her and her recent

collection was inspired by the history and landscape of the Shetland Islands.We met up with Kate in Edinburgh

to hear her thoughts on craft, inspiration, and why knitting a sweater is just like writing a poem.

Kate Davies


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03 04

and later the Universities of York and Newcastle. My work often took me

to the U.S., where I spent long periods working in some wonderful

research libraries. On one of these trips to Philadelphia, I became

fascinated by how textiles were central to the lives of a group of

eighteenth-century women writers whose letters I was reading. As well as

exchanging poems and essays, these women spun, sewed, knitted, and

swapped patterns for lace collars and embroidery. It was their enthusiasm

for textiles that inspired me to start knitting again. From the moment I

took up my needles I found it immensely enabling to create garments thatdidn’t exist in the world of mainstream fashion, and I particularly enjoyed

the way that knitting connected me to a place or to a moment, allowing

me 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 to

writing, an activity which I also enjoy. Essentially, you are giving free-rein

to your creativity, but there is a tremendous amount of hard work involved

as well. I feel that technical knowledge is just as impor tant as arti stry: in the

same way that its crucial to know about rhythm in order to write a good

poem, I think its also desirable to have reasonable technical knowledge of

one’s craft in order to create a beautiful garment. For me, these things are

hand in glove. I enjoy the nitty-gritty of figuring out a technical

conundrum, and the actual crafty process of making , just as much as any

lightbulb moment of inspiration, and I think that the pleasure I find in

designing arises from this singular combination of creativity, process, and

discipline.

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 who

enjoys texture, pattern and colour, then the world is constantly alive with

inspiration, whether you are on the streets of Kyoto or out in the Scottish

Highlands. 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 think

that a hat or a sweater can be an opportunity to celebrate many beautiful

things that are often overlooked, from pavements to vegetables. I also think

that, while its important to take yourself seriously, its also crucial to retain

a sense of humour. That way you are able to recognise when an idea is

probably a bad one, such as the time I attempted to knit a sweater inspired

by the curious texture of a rhino’s behind.

katedaviesdesigns.com

01. Kate.

02. Blaithin Cardigan.

03. Funchal Moebius - inspired by the mosiac pavements of Madeira.

04. Nepal Wrap from the FOLK collection.

http://katedaviesdesigns.com/http://katedaviesdesigns.com/


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Knitted in beautiful autumnal colours

influenced by the British countryside, the

FOLK collection is inspired by the

traditional patterning of Eastern European

folk art, creating a collection of relaxed

knits for both women and men with a

nomadic spirit.

f o l k


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K ASHMIR SCARFWRAP

Kid Classic

Kaffe Fassett


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IZMIR

Felted TweedMarie Wallin


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BALKAN

Colourspun

Brandon Mably

BALKAN

http://www.knitrowan.com/designs-and-patterns/patterns/balkanhttp://www.knitrowan.com/designs-and-patterns/patterns/balkan


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K ILIMWRAP

Felted Tweed

Kaffe Fassett


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MARASH

Rowan Tweed

Martin Storey


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ISTANBUL

Frost

Marie Wallin

ISTANBUL

http://www.knitrowan.com/designs-and-patterns/patterns/istanbulhttp://www.knitrowan.com/designs-and-patterns/patterns/istanbul


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MILAS

Colourspun

Josh Bennett


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R YA

Frost & Kid Classic

Lisa Richardson


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DHURRIE

Felted Tweed Aran

Lisa Richardson


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BODRUM M ENS

Rowan Fine Tweed

Martin Storey


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BODRUMWOMENS

Rowan Fine Tweed

Martin Storey

BODRUM

WOMENS

http://www.knitrowan.com/designs-and-patterns/patterns/bodrumhttp://www.knitrowan.com/designs-and-patterns/patterns/bodrumhttp://www.knitrowan.com/designs-and-patterns/patterns/bodrum


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SOUMAK SCARFWRAP

Rowan Fine Tweed

Lisa Richardson


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ARMENIA

Frost & Kid Classic

Marie Wallin


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UKRAINE

Colourspun & Rowan Tweed

Marie Wallin


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ANATOLIA

Felted Tweed

Marie Wallin


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N EPAL WRAP

Rowan Fine Tweed

Kate Davies


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HOLBEIN

Felted Tweed Aran

Martin Storey

P h o t o g r a p h e r : S h e i l a R o c k . S t y l i n g : M a r i e W a l l i n . H a i r & M a k e U p : F r a n c e s P r e s c o t t ( O n e M a k e U

p ) . A r t D i r e c t i o n : M a r i e W a l l i n .

M o d e l s : G e o r g e W a t e r s ( S e l e c t M o d e l M a n a g e m e n t ) a n d J a m e s C r a b t r e e ( S e l e c t M e n ) . L o c a t i o n : E r w o o d H o u s e , P o w y

s , W a l e s ( w w w . l i g h t l o c a t i o n s . c o m ) .


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01 05

Circles, steeks

& stitchesThere really is no “right” or “wrong” way to knit:

different styles suit different individuals, and a wide

variety of methods and techniques exist to match an

equally wide variety of garments and fabric types. Yet

knitting is a community with its own particular trends

and followings, and like any other community, notions

of “either / or” divide it. Do you knit English or Continental? Top-down, or bottom up? Do you work

back-and-forth, or in-the-round? Such questions of

technique — of the “best” stretchy cast-off method; of

the “right” way to strand the yarn in colourwork —

can transform a bunch of friendly knitters into fiercely

opposing camps, each with its own passionate

adherents. And there is perhaps no technical

opposition more fundamental, or more divisive, than

that which is perceived to exist between knitting

back-and-forth and knitting in-the-round.

Words by Dr Kate Davies

01. Tr aditional Setesdal costume

including sweaters.

02. Girl knitting a sock on Whitby Pier c.1880

by Frank Meadow Sutcliff e. Courtesy of the

Fr ank Meadow Sutcliffe Gallery.

03. Knitting Madonna (detail of Annunciation

from the right wing of Buxtehude Alter,

Bertram Minden, 1400-1410.


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The 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 shaped

using the best tailoring techniques.

The torso is composed of curves and lumps of differing proportions. Tailored pieces create the best

lines to accommodate these complicated shapes.

In the beginning was the sewing needle. Early humans fitted the first garments to the body by

stitching 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 be

knit 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 sweaters

should be knit in tubular fashion.

The beginnings of knitting were circular. Medieval paintings depicted the Virgin Mary knitting in

the round. It must be right.

Folk knitters all over the world have knitted socks and ganseys in the round for centuries. They

knew 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.

While 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 commercial

knitting 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 and

the Faroe Islands have produced in-the-round garments for centuries, these women were also

talented seamstresses who used sophisticated tailoring techniques to add shape, structure and

decoration to their knitted ganseys and jackets. Today, despite the strong antipathy that one method

or another can arouse among some knitters, there is more interplay than ever between methods

associated with knitting back-and-forth and knitting in-the-round. Commercial patterns are

increasingly written to accommodate many different techniques of flat and circular knitting, while

knowledge of aspects of both methods — of the speed and ease of knitting in-the-round or of the

structure and clean finish of knitting back-and-forth — lends knitters the freedom to modify the

construction of garments in ways that best suit them. One such technique — which enables an in-

the-round jumper to be easily transformed into a flat cardigan — is the practice that is known as

steeking . Because steeking involves taking scissors to one’s creations, it strikes fear into the heart of

many knitters. But this technique, common to all Northern knitting traditions, is much simpler to

work than many knitters imagine.


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11

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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 term

common to Shetland, Scots and Northern English dialects and, while it

might be used in reference to a closed gate, door, or mouth, it was most

often 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 lost

While in some parts of Scotland and Shetland the word “steeking” still

primarily means to stitch or close, in contemporary knitting parlance, the

word has mutated and morphed to signify the opposite: that is, for most

knitters, 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, is

commonly called a seam allowance (a few stitches that are worked

additionally to the main pattern). Put simply, then, for today’s knitters, a

“steek” is a bridge of extra stitches, connecting two separate pieces of

knitted fabr ic, enabling them to be worked swiftly in the round. Preparing,

reinforcing, and then cutting open this seam allowance (the practice now

commonly 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 most

common application is perhaps in knitting a cardigan using the Fair Isle

method of stranded colourwork. This is because carrying and purling two

shades of yarn can prove tricky: many knitters find that the purl stitches

create significant differences in their tension, or are much slower and more

cumbersome to work. But if a steek is cast on in the places where the

knitting would have to be divided to be worked back and forth — namely,

at the cardigan’s centre front opening, and sleeves — the knitter can work

the entire garment in the round, without purling, all the way from hem to

shoulders. When the steeks are cut open, the extra cast-on stitches act just

like seam allowances around which the knitter can pick up stitches to

create button bands and sleeves.

But don’t steeks unravel?

Knitted fabric certainly likes to unravel, but it does so horizontally. Steek

stitches are cut on the vertical , making them far less likely to do so. As

anyone 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 pure-

wool or majority-wool yarn then it is very easy to work a steek simply

because the st itches ‘want’ to hold their shape rather than to unravel. That

said, because the cut edges of the steek are generally used to pick up a

sleeve or edging afterwards, it is useful to reinforce them before cutt ing to

help them deal with any strain they might take afterwards. Steeks can be

prepared, reinforced and finished in a wide variety of ways. Taking a look

at the interiors of a range of historic and contemporary cardigans that have

been knitted in the round, before being “steeked” open, illustrates just how

different steeks can be.

Steeks: an inside view

Figure 04 on the previous page, shows the front button bands of a 1920s

cardigan knit in several natural shades of Shetland wool. The band has been

worked in corrugated rib; buttonholes have been cut vertically into the

band; and machine stitching has been used to attach a reinforcing grosgrain

ribbon to the inside. Figure 05 on the previous page, shows the grosgrain

button-band reinforcement from the inside, and, to its left, the raw edges

of a steek, which has been cut open, and folded back to the inside of the

garment, away from the bands. The steek has not been reinforced, or

stitched down: because the natural Shetland wool is very ‘sticky’ and has a

tendency 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 the

inside of the cardigan. Leaving steek edges ‘raw’ and allowing for felting in

this 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 cardigan

that has been knitted in an Argyle pattern, and figure 07 on the left shows

the interior of the same button band. A steek has been cut to create the

cardigan front opening, and the raw edges have been tr immed back, bound

over, 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 a

different and rather more laborious method of securing raw steek edges to

the inside of a cardigan. Rather than casting on extra stitches for a steek

bridge and knitting across them, the knitter has wound both strands of working yarn round her needle several times. Each time these wound

strands are encountered, they are dropped off the needle, creating a giant

ladder 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 then

individually woven in to the back of the work (figure 8). A button band

has then been picked up from the edge of the wound steek, and worked

in moss stitch. The careful finishing of the ‘wound steek’ has made the

edges of this 1930s garment extremely neat and durable.

Figures 10 through 13 show recently-knitted colourwork cardigans that

use similar techniques of steeking and reinforcing as those used in the

earlier garments. For the cardigan in figures 10 and 11, a crocheted steek

has been worked, a button band has been picked up along the steek edge,

and a r ibbon reinforcement has then been hand-sewn to the inside. Rather

than leaving the steek edges raw, the crochet reinforcement has been

carefully removed, and the steek edges lightly hand-stitched down to the

inside. In figures 12 and 13, a ‘sandwich’ edging has been worked to cover

and enclose a crocheted steek, securing the cut edges, and rendering them

completely invisible.

Steeks: beyond the cardigan

As we can see from these examples, there are a wide var iety of ways to cut

and finish a steek. And, because shaping can easily be worked around a

seam allowance, steeking is a technique that can be used to knit just about

any garment or object. Steeks easily lend themselves to the creation of tea-

cosies and blankets, dog jackets and tank tops. Once you are able to cut up

knitted fabric without fear, you really can make just about anything.

Inventive knitwear designer, Stephen West, discovered just that in his

radical transformations of some favourite thrift-shop finds. Discovering a

traditional Setesdal sweater in an Amsterdam vintage store, Stephen had anidea. “The wide drop shoulder construction lent itself perfectly to legs,” he

says:

“so I transformed the sweater into a pair of tailored pants. I spent the day

executing my first crocheted steeks, and re-seaming the fabric using three

needle bind-offs and kitchener stitch. I used the arms and shoulders of the

sweater for the pant legs, and part of the sweater body for the waist. I

appliqued a section from the stranded fabric for a cod piece, which is lined

with super-soft merino wool.”

Figure 14 shows how Stephen transformed the sweater into pants. The

steeked Setesdal pants were just the beginning. Once Stephen started

steeking, he found he couldn’t stop:

“I’ve now made several other pairs of repurposed sweater pants and they

keep me toasty-warm as I roam the streets of Amersterdam. I’ve had

dozens of onlookers stop in their tracks star ing, laughing, or congratulating

me, and offering to buy them.”

Stephen thinks that knowing how to work a steek has given him the

freedom to transform any piece of knitted fabric into a different shape. “I

hope to inspires more knitters to relax and have fun with their knitting.”

He says, “the possibilities are endless.”

Acknowledgements

The author would like to thank the Frank Meadow Sutcliffe Gallery

www.sutcliffe-gallery.co.uk and the Shetland Museum and Archives

www.shetland-museum.org.uk for their permission to reproduce

images from their collections.


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steekinghow toHere, we’ve illustrated how to practice working a steek over a simple

colourwork 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 balanced

around the centre (where the cardigan fronts will be). If the

pattern is not symmetrical, you may need to add extra

stitches 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 the

round. (B).

2. Next, you’ll need to decide whether you would prefer

to work a crochet or a machine-sewn steek. If you are

working a crocheted steek, you should cast on the number

of stitches your pattern requires, plus a small odd number

of stitches for the steek (I recommend 5). If working a

machine sewn steek you should cast on the number of

stitches your pattern requires, plus a small even number of

stitches (I recommend 6). (C). Whichever method you

prefer, work your steek in a simple stripe sequence

alternating the yarn shades. These stripes will make it easier

for you to identify the individual stitches later, and show

you where to reinforce and cut.

3. The round will begin to right-of-centre with the first

steek stitch. When switching yarn shades, always do so on

this first stitch of the round and, when you have finished

knitting, weave in any yarn ends along the back of the

work to one side, away from the steek stitches (where you

are going to reinforce and cut later) (D, E, F).

4. If following the crocheted steek method, you’ll now

need to work two lines of double crochet around thesteek’s centre stitch (stitch 3 of 5). Work the first line from

top to bottom, and the second from bottom to top, so that

the two lines pull away from the centre stitch. (G)

5. With a pair of sharp scissors, carefully cut up the centre

of the steek, separating the two lines of double crochet (H).

The crochet edging contains the raw yarn ends and creates

a neat, sturdy and flexible edge along which to pick up

stitches (I, J, K)

6. If following the machine-sewn steek method, you’ll

now need to work two lines of machine stitching up the

centre of stitches 2 and 4 of your 6 steek stitches. (L, M)

Then, using a pair of sharp scissors carefully cut your steek

through stitch 3. The machine stitching holds and secures

the raw edges of the steek, creating a firm edge along

which to pick up stitches (N,O).

7. Have fun!

Instructions written by Dr Kate Davies.


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D

C

B

A

E

I

H

G

F

J

N

M

L

K

O


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ANGELA

Cocoon

Vibe Ulrik

http://www.youtube.com/watch?v=zKgKaQxYmSk


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95

http://www.youtube.com/watch?v=6OO7BmRuxF0


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ERIN

Kid Classic

Amanda Crawford

http://www.youtube.com/watch?v=hhYoNLDMYFg


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SHERRY

Kidsilk Haze

Marie Wallin

http://www.youtube.com/watch?v=0XeIp42PAkU


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100

SHARON

Frost

Lisa Richardson

http://www.youtube.com/watch?v=Tzj4cGH7QQU


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101

CHRISTINE

Cocoon

Martin Storey

http://www.youtube.com/watch?v=YcPzKh2jOGU


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MARY

Felted Tweed

Julia Frank

http://www.youtube.com/watch?v=-ExL54v1gXQ


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103

L AURA

Felted Tweed Aran

Vibe Ulrik

http://www.youtube.com/watch?v=XRnJ_et6P_


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M ELISSA

Pure Wool 4ply

Sarah Hatton

http://www.youtube.com/watch?v=p1GGZLDQFxA


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105

W ENDYWRAP

Cocoon

Julia Frank

http://www.youtube.com/watch?v=FsktfLSiGTE


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STACY

Kid Classic & Anchor Artiste Metallic

Gemma Atkinson

http://www.youtube.com/watch?v=Y-F4zeCd3K8


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SHANNON

Cocoon

Gemma Atkinson

http://www.youtube.com/watch?v=Tzj4cGH7QQU


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CRYSTAL

Kidsilk Haze

Marie Wallin

Photographer: Peter Christian Chr istensen. Styling: Marie Wallin. Hair & Make Up: Frances Prescott (One Make Up).

Art Direction: Marie Wallin. Model: Ray (Select Model Management).

http://www.youtube.com/watch?v=1cWeTr9prro


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01

Continuing our series of interesting fibre

facts, this season the spot light is on

MOHAIR. This truly wonderful, versatile

and luxurious fibre is an important

component in many of our beautiful Rowan yarns including: Kidsilk Haze, Cocoon, Kid

Classic and the new Fine Art.

MOHAIR is the lustrous long and strong hair of the Angora

goat. Used alone or in blends, this soft and hard wearing fibre

imparts its unique characteristics to a wide variety of end uses

but is mainly used in fashion garments, textiles and knitting

and weaving yarns.

HISTORY Believed to have originated in the Himalayas, the

Angora goat was first domesticated in Turkey, where the name

Angora was der ived from Ankara, the province where the goats

thrived. Heavily protected from export with an export banuntil the 19th century, the first Angora goats were imported

into the South Africa in 1838 and into the United States in

1849. They came to the UK in 1881 when animals were

imported 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 pockets

of Angora goats being bred for their mohair in numerous

countries throughout the world. Over the years the climate and

geography of these very different areas, together with the

different breeding programmes adopted by each country, have

led to very different characteristics of the mohair fibre produced.

QUALITY American fleeces tend to be dense with a long

words by Marie Wallin

Love......

....mohair


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03

02

staple length producing a marvellous lustre. South African

fleeces are noted for their evenness of the fibres, whilst mohair

from Australia is regarded as being the fineness.

CHARACTERThe distinctive properties of mohair give rise

to a soft luxurious handle which has a great durability. These

properties make it desirable for use in quality products from

clothing to furnishing. Mohair has an excellent affinity for dyes

and colours produced on mohair fibre have an unmatched

clarity. Fabrics made of smooth mohair do not crease, mat or

pill and dust and dirt can simply be brushed off.

01 & 03. The Angora goat.

02. A close up of the curly fleece

of the Angora goat.

All mohair sold commercially is graded and sorted prior •

to sale. The grades are sorted by the staple length of the

fibres: long, medium and short.

Grading is defined by the fibre diameter or micron, eg.•

Super Fine Kid Mohair (the finest quality) has a

diameter of 24 – 26 microns.

Mohair of 13 to 16cm length commands the maximum•

price.

Angora goats are first sheared at six months of age and•

then 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.uk

MOHAIR FIBRE FACTS


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HARPERS

TWINSET

112

HARPERSTWINSET

Felted Tweed

Meghan Lewis

http://youtu.be/F76cpGfaDHI


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Winchester school of art

ROWAN DESIGN AWARDS 2013

Words by Dr Margy Cockburn.

Amazing what a challenge can realise and the

Rowan Design Award 2013, executed for the

first time with the students of Winchester

College of Art and Design, is no exception.

Non-knitters have morphed into passionate

aficionados, garter stitch novices have come up

with completely novel ideas, historical figures

have been stylistically reinvented, family

relationships have been given a boost as all hands

were called on deck and the marvel that is the

Knitting Reference Library at Winchester has

been thoroughly pillaged and proved, yet again,

just what an inspirational resource it i s.

The ‘Between the Wars’ brief set by Marie Wallin,

Rowan’s Head Designer asked students to

concentrate on the traditional stitches, colour and

garment detailing of the 1930’s and 40’s. Taking

advantage of the wealth of design inspiration

found within the Knitting Reference Library, the

students were asked to design six contemporary,

women’s wear hand knits to reflect this heritage

trend. The final six selected designs are shown

over the next few pages and we hope that these

beautiful knits will inspire you to look at vintage

knitting patterns in a new light.


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B E T W E E N T H E

W A R S C A R D I G A N

W O V E N C A B L E

T U N I C D R E S S

114

B E T W E E N T H E W A R S C A R D I G A N , P u r e W o

o l D K & W o o l C o t t o n ,

K a t i e A g a r

W O V E N

C A B L E T U N I C D R E S S , F e l t e d T w e e d ,

E m m a M i d d l e t o n

http://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardiganhttp://www.knitrowan.com/designs-and-patterns/patterns/tunic-dresshttp://www.knitrowan.com/designs-and-patterns/patterns/tunic-dresshttp://www.knitrowan.com/designs-and-patterns/patterns/tunic-dresshttp://www.knitrowan.com/designs-and-patterns/patterns/tunic-dresshttp://www.knitrowan.com/designs-and-patterns/patterns/tunic-dresshttp://www.knitrowan.com/designs-and-patterns/patterns/tunic-dresshttp://www.knitrowan.com/designs-and-patterns/patterns/tunic-dresshttp://www.knitrowan.com/designs-and-patterns/patterns/tunic-dresshttp://www.knitrowan.com/designs-and-patterns/patterns/tunic-dresshttp://www.knitrowan.com/designs-and-patterns/patterns/tunic-dresshttp://www.knitrowan.com/designs-and-patterns/patterns/tunic-dresshttp://www.knitrowan.com/designs-and-patterns/patterns/tunic-dresshttp://www.knitrowan.com/designs-and-patterns/patterns/tunic-dresshttp://www.knitrowan.com/designs-and-patterns/patterns/tunic-dresshttp://www.knitrowan.com/designs-and-patterns/patterns/tunic-dresshttp://www.knitrowan.com/designs-and-patterns/patterns/tunic-dresshttp://www.knitrowan.com/designs-and-patterns/patterns/tunic-dresshttp://www.knitrowan.com/designs-and-patterns/patterns/tunic-dresshttp://www.knitrowan.com/designs-and-patterns/patterns/tunic-dresshttp://www.knitrowan.com/designs-and-patterns/patterns/tunic-dresshttp://youtu.be/BPOrLHhDbm0http://www.knitrowan.com/designs-and-patterns/patterns/tunic-dresshttp://youtu.be/ds0pd9Fk2C8http://www.knitrowan.com/designs-and-patterns/patterns/between-wars-cardigan


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LAND GIRLS MOVING

CABLE SWEATER

115

L AND GIRL 'S FAIRISLE

Pure Wool 4ply & Rowan Fine Tweed

Lucy Jones

http://www.knitrowan.com/designs-and-patterns/patterns/land-girls-fairisle-sweaterhttp://www.knitrowan.com/designs-and-patterns/patterns/land-girls-fairisle-sweaterhttp://www.knitrowan.com/designs-and-patterns/patterns/land-girls-fairisle-sweater


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LAND GIRLS MOVING

CABLE SWEATER

L AND GIRL 'S MOVING CABLE SWEATER

Felted Tweed

Lucy Jones

http://www.knitrowan.com/designs-and-patterns/patterns/land-girls-moving-cable-sweaterhttp://www.knitrowan.com/designs-and-patterns/patterns/land-girls-moving-cable-sweaterhttp://youtu.be/TvNhg5U2j3ghttp://www.knitrowan.com/designs-and-patterns/patterns/land-girls-moving-cable-sweater


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A M E L I A

S W E A T E

R

117

A M E L I A S W E A T E R

, F e l t e d T w e e d , A l e x P e n g e l l y

http://www.knitrowan.com/designs-and-patterns/patterns/amelia-0http://www.knitrowan.com/designs-and-patterns/patterns/amelia-0http://www.knitrowan.com/designs-and-patterns/patterns/amelia-0http://www.knitrowan.com/designs-and-patterns/patterns/amelia-0http://www.knitrowan.com/designs-and-patterns/patterns/amelia-0http://www.knitrowan.com/designs-and-patterns/patterns/amelia-0http://www.knitrowan.com/designs-and-patterns/patterns/amelia-0http://www.knitrowan.com/designs-and-patterns/patterns/amelia-0http://www.knitrowan.com/designs-and-patterns/patterns/amelia-0http://www.knitrowan.com/designs-and-patterns/patterns/amelia-0http://www.knitrowan.com/designs-and-patterns/patterns/amelia-0http://www.knitrowan.com/designs-and-patterns/patterns/amelia-0http://www.knitrowan.com/designs-and-patterns/patterns/amelia-0http://www.knitrowan.com/designs-and-patterns/patterns/amelia-0http://youtu.be/hN6NuuRLM9Y


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travel journalwords by Marie Wallin

HADDON HALLRomancing location

Nestling in the valley of the River Wye,

about two miles from the Derbyshire

town of Bakewell, lies Haddon Hall.Celebrating its description by Pevsner as

‘the English castle par excellence’, it

proved to be the perfect setting for our

stunning Romancing collection.

Haddon Hall is a good example of a

fortified manor house, offering the visitor

with fine examples of medieval and Tudor

architecture and beautiful gardens restored

in the early 20th century by the 9th

Duchess of Rutland.


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The History of Haddon Hall

Built of Derbyshire gr itstone and limestone, the

hall seems originally to have followed the plan

of a Norman fort and it was in 1195 that

Richard de Vernon was granted permission

from King John to build an enclosing wall

around the Norman courtyard, tower, chapel

and probably other wooden buildings which

comprised Haddon. It wasn’t until 1370 that the

walls were raised and battlements added during

the reconstruction of the house by Sir RichardVernon VI. However the large size of the

windows built during this period suggests that

defence was no longer the main priority and

instead the emphasis was on the wealth and

status of Sir Richard. The Great Hall or the

Banqueting Hall was also added during this

restoration as well the kitchens (which were

housed in a separate building to minimize the

fire risk to the main house).


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The chapel was also extended during the 14th

century and alterations continued into the 15th

century with the addition of a new chancel and new

windows in 1427. During the latter half of the 15th

century further extensions were made to the chapel

which saw the addition of the bell tower and the

exquisite fresco seccoes on the walls.

Towards the end of the 16th century, several rooms

were altered by Sir John Manners and his wife

Dorothy Vernon, who acquired the Haddon Hall on

the death of her father, Sir George Vernon. Sir John

and Dorothy constructed the beautiful Long Gallery

in the typical Elizabethan style. This major building

project was proved to be the last phase of building. In

1703, Sir John Manners, 9th Earl of Rutland and

grandson of the original Sir John and Dorothy, was

created 1st Duke of Rutland and Marquess of

Granby by Queen Anne and the family moved to

Belvoir Castle, leaving Haddon Hall empty. The hall

remained uninhabited for 200 years until the 9th

Duke and Duchess of Rutland in the early 20th

century instigated the extensive restoration

programme which still continues to this day.


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Now, Haddon Hall is once again the

family home of the Manners family

and is owned by Lord Edward

Manners. It is thanks to him and the

dedication of the staff that it is now

perhaps the finest example inEngland of medieval and Tudor

domestic architecture.

Haddon Hall is open to the public

on Saturdays, Sundays and Mondays

during April and October and open

daily from May to September. Please

refer to www.haddonhall.co.uk

for up to date visitor information

including special events and

Christmas opening times.


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The Rowan crew would like to thank Janet and her

team of dedicated staff from Haddon Hall for their

kind hospitality and help.

The crew stayed at the Devonshire Arms, Pilsley,

Derbyshire. www.devonshirepilsley.co.uk


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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 fun

Thick ‘n’ Thin. With an emphasis on easy to make projects this fabulous collection will be perfect for the beginner hand knitter as well as

the 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 Autumn KnitsInspired by the continuing trend for heritage country wear, this is a collection of 14 sumptuous hand knits for women and men by Marie

Wallin. 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.


Rowan Alpaca ColourFeaturing our exciting new Alpaca Colour yarn, this brochure showcases a collection of 17 contemporary and easy to wear

hand knits by Lisa Richardson. This yarn has a beautiful blended colour effect which is perfect for plain and textured knits

alike, whilst the alpaca adds the super soft hand feel.

Rowan Alpaca Colour is available from Rowan stockists from 15th July 2013.


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 f rom 15th July 2013.


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 designs

by Marie Wallin using some of our popular yarns, Wool Cotton, Wool Cotton 4ply, Pure Wool DK and 4ply and also featuring our beautiful 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.


Rowan PioneerInspired by the pioneer spir it of America’s Mid West, Martin Storey has designed a collection of 14 cosy, easy to wear hand knits for

both women and men. Using our popular Big Wool, Pure Wool Aran and Creative Focus™ Worsted yarns, this collection features looks

ranging from Amish inspired patterning through to Martin’s signature cable textures.

Rowan Pioneer is available from Rowan stockists from 15th July 2013.


what’s newA whole season’s worth of knitting books, magazines and

exhibitions covering all aspects of knitting and textile design.


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little colour knits

Dee Har dwicke’s

sockKNITTINGWORKSHOP

R O W A N

GEORGINA PARK

Socks madesimple,plus 8 patterns with RowanFine Art sockyarn

aran & nordic knits for kids

25designsfor babiesand youngchildren

Martin Storey

Rowan Warm & ToastyThis fabulous collection showcases easy and quick to knit contemporary winter accessories and simple garments. Perfect for the

beginner hand knitter, the collection is designed by the Rowan design team and features 14 designs using our wonderful Alpaca

Chunky and Tumble yarns.

Rowan Warm & Toasty is available from Rowan stockists from 15th July 2013.


Sarah 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 of

20 knit designs for girls and guys. In it they showcase their talent for creating the kind of designs in Rowan’s classic yarns that knitters

love to knit, wear and just keep on wearing!

Sarah Hatton & Martin Storey Designer Knits is available from Rowan stockists f rom Autumn 2013.

Quail Publishing ISBN: 978-0-9567851-9-0 £15.99

Dee 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 yarns

and 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 £11.99

Rowan 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 the

information 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 £8.99

Aran & Nordic Knits For Kids - 25 designs for babies and young childrenMartin Storey

The 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 and

accessories 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 £15.95

A Knitted Sock Society - 10 Modern sock designs using Rowan Fine Art.Rachel Coopey

The Knitted Sock Society is a collection of 10 sock patterns knitted with Rowan Fine Art hand painted sock yarn. The patterns include

twisted stitches, cables, lace and colourwork, with geometr ic patterns, strong lines and intr icate details.

A Knitted Sock Society is available from Rowan stockists f rom Autumn 2013.

Quail Publishing ISBN: 978-0-9567851-8-3 £9.95

Knit 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 made

for you! And that comes with the fit of the garment. This book will help you to understand the measurements given in patterns and how

that 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 £9.95

Club to Catwalk9th July 2013 – 16th February 2014

Discover the creative explosion of London f ashion 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 young

designers of the decade, including Betty Jackson, Katherine Hamnett, Wendy Dagworthy and John Galliano.

The Victoria and Albert Museum, London. Admission charges will apply. www.vam.ac.uk

Dress designed by Williams Brown, 1980. ©Victoria and Albert Museum.


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