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Posts from the ‘Felicity Ford’ Category

Shetland Wool Week at J&S 2017

Yippee! Shetland Wool Week 2017 has begun! We have been a bit quiet here over the last peerie while but we have been busy getting organised for this week. The shop has been so busy and we are so excited to see everyone! We have classes on at J&S this week but we also have a few free events which we have just finalised this past couple of weeks so if you are in Shetland this week please come along..

A Year of Techniques Trunk Show

The first event is with our friends Jen and Jim Arnall Culliford and it is a trunk show of their Year of Techniques book, this book has just been released in paperback and features 12 projects all using different techniques to improve your knitting. There are a number of the designs which are worked in J&S yarns and Jen and Jim will be in the shop with all the samples and ready and willing to chat about the book. We will have copies for sale and the event is:

Tuesday 26th September: 6pm – 8pm

J&S Trunk Show

You may have seen this week on Instagram and Ravelry that we have been sharing pictures from our newest book. Jamieson & Smith: A Shetland Story gives you the history of J&S and a collection of hand knitting patterns by a group of some of our favourite designers(and a couple of J&S staff members!). We will be hosting an event in the shop where you can see all the items from the book and plan which to knit first.. This event is on:

Thursday 28th September

PS.. on the online shop there is a page for the book and as soon as it is available you can purchase it from there!

Felicity Ford Trunk Show

Another event is with Felicity Ford who has just announced her next book and to celebrate is also hosting a trunk show at J&S with samples from her new book The Knitsonik Stranded Colourwork Playbook. Felix’s first book is one of our favourites and we cannot wait to see the new work all knit using 2ply Jumper Weight. This event is:

Friday 29th September 2.30pm-4.30pm

Wool and Grading Demonstration 

Not forgetting one of our busiest events – Olivers sorting and grading demonstrations have become a must-see event at wool week and this free drop-in event takes place on:

Monday 25th, Wednesday 27th and Friday 29th Septmeber at 2pm

Phewf! Its set to be a busy old week so I don’t think I will get blogged every day but we will be back after Wool Week with a roundup of Shetland Wool Week. If you are here for it we hope you enjoy it, happy knitting!

PS. we will be trying our best to keep up with online orders and emails but there may be a delay in us responding and getting out parcels, please accept our apologies! xx

Shetland Wool Week Mitts-a-Long

Hello everybody, specifically those of you who can’t make it to Shetland Wool Week but would like to be involved…

The wonderful Felicity Ford AKA Knitsonik has been busy working away on an idea just for you:  Introducing the Knitsonik Mitts-a-Long for Shetland Wool Week! ‘Yay’ I hear you cry, well Yay indeed, read on for the details.

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The idea is to design your own stranded colourwork using ‘Fingerless Mitts’ as the base for your explorations. There are two kit options for you to choose from, each one has been carefully thought out by Felicity and includes the pattern along with the corresponding 8 balls of our lovely 2ply Jumper Weight (a 4ply weight yarn).

The first theme is the Crofthouse Museum, situated in Dunrossness in the South Mainland of Shetland. It is set up as it would have been in the 1870s so you can get a real feel of what it was like to live in a typical Shetland home at that time.

The second theme is taken from knitting sheaths in the Shetland Museum & Archives. These were in use before knitting belts and were made with feathers to grip and hold a needle in place while working.

The Knitsonik Mitts-A-Long 2016 coincides with Shetland Wool Week 2016 starting on the 24th September. It will continue until the 24th October with lots of places to share and discuss your progress online – you can find other participants by following the hashtag #knitsonikmittsalong on Instagram and Twitter, and on the Knitsonik Ravelry forum.

We have a limited amount of kits in stock so if you would like to knit your Shetland inspired mitts with wool all packed up by us in Shetland, this is your chance!

wool week wednesday and thursday

On Wednesday we began with a great class with the brilliant Felicity Ford

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Felicitys book ‘The Knitsonik Stranded Colourwork Sourcebook’ focuses on finding your own inspiration and creating colourwork from that but in her J&S classes she decided to choose Shetland inspiration and picked a edited group of J&S shades of Jumper Weight to be used.

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This meant everyone was working from the same source material but its amazing how different all the swatches came out!

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Of course Felicity had her ever inspiring pile of swatches for inspiration

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and at the end it was great to see what everyone had come up with

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In the afternoon we had another Lace Class with Elizabeth Johnston of Shetland Handspun

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Lots of concentration, scribbling and knitting followed..

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Of course the shop has been very busy but things carry on and we are still getting out all our orders everyday!

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Yesterday was the day for Mary Jane Mucklestone to come in a teach her class on knitting Fair Isle socks.

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Mary Jane has written a number of lovely books and patterns and her colourwork skills are amazing! She has so many beautiful swatches which we layed out for inspiration

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Socks are one skill and Fair Isle another so to combine them is a great skill and Mary Jane does it in a way which is not scary and before long everyone was knitting away

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In the afternoon Gudrun Johnston was in doing her every popular Hap Shawl class

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Gudruns beautiful Hansel pattern uses J&S 2ply Jumperweight and in this class she has everyone making a tiny version of the hap which covers all the separate elements of her Hap construction.

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We have ran this class now for three years and Gudrun has a Craftsy Class on this subject but it is still very popular and always sells out!

Although its Friday we still have three days left of Wool Week so we will be back with the final few days! Til then, Happy Knitting!

 

wool week saturday and sunday

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We begun the day on Saturday with a Fair Isle class with Hazel Tindall.

IMG_6588 hazel claswsHazel had the ladies knit a bookmark which meant they were doing Fair Isle and steeking in a small project! This way there was a good chance the project would be finished within the time of the class.

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On Sunday we had the Opening Ceremony for the week, Wool Week has gotten so big that the ceremony was held in the Bowls Hall at the Clickimin, the hall was beautifully layed out.

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As always there was a lovely Fair Isle Cake!

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There was some musical entertainment from the Shetland Fiddlers who went to the Edinburgh Military Tattoo, they were wearing their beautiful outfits designed by Shetland Designer Neila Nell

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Wool Week Patron Donna Smith cut the Cake

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And we were treated to the muscial talents of Felicity Ford..

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As well as a speech from Oliver..

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And Q and A’s with some of Shetlands Textile elites, more speeches and funs..

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We’ll be back throughout the week with more Wool happenings at J&S!

Til then.. happy knitting!

KNITSONIK – BLOG TOUR PART 2!

As you may know, Felicity Ford has recently published a book ‘The Stranded Colourwork Sourcebook‘ We took part in the original blog tour which was part of the kickstarter campaign to raise the funds for the book. The full amount for the project had already been raised by the time we did our original post so we knew this book was going to be a roaring success!! We were lucky that the first copies of the book arrived in Shetland when Felicity was here for Shetland Wool Week so we got one of the first peeks.  I sent Felicity a few more questions to see how she was feeling now the book has come out!

the_cover-950x4251: How did you find the process of writing the book and are you pleased with how it has come out? I think it is beautiful!

I really enjoyed writing the book; I was lucky to have a talented team who shared my vision and gave tons of love to its production. Additionally, I was able to share milestones with the project backers through the Kickstarter site. Working on the book felt like going an adventure with loads of friends and I think it is richer for having had encouragement, input, energy and skills from many KNITSONIK comrades.
The little sections describing each inspiration source were the parts I most enjoyed writing because I discovered so much about my local area while researching them. The Berkshire Records Office and the Local Studies section of the central library in Reading were really helpful, providing me with access to building plans and street directories. Seeing and touching these old documents from Reading’s past made me feel more connected to the history here.

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As you will have seen, one section in the book celebrates my iconic Huntley & Palmers biscuit tin. I discovered through old census data that a William Chas Wellstead once lived at our address and that this individual had formerly worked as a tin-factory labourer. This information made my treasured little tin feel even more significant and personal. At the Berkshire Records Office I was enchanted to see the old building plans for the now demolished Huntley, Boorne & Stevens biscuit tin factory: this was where William once worked and where my tin was made.

Huntley_Boorne_Stevens-1-3Art_Deco-1Another snippet of local history celebrated in the book is an old pink Art Deco building on the Basingstoke Road. I was unable to discover when it was decorated in its distinctive shades. However in the Kelly’s Street Directory of 1949 the building was registered to Tokalon Ltd. (a cosmetics company) and when I found old Tokalon face powders on eBay the shades of pink were uncannily similar to the stucco facade.

TOKALON-1I don’t know if that was when it was painted but it’s a lovely coincidence!
These discoveries added extra context to my knitting and made me feel more connected to my town through stitches and patterns. Everyone who was involved in the project shared my joy in the lovely links between my knitting and my town and I feel that you can really see that in the final product.
I’m thrilled you think the book is beautiful. I am incredibly pleased with how it looks and want to credit the super talents of Fergus and Nic here because their photos and design are what really make the KNITSONIK Stranded Colourwork Sourcebook. Going on photo-shoots with Fergus was super fun as he really got the essence of the book and wanted to use the photos to show connections between my town and my knitting. The day when we went out together to photograph my bricks-inspired-swatch against the Reading brickwork was an especially happy one; I actually cried for joy when I saw his photos!

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It was also thrilling to pass Ferg’s wonderful photos over to Nic and see what she would do with them. I especially like the spread for the page opening the chapter about knitting places because the way Nic arranged Ferg’s photos is superb. She said “I wanted to put you in the middle, in your car, with all your favourite places around you” which is such a nice way to think about that chapter and something I could never have come up with by myself.
These are just two examples of how my amazing comrades have enriched this book with their talents and undoubtedly the best thing about writing the book was working with wonderful people.

2: What are your dreams for people who are using the book? We have had lots of Shetlanders asking about it!
My dreams are that people using the book will feel empowered to design stranded colourwork from things they love! I want to show that creativity is not mysterious, and that it involves practical steps which can be practised by anyone who wants to play.

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I hope the book will inspire knitters to start on hugely personal projects that feel rich and personal and significant… one of the reasons for spending all that time researching the history of old biscuit tins and factories is to show that these little things we notice each day really matter and are worthy of knitterly celebration.
I hope that reading the book will also inject a bit of fun and mischief into everyday life. The other day I saw a lovely message from Sarah who used to work for your company. She remarked on how the book had made her see some chimney pots in J&S yarn shades. That’s what it’s all about; finding inspiration and magic everywhere and cultivating creativity in unlikely places.

3: What are your best tips for people interested in colourwork but a bit scared to take the first step (apart from purchasing your book of course!) do you have any fail safe things to get colour and motifs inspirations from?

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My top tip is to edit your inspiration source down to a manageable size. If you start with the idea “I want to knit a swatch based on my favourite beach” then you may be overwhelmed! But if you can make this idea a bit smaller – “I want to knit a swatch based on this bit of sand, maybe using this individual shell and these pebbles for pattern ideas” then it has already become more manageable. Creativity is really just about solving problems – the first problem to solve is usually that the initial idea is vague, so defining the brief more clearly is the first step. I think a lot of people are tempted to start with nature subjects – a tree or a landscape for instance – and though these are beautiful and picturesque subjects they can also be quite complex. A single tree contains so many different shades and lines and colours that it can be hard to know where to begin. I address this in the book in my chapter on plants, and there are definitely ways to make it easier to knit from the natural world but if this seems complicated then you can’t go wrong with pleasing food packaging! A tin, a cereal box, even the washing up liquid bottle can all be superb starting points for stranded colourwork. These generally contain just a handful of colours which are easy to identify and it can be fun to hunt about in an initially simple-looking object for hidden patterns and shapes. I was delighted that in Shetland during Wool Week several comrades brought Tunnocks chocolate wrappers to my workshops as their inspiration source – these are ideal as they have really strong graphic lines and superb, bold colours.

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My favourite swatch in the book is the one based on my little handheld recorder. The object is so simple – just a little black plastic device with a digital screen and some buttons – that I really had to look hard to find details. Once I started, I had millions of ideas and it was a fun project.

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So my best tips are to start with a small idea or to start with a big idea and then make it smaller!

4: How do you think writing this book has changed how you will approach colourwork in the future?

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The main changes are that I have fallen in love with swatching (which I used to really dislike) and I feel more confident that you really can use anything as a starting point for designing stranded colourwork. When I started trying to design my own colourwork projects I didn’t know what I was doing; there were so many variables and I kept making ugly things or getting confused about the numbers or messing up the colours. As I solved each problem I got a bit more secure in my own creative process and my swatches got longer and longer as the ideas started really flowing.

In the Kickstarter video I said “I want to make this book for us” and in finding ways to clarify my process for other knitters, it inevitably became clearer to me. I had to put structure and language around what I do when I am designing stranded colourwork and that helped me to organise my thoughts. The result is that now I feel quite at home in the KNITSONIK system and know exactly where to start if I have an inspiration for stranded colourwork. I really hope the book makes others feel the same.

5: I really hope you liked working with our 2-ply Jumper Weight, I’m going to be horrible and make you choose your absolute favourite shade! If you can’t choose one, I at least want your top five!

Your 2-ply Jumper Weight is amazing and it was a pure delight to work with it for many reasons. Its provenance can be traced back to crofts on Shetland; its hand is soft and bloomy; and the range of shades is magnificent. After working on this book I almost know the shade card numbers by heart… there is no way I can choose one all time favourite shade, but my top five would be 9097, FC11, 202,1208 and 125.

90979097 is a calm red; it is the exact colour of the distant poppies that bloom on the horizon when driving my favourite road and it has a magical relationship with FC12 if you want to transition between red and green.

FC11FC11 is the most beautiful verdant green. It energises all plant-based design themes with its vivid hues; it is the colour of fresh leaves that have the sunlight passing through them.

202I think I used 202 more than any other shade in the book; it is an incredibly useful neutral shade and appears in many palettes with its translucent cool creaminess. It tempers brightness in surrounding shades and is really useful for describing such textures as faded pages or old paint; spots on a beach where the sunlight is hitting the sand; faded road markings and clouds. It is versatile and understated and I feel a must-have shade for every knitter trying to turn everyday inspirations into stranded colourwork!

12801280 is perfect for transitioning magically between purple and green shades as I discovered while I was knitting sloes. The bloom on a sloe is a beauteous and elusive thing but this shade I think goes some way towards capturing it.

125Finally I love 125 because it is almost the exact same colour as Reading Red. That is the colour that Reading clay fired to in the Victorian brickworks once plentiful in this town and there is nothing like it. You can see that the later bricks were not made of Reading clay because they are not the same vivid shade as your wonderful 125.

Thanks Felicity and Congratulations!

Wool Week Saturday and Sunday

Our last class yesterday was with the brilliant Felicity Ford, who’s new book arrived on Friday, nearly ready to post to all the people who backed the campaign to publish it!

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Felicitys friendly teaching style meant for a great class on being inspired by pictures and your life in your Fair Isle Knitting

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The shop was open til dinnertime then I headed to the Wool Week hub at the Shetland Museum, it looked really great!

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This map was full of pins showing where all the visitors have come from!

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big3 big2As well as the hub being open the Town Hall was filled with producers at the Makers Market, from Foula Wool to Shetland Handspun.

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There was also some historical things there, one of the makers, a knitter also had on her table some Wool related memories, including these vintage slips from Jamieson & Smith in the 1970s!

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Today marked the end of Shetland Wool Week and I went out to Whiteness for the annual Sunday Teas held by the Shetland Guild of Spinners, Knitters, Weavers and Dyers

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As well as the great teas and fancies the Guild also has a presentation of their work, and there were some fantastic things to be seen from some well known Shetland Knitters: Ina Irvine, Hazel Tindall, Linda Shearer and Kathleen Anderson to name a few!

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I also spied a number of things which were entries to the Colourbox Competition we hold at the Voe and Cunningsburgh shows like Lindas jumper seen above.

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Members of the Guild were also demonstrating which was great to see!

big4Sue, Loretta, Outi and Eve spinning and knitting away.

This marks the end of my posts about Shetland Wool Week, its been a fantastic week and I hope you have enjoyed seeing what was happening in Shetland. I have so many pictures I didnt get to use that you may be seeing some more! For now though its time to tidy up the shop and get things back to normal,

Happy Knitting! xx

Knitsonik Blog Tour: Q&A with Felicity Ford

Our friend Felicity Ford has been on a mission to raise funds for her brilliant book: The Knitsonik Stranded Colourwork Sourcebook, which you can read more about here. If you have been following her journey you will know she had already reached the initial £9,000 needed and above (at the last check, she had reached over £11,000). Since her first visit to Shetland Felicity has had a great relationship with us at Jamieson & Smith and we are proud to be on her blog tour for this book which will using our wool.

I thought since Felicity will be doing a lot of knitting with our yarns I would ask her some questions about what she likes about Jamieson & Smith. Congratulations Felicity, we cant wait to see the finished book!
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1. How did you come to find out about J&S and our yarns?
I’d read about your yarn on different knitting blogs, but it was when we started WOVEMBER  that I really understood how brilliant Jamieson & Smith is.
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WOVEMBER is a campaign website run by myself, Kate Davies and Tom van Deijnen (aka Tom of Holland), established in 2011. The key points of our mission are that we love real wool, and admire the amazing skills involved in taking fleece from sheep and turning it into finished textiles. We think the term “wool” is special, and should be reserved for articles of clothing which contain a high percentage of fibres derived from actual sheep.
During the month of November, we write about and research the work involved in growing, shearing, sorting, scouring, spinning, knitting, and weaving with WOOL! We share our findings to raise awareness of what makes this fibre special, and to discourage companies who are not producing woollen goods from misleadingly describing their polyester and acrylic goods as being “wool” or “woolly”. We are interested in celebrating connections between the landscapes where wool grows and finished articles of clothing; in traceable and sustainable textile production methods; and in promoting the traditional skills associated with woollen textile manufacture.
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In our first year of the campaign, Kate told me there was no better person to interview for WOVEMBER than Oliver Henry, Managing Director of Jamieson & Smith, and wool grader and sorter for over 45 years, and she was right.  Kate’s interview with Oliver blew my mind, and opened my eyes to everything that makes Jamieson & Smith special:
Sorting is both challenging and rewarding. Sometimes a coloured fleece will take the breath from you when you least expect it to, like when you come across a rare marking or a beautiful crimp. But the best bit of my job is seeing the fruits of our efforts come back into the wool store transformed into everything from yarn to scarves to carpets to beds…
 
I think that telling the story of our wool – and the heritage and culture, people and communities behind it – is one of the most important bits of my job. It’s important for the future of the industry in Shetland, and for a new generation of budding crofters and farmers, to tell people why Shetland wool is so special (and has been for centuries) and what an honour it is to be involved with one of the finest natural fibres in the world.
 
– Oliver Henry, WOVEMBER 2011
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As well as agreeing completely with Oliver’s sentiments, in the photos sent with the interview, I was thrilled to see that you keep raw fleece and finished hand-knits in different parts of one building. To me, that speaks of a fantastically direct relationship between land and wool. Many farmers I’ve interviewed in other parts of the UK say that they have no idea what becomes of their wool after it is sheared and sent off. But crofters in Shetland can leave their fleeces in the wool room, and then go right into Jamieson & Smith to see the sturdy carpeting and exquisite hand-knitted shawls and tams that are ultimately produced from the wool they have grown.
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To me – and I imagine to many of the other knitters who visit during Shetland Wool Week – this is inspiring because it speaks of a direct relationship between Shetland’s woollen textiles, crofting traditions, and distinctive, working landscape. This is special because it’s been sadly lost in so many other places.
I have been obsessed for years with the history of the wool industry along the Southeast coast which I remember from my childhood holidays. When I was researching a piece for Twist Collective about finding traces of shepherding in the landscape, I discovered there had once been a wool staplers of great renown in Chichester. It was called “The Woolstaplers” and was run by Ebenezer Prior & Sons. Old photos in local libraries showed men at work there, forearms deep in great skeps filled with fleece. However these days, The Woolstaplers is remembered only in the name of the tarmac carpark which now covers the land where it once stood.
I was very sad when I turned the corner on my map of Chichester to find no other remainder of this once great woolly epicentre of the South, but consoled to later learn that the great art of sorting and grading fleeces is being kept alive by The Shetland Woolbrokers.
 
2. What is it you like best about the wool?
 
The KNITSONIK Stranded Colourwork Sourcebook has been in the pipeline for a long time. I’ve been fascinated with Huntley & Palmers (the biscuit factory that thrived in Reading through 1800s – 1900s) and the brickwork of this town for a few year. In 2011 Kate hunted down an amazing vintage Huntley & Palmers biscuit barrel on eBay for me, and sent me a package of Jamieson & Smith in appropriate shades, so I could start trying out my idea to knit the bricks and biscuit tins of Reading.
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At first your yarn seemed so special that I was afraid to knit with it in case I made a horrible mess of your lovely wool…
…but I have since discovered that my worries were completely unfounded, for your yarn is both forgiving and strong, and the shades are so nice that you can always get something great out of them with a little patience, trial and error.
Oliver talks of two distinctive breeds once running together in Shetland – one rough and sturdy, with a “skadder” (mane) on its back and neck, and one “kindly-woolled” breed. When I interviewed him for my soundmap of Shetland wool sounds [http://aporee.org/maps/work/projects.php?project=shetlandwool] he talked about these two breeds running together on the fence-less Shetland landscape, and eventually cross-breeding to produce what we now think of as Shetland sheep. I may be fanciful or romantic, but I feel that I can perceive both the rough sheep and the soft one in your wool, and this is what I love best about it.
The very slight roughness in the 2-ply gives it enough grip that I have become fearless to the point of irresponsibility about my steeking. I can cut willy-nilly with no thought of negative consequences, for I know that the yarn will hold! You have to really pester your 2-ply jumper weight to make it unravel sideways, and unless you have plans to really harass it, a knotted steek is perfectly secure. For me, there’s character and sass in that grippy quality; it gives me faith that my knitting won’t pill and that there will be structure and integrity to the fabric I produce with my needles. I like to imagine the rough, wild Shetland sheep with its skadder is running around somewhere in my knitting, and that brings to mind my memories of the cliffs, the brisk North sea, and the peat hills that I have so enjoyed exploring in my short time in Shetland.
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As for the kindly components of your wool, they are what give my blocked knitting its lovely fuzzy halo, light hand, and infinite wearability. The airy fibres, woollen-spun and soft, block down into a light, even surface. I love that I can knit baby things or scarves or other items which require softness with your wool, but that – because of the tiny bit of rough they contain – that these soft and lovely things still have character and personality. I also love that the wool is directly traceable to the Shetland landscape, and that I understand the journey it has made from sheep to shelf.
3. What are some of your tips for Fair Isle knitting and blocking your samples?
 
My top tip is to use Jamieson & Smith yarn! I’m serious about that. I’ve tried knitting stranded colourwork with a variety of yarns, and I have not enjoyed the results as much as with your wool. I think when you are getting the hang of stranded colourwork, it’s no bad thing to have a yarn that doesn’t slip around all over the place, and your 2-ply jumper weight holds nicely on my needles. I’ve also found that it can handle a fairly aggressive blocking process, and that this can correct a multitude of tension crimes, especially if you tend towards knitting rather loosely, which I do.
My next tip is to enjoy the process. Hazel Tindall says a nice thing about how there is a rhythm to Fair Isle knitting, and I agree with her. I don’t know what other knitters do, but I tend to glance at my chart and then go around the row chanting silently in my head something like “one red, white, white, white, two red, one white…” after a while that just turns into numbers… and after another while, it just turns into a kind of pattern, which patters along in the background of my thoughts, like a very pleasing musical phrase. So I would say that – when knitting stranded colourwork – find the rhythm, and the rest is easy.
I also would advocate the two-handed approach, simply because I personally find that extremely easy myself. Knitting two-handed, I know that the colour I’m holding in my left hand and picking up with my right always dominates. This allows me to decide which bits of the pattern I want to foreground, and which parts to leave in the background. I know other knitters who prefer to get a more even fabric, without a dominant colour, or who like to hold both yarns in the right hand or both in the left… in the end it’s about finding a way that works for you.
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For blocking, I simply soak my knitting in hot water with a tiny bit of soak solution in it, and wait until the water’s cold. Then I gently squeeze the knitting with both hands to get all the water out of it, and then I generally slap it against the edge of a table a couple of time, to get all the steeked ends lying flat. I have big foam boards which I then pin the swatch to. I pop this up on a radiator where the knitting dries, and then in the evenings, I knot up the ends and trim them to neaten them. I find this creates very pleasing swatches which can be examined and referred to for future knitting projects. They look lovely finished like this, and if you compare them to sketches or drawings, the materials involved are nowhere near as expensive as paint or charcoal, and you learn loads for the time you’ve spent trying things out.
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4. What are your top 10 colours?
I love 125, because it really is so reminiscent of the brickwork around here which I love so much, and 54 for the same reason. There is a type of brick in Reading called “Silver Facing” which I am reminded of when I look at 54. I have a fondness for the vivid and synthetic feeling of 79 – it’s very lurid and reminds me of Dorothy finding green things in the Nome King’s underground domain in “Return to Oz” – it is precisely the colour of The Emerald City as the 1950s movies depicted it.
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But who can argue with the far softer shade of FC24, and its resemblance of distant fields on the skyline?
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49 is such a lurid mauve, and so dominant and fresh in anything it touches that I have developed an epic respect for it. 1280 is the perfect colour for describing the blueish greenish violet on the bloom of soft fruits… I have recently been really enjoying the tempered yellow of 121; it’s a heathery blend of soft gold, mixed with salt and pepper shades, which make it play really nicely with grey.
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131 reminds me of the Crayola crayon I had as a child, called “periwinkle”. I was obsessed with that shade, and it is a very warm, soft blue, like the dot in the centre of forget-me-nots, or the dark shades striping the centre of the bluebell. It is beautiful.
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Many of the shades are lovely because of how they activate the things around them,  and the soft, translucent creaminess of 202 contrasted with the hard, uncompromising white of 1 is an interaction I enjoy greatly. I worked in a florist for a couple of years when I was 18, and I always loved making up all-white bouquets best of all, because I realised through making them how complicated and multi-shaded white is. It had always just been the colour of paper – the colour waiting to be drawn or painted on – but now I think of it as a very active force of colour in its own right, and I love playing with this in my stranded colourwork.
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5. What have been your favourite experiences of Shetland?
When I came in August to make recordings about Shetland wool and its history in the isles, my favourite experiences wer going to The Voe Show, and staying in the Nesbister Böd at Whiteness.
Voe_Show
The Voe Show celebrates the local talent and produce from the land itself. There were so many lovely things to see, from homemade cakes to preserves and jams, to flowers grown in people’s gardens, to the lovely Shetland sheep, and finally, to the heart-stoppingly-beautiful knitwear. There was an inspiring frisson of competition in the air and it was superb to see the proud rosettes perching like butterflies on the best knitting, and also the amazing children’s knitting, with encouraging WELL DONE badges pinned on it. The Colourbox challenge that you set each year at Jamieson & Smith really intrigued me – where 8 colours are chosen, and knitters pick shades from within the selection to produce a piece of colourwork! I photographed a few of the entries last year, because I was fascinated to see how different knitters had used the same shades to produce diverse results.
Voe_Jacqueline_Irvine_Colou
It’s not expensive to have the Nesbister böd at Whiteness to yourself, and I really wanted to listen to the sound inside a traditional Fisherman’s böd without any distractions, so I paid the extra. It is a short walk from where you leave your car, and right out on the edge of a peninsula. There is no electricity inside, and the only running water is a tap on the outside of the building. A bag of peats inside is used in the stove inside, and as soon as you open the creaky wooden door, you can feel the thickness of the stone walls, and the sense of age and time and quiet. I heated up a flask of hot water and sat outside on the rocks holding it until the sun went down. I heard otters splashing, and sheep baa-ing their goodnights to one another on the beach. The water lapped at the building very gently, and the fire purred in the stove. I have hydrophones – microphones which you can put into the water – and I had one in the voe. It was so quiet that I could hear the little pincers of a crab as he scuttled about on the rocks at the bottom. That was the quietest place I was ever in, and in the morning when I got up, all the sheep were resting along the beach, right outside my door, and there were jellyfish dotted through the water like little purple jewels. It was magic.
Nesbister_bod
During Shetland Wool Week, I had lots more favourite experiences! I really enjoyed the time I spent with you and Sandra in the shop after Tom’s darning classes, laughing and playing with the wool! Staying with Tom in Nortower Lodges was beautiful, for it is a lovely spot, and the people who own it are lovely, and made us feel really welcome. I liked arriving home to lots of baas from their sheep one evening! Tom is a superbly calm and supportive comrade; he was very kind about my relentless accordion practice while writing and rehearsing the “Shetland Wool Week Song”.
woolweek_hub
I also loved sitting in the Wool Week Hub in the Shetland Museum, talking to Museum staff about their own lives in knitting. So many women working in the museum are amazing knitters, and it was a very great pleasure to sit with them in the boathouse, looking through textiles from their own lives, and learning about the history of Shetland knitting from personal perspectives, as well as through examining the fantastic permanent displays. I especially loved the story of a pram blanket that was later turned into a scarf, and an old Tam, handed down through the generations in one Shetlander’s family. To me it seems special that everyone in the Museum wears sweaters designed by Wilma Malcolmson of Shetland Designer; that you can see the older Shetland textiles in the Museum cases together with these contemporary examples of a thriving Shetland wool industry. That kind of visible continuity in the wool industry is wonderful. As part of this continuity, you can see how historic textiles are influencing the production of new yarns – for instance your Heritage yarn. I love this photo of Tom, trying on one of the Fair Isle kit “keps” available in the Museum shop, using the Heritage yarns you have developed. I think it is a Fisherman’s kep, to be worn out on a Sixareen boat; behind Tom, you can just make out a model of a Sixareen, and an example of an original kep… where else in the world could you see the past and present lives of wool so simultaneously?
kep
I also love thinking about the future of Shetland wool and so it was great to see the rams at the Flock Book, and to watch the auction. It was beautiful to see so many fine examples of Shetland sheep in one place, certain in the knowledge that these animals and their genes will play a role in the future of Shetland wool.
future_wool
A huge congratulations to Felicity for reaching her target, her passion comes through in her writing and we think the book will become a classic!
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