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Slot-slot-hole-slot

I don’t know how to weave. Still, I do it. Join me as I move through warping a shawl in my handspun and hand dyed silk singles, in a slot-slot-hole-slot dance across the heddles.

Slot-slot-hole-slot. My hands move mindfully between the heddles, picking one thread at a time from the back heddle to the front. 40 + 40 threads per 10 centimeters for a width of 40 centimeters is a lot, all slinky, single, silk threads.

A drawstring bag full of marbles

A drawstring bag full of marbles was the key to keeping the yarn taught for warping. I spent a few evenings on the couch winding all of my 16 skeins onto medium sized marbles from the treasure box my now grown children had stored in the attic. The yellow cotton bag crowned with a red drawstring made me suspect that my husband had stored his marbles in it back in the late -70’s and early -80’s. Perhaps some of the marbles had been his too. The marbles can’t have been anything but surprised by being wrapped in shiny silk goodness.

Round balls of shiny yarn in shades of blue and teal, next to a speckled glass marble.
A drawstring full of marbles came to my rescue as I warped my silk singles.

A couple of days ago I had brought the yarn marbles to my local weaving room to warp. Transferring the fine threads to the loom, and inviting them to an adventure neither they nor I knew anything about, had scared me. Marbles had rolled across the floor in a jumble as I walked back and forth, counting the turns.

The stories in my hands

I go to the weaving room again. As my hands concentrate on separating the threads I realize they are the same hands that danced the fibers onto the spindle through the summer, and the same hands that rubbed fresh indigo leaves into the finished skeins, to receive a glittering row of blues and teals. As I look across the heddle I see the sparkle in each and every one of them. Some are fuzzier from heavy rubbing in the dye bath, some smoother from just having been soaked in an ice and leaf blend. It’s also the same hands that planted the indigo seeds back in March, and pruned the sweet stalks as they emerged from the wool topped soil. So many stories are vibrating in my hands through this process, and more will come.

A warp beam filled with shiny stripes of blue, teal and gold.
My hands remember all the processes they have been part of through sowing, pruning, dyeing, spinning and now warping.

Just as the fibers had spread their wings like fairies from the static charge as I spun it, the warp ends rise in the dry indoor air when I thread the heddles. I tie the warp ends from one broad and one narrow stripe together to prevent them from getting tangled. Through the static charge and their singlehood they are desperate to jumble and move.

Memories of a missed weaver

Slot-slot-hole-slot. One broad blue stripe, one narrow golden muga silk stripe. Kerstin comes into the weaving room and turns the radio on. The reporter talks about the dramatic wintery weather, cancelled bus departures and people helping their neighbous ploughing their garage driveways.

A rigid heddle with silky single threads hanging out of holes and slots.
Slot-slot-hole-slot across the heddle.

I ask Kerstin for general silk weaving advice, she is an experienced weaver. She says she’s never woven with silk. “But Joyce would have known, she wove with every possible material.” My mind takes me to the plastic totes Joyce had woven from recycled plastic bags and sold at the spring fair. Kerstin looks at the empty spot where Joyce’s loom used to stand and we both remember her fondly. Kerstin and Joyce, two widows, spent every day of the pandemic together in the weaving room, drinking coffee at 2. The last time I saw Joyce she came in with the basket of her walking frame loaded with vital medicinal equipment, parked it beside her countermarch loom and crawled underneath the warp to tie the treadles.

Slot-slot-hole-slot (and a beat-beat from Kerstin’s loom). The weather report is followed quite suitably by Madonna’s Frost. It’s been a while since I heard it.

I don’t know how to weave

I don’t know how to weave. Still I do it. The knowledge of not knowing helps me discover through my mistakes – since I never learned the rules of weaving I don’t know when I break them. And I am grateful. Every new weave is a thousand new experiences.

A sketch of the colour sequence in a weave. Broader blue stripes separated by thinner golden stripes, a pink and two purple stripes in the center.
I draw my planned colour sequence to understand how I need to warp.

I have planned this warp based on the sixteen skeins in different shades of blue and one purple, calculated width and length. I warp one stripe at a time from the center out. And yet, my calculated 40 centimeter width quickly turn to 60 and I have skeins left. I scratch my head, shrug my shoulders and thank my miscalculations for having the good taste of going in the right direction.

As I add the second heddle I realize the first one was a 30/10 instead of the 40/10 I had based my calculations on. Slot-slot-hole-slot all over again, with the correct heddle. I wonder whether my 60 centimeter width on the warp beam will mean trouble for my now 40 centimeter width on the cloth beam. My answer is that I will learn from whatever the outcome.

Twists and tangles

I notice that the golden muga silk threads tangle more than the mulberry silk, twisting around each other. This will be a challenge, I note to myself, remembering my last weaving project with a singles warp yarn. And I will learn from this one too. In my next breath I spot a missing muga silk stripe.

A row of warp thread bundles tied onto the warp beam bar.
Slinky little knots add to the challenge I face through the weaving process.

Slot-slot-hole and the last slot. All done and my hands are blue. I tie the ends around the cloth beam bar. It feels different than tying wool – the slippery surface makes the knots glide and I have to retie some of them several times.

Warp threads between two heddles. A hand reaches down to separate and lift the threads.
I need to fiddle between the heddles for a clean down shed.

This is it. This is when I find out if I have threaded the heddles correctly. While I have worked with double heddles before, I haven’t done it to double the thread count, only for a double layered weave and for twill. The lower shed is fiddly and I need to lift and separate the threads between the heddles to find the shed. But it works. This will be a slow weave, and I embrace the slowness.

A striped weave on the bias.
Close/up of a loose weave.
Close-up of a loose weave.
Slowly but steadily my silk shawl emerges.

The first golden thread breaks. This is my cue to call it a day. I will deal with it with a fresh mind and deblued hands tomorrow. I loosen the warp beam handle to relax the threads, pet the weave and thank it for the company and a good day’s work. Kerstin is on the floor tyeing her treadles. As I leave I hear the 2 o’clock news jingle behind me and Kerstin’s footsteps toward the coffee maker.

Happy spinning!

You can find me in several social media:

  • This blog is my main channel. This is where I write weekly posts, mainly about spinning. So subscribe!
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden or to book me for a lecture.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons are an important way to cover the costs, time and energy I put into the videos and blog posts I create. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • Read the book Knit (spin) Sweden! by Sara Wolf. I am a co-author and write in the fleece section about how I spin yarn from Swedish sheep breeds.
  • I am writing a book! In the later half of 2025 Listen to the wool: A why-to guide for mindful spinning will be available. Read more about the book here.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes
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Danish wrist warmers

I fell for Danish star patterned night sweaters, bought the book and decided to practice the technique in a small scale by knitting a pair of Danish wrist warmers.

It happened agan. An idea came and poked me in the eye and I couldn’t stop thinking about it. Lina Odell, a talented journeyman in folk costume tailoring, has shown image after image on Instagram of the most beautiful knit bodice-like sweaters with knit and purl damask patterns.

Danish nattrøie and Swedish spedetröja

The sweaters are called nattrøie in Danish, night sweater. In the county of Blekinge in southernmost Sweden they are called spedetröja and the versions look basically the same. I asked Lina about paterns for night sweaters and she recommended a book: Traditional Danish Sweaters by Vivian Høxbro.

A book titled Traditional Danish Sweaters. A woman on the cover is wearing a knit and purl damask style top in burgundy.
Traditional Danish sweaters by Vivian Høxbro.

Høxbro has dived deep into museum artefacts, stories and patterns. Despite the name in Danish, the night sweaters were not used only at night, though. A night sweater was a sweater to be worn over a shift at any part of the day.

Of all the sweaters in Danish museums, not one is like the other. However, they are put together in very similar ways. Sweaters can often be connected to a region via patterns, colours, embellishments and combinations. Still, no sweater looks exactly like the other. I checked the Swedish digital museum – oh how I love it – and found lots of examples of the Swedish spedetröja.

An antique sweater knit in a knit and purl damask star pattern. The cuffs and neck are embellished with silk ribbons. A metal clasp in the front.
A Swedish spedetröja from digitalt museum. The sweater features the typical edge pattern at the bottom, the vertical panels in the sides, the main pattern and the silk ribbons. It was probably worn around 1825–1850.

The typical pattern is a damask knit and purl pattern with a main pattern featuring different kinds of stars. An edge pattern at the lower edge of the body and sleeves, followed by a border pattern before the main pattern. Sometimes there are vertical panels too. Many of the museum sweaters are embellished with silk ribbons. The sweaters are usually knit with a natural white fingering or light fingering yarn and 2–2.5 mm needles and then dyed.

Danish wrist warmers

Once the idea had planted itself in my head I was very eager to knit myself a night sweater, but I had no yarn for a whole sweater. I couldn’t wait until I had spun enough for a sweater, though, so I decided to knit myself a pair of whist warmers in the night sweater pattern to practice the technique. I found a light fingering Shetland yarn in my handspun stash and a pair of 2 millimeter needles and started playing.

Høxbro’s book has a chapter with over 200 patterns, divided into the different sections of the sweaters. After having browsed the paterns back and forth I chose two edge patterns, one border pattern and two main patterns. I picked the main patterns from the vertical panel section, though, I figured the main patterns were too large for my narrow wrist warmers.

A pair of natural white wrist warmers knit in knit and purl patterns similar to a damask table cloth. The edge patterns, front and back main patterns and border pattern are marked in the photo.
A pair of natural white wrist warmers knit in knit and purl patterns similar to a damask table cloth.
In my practice Danish wrist warmers I chose the sections that are common for the night sweaters.

I loved putting together and knitting my own Danish wrist warmers. Høxbro writes in the book that mistakes were common in the antique sweaters she had investigated – knitters seemed to embrace their mistakes and happily move on. And so did I.

A person weaving a checquered tabby weave. She is wearing a pair of natural white knit and purl wrist warmers.
A woman drinking tea outdoors. She is wearing a pair of natural white wrist warmers in knit and purl patterns.
A person is preparing a weave. She is wearing a pair of natural white knit and purl wrist warmers.
My Dansh wrist warmers go perfectly with 3/4 length sleeves.

The modular technique suits me perfectly. I love that I can put pieces together as I go. The important thing is to keep count of the stitches and make sure the patterns match at the end of the round. And mine weren’t as wide as on a sweater.

The main pattern is quite large – 39×24 stitches – and quite takes a lot of focus to knit through. This is not a commuting knit! But I found a way to divide the chart into bite-sized sections that made it easier to remember and keep track of where I was.

I decided to taper the wrist warmers as I knit, to fit the shape of my arms. I incorporated increases at the main pattern on the back of the wrist warmers. This gave them a perfect fit and they go very well with the 3/4 style sleeves that I love.

A dreamy fleece

I have the loveliest fleece from the Swedish Svärdsjö sheep Lotta. She is quite untypical for a Svärdsjö sheep but has the loveliest soft and lofty dual coat staples with almost on crimp. I intend to spin it into a woolen 2-ply yarn for a night sweater. Perhaps it will be enough for a pair of leg warmers in the same style too. The fleece is not at the top of my fleece queue, though, so it will be a while before I can dive into it. But I will. Wearing my Danish wrist warmers.

Happy spinning!

You can find me in several social media:

  • This blog is my main channel. This is where I write weekly posts, mainly about spinning. So subscribe!
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden or to book me for a lecture.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons are an important way to cover the costs, time and energy I put into the videos and blog posts I create. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • Read the book Knit (spin) Sweden! by Sara Wolf. I am a co-author and write in the fleece section about how I spin yarn from Swedish sheep breeds.
  • I am writing a book! In the later half of 2025 Listen to the wool: A why-to guide for mindful spinning will be available. Read more about the book here.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes
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Daily hat

Hats are the ultimate knitting projects. They are small enough to fit in a pocket, they are usually knit in the round, they don’t have to be matched with a twin, you can experiment with difficult techniques without giving up and you can finish them within a week. Join me in my daily hat parade.

It all started with the Waiting for rain shawl I knit in November, from stashed and ripped handspun yarns. When I had finished it there was still yarn left, so I knit a hat. And another. And another. Suddenly I stand here with seven hats that I have knit during November and December from my stashed handspun yarns. That’s a daily hat for every day of the week.

Seven knit hats in a circle.
A daily hat for the whole week, all from my handspun stashed yarns.

Stranded knitting and Algae

The first hat I fell for was Algae by Marie Amelie designs. It’s a stranded colourwork hat with an algae pattern, which suits my daily dip in the lake perfectly. The folded brim together with the stranded colourwork keeps my head toasty and warm on even the coldest of days.

The wrong side of a stranded colourwork hat in petrol, turquoise and white. An elephant patterned purse and a needle case in the same colour scale beside it.
A woman wearing a stranded colourwork hat with white algae growing up from a folded brim. The background colour begins in petrol at the brim and change to turquoise and dusty blue towards the crown.
TheAlgae hat has a stranded colourwork algae pattern and is nice and warm.

The original pattern is knit in a white main colour and yellow background colour. I chose three different background colors that on a sunny day resemble the colour of the water. I used all three of them in the Waiting for rain shawl.

A woman hanging in the lake from a buoy pole. She is wearing a stranded colourwork hat with white algae and a petrol, turquoise and dusty blue background. She is also wearing a bikini and gloves. There is snow on the buoy pole.
The algae hat fits my daily dips perfectly in both design and warmth.

The Algae hat has quickly become my favourite hat for this time of year. The folded brim is soft and gentle and I love the colour scheme.

Mindless ribbing hipster hat

I have knit a couple of hats for my husband, but they are all starting to fall apart. I wanted to knit him a new one, a fairly plain hat. The HipsterHat by PetiteKnit was my choice, together with a soft 2-ply yarn I spun ages ago from an Shetland Eskit fleece.

A woman wearning a dark grey ribbed hat with a folded brim.
A woman in the water holding on to a ladder. She is wearing a bikini, gloves and a dark grey ribbed hat with a folded brim. There is snow on the ladder.
The HipsterHat is warm and cozy and can be worn unfolded or with a single and double fold.

This was a mindless knit, just the 2×2 ribbing all the way plus some sweet decreases towards the crown. I love how the hat can be worn in different ways – straight, folded or double folded.

Arkanoid garter building blocks

I have always been curious about Woolly Wormhead’s hat patterns, so I searched among her hat designs. I wanted to knit something for my son who is an architect student. Woolly Wormhead calls herself a hat architect and the Arkanoid pattern resembles a brick Wall, so the match was perfect.

A woman wearing a turquoise semi-slouchy hat with a brick-like pattern.
A knitting project on a wooden floor. The knitting has a brick-like structure. A ball of yarn in the background.
Just the ringht amoung of slouch in the Arkanoid hat.

The yarn I used was a 2-ply finull yarn I spun a couple of years ago and dyed in an ice bath with fresh indigo leaves.

Greystone cables

My daughter has sensitive skin, so I used the softest handspun I could find for her, Swedish Jämtland wool. I had ripped this yarn from an older project. Since the yarn was so fine I held it double throughout the knitting.

A woman is bathing in a hole in a frozen lake. She is wearing socks, mittens, bikini and a white cabled hat.
A cabled knitting project on a wooden floor. A ball of white yarn in the background.
I used the softest yarn I could find for a cabled hat in natural white for my daughter who has sensitive skin.

I chose the Greystone hat pattern by Melissa Thomson (Sweet fiber), a fairly simple cable pattern. My daughter is quite picky, but I hope a subtle cabled natural white hat works for her.

Jessica Jones and linen stitch

Okay, so if a hat is called If Jessica Jones had a hat (by SMINÉ), don’t you just have to knit it? I know I do.

A woman wearing a petrol coloured hat with an envelope crown.
Both the linen stitch and the envelope crown were new to me. While I didn’t enjoy the slowness of the knitting, I love how my If Jessica Jones had a hat hat turned out.

The hat is knit in linen stitch, which gives the loveliest weave-like structure. The pattern is knit one, slip one with the yarn in front, from bottom to top. This took ages. The moving of the yarn from back to front and back again slowed the pace down, but I do love the result. The yarn I used (the same yarn as in the brim of the algae hat) was very fine, so I held it double. I realized there was a risk there wouldn’t be enough yarn for the whole hat, so I started to think about what colour to use for the crown, but in the end there was just enough yarn.

Growing plants

I had a few skeins of gradient yarn from a brown fleece I had sorted into different shades. I wanted to use the gradient in another hat, and I chose the Gro hat by Fiber Tales.

A woman standing in a bikini and brown cabled hat on a ladder by a lake, ready to get in between the ice floes.
Two hats mounted on balloons on top of two vintage liter measures. One hat natural white, the other natural brown, both in cable patterns.
My Gro hat in a gradient of browns from one and the same sheep. To the right the Gro hat together with the Greystone hat, in my favourite hat blocking setup.

I started at the brim with the darkest colour and ended two shades later at the crown. The pattern is sort of a cable pattern with grass-like plants. The pattern also includes knitting three stitches together right after a cable, which was quite cumbersome, at least the way I did it. So not the most comfortable and swift knit, but I love the design and my subtle gradient.

Shortrows and Rhinebeck

Another Woolly Wormhead design is the Rhinebeck hat, this time with an intricate bauble pattern made sideways with a gazillion shortrows. The pattern description looks daunting with its 88 row pattern repeat for 13 panels, but once you get the hang of it you can knit it with relative ease.

A woman wearing a slouchy hat with a bauble-like pattern in browns and blues.
A woman in a lake wearing a slouchy hat with a bauble-like pattern in browns and blues.
I’m not used to this amount of slouch, but I am sure I will get used to it if it stays with me. But knitting the short row baubles was

At first I was reluctant, I didn’t want it to look too loud. After having browsed through the projects on Ravelry I knew how I wanted to combine the colours. I chose blue-ish and brown colours for the baubles and white for the stripes to keep it all together. I love the result.

My plan is to hang the hats in the Christmas tree and let my family find them. Perhaps they go for the hats I had in mind for them, perhaps they surprise me. I’m keeping the Algae for myself, though.

Happy spinning!

You can find me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden or to book me for a lecture.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • Read the book Knit (spin) Sweden! by Sara Wolf. I am a co-author and write in the fleece section about how I spin yarn from Swedish sheep breeds.
  • I am writing a book! In the later half of 2025 Listen to the wool: A why-to guide for mindful spinning will be available. Read more about the book here.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.
Posted on

Stash and grab

A couple of weeks ago I found a shawl pattern that whispered sweet words in my ears. I saved it for later, but it kept poking me for attention. I realized I had all the yarn I needed for it in my handspun stash. It also dawned on me that I had some more in knits that I haven’t looked at for years and could rip. The pattern inspired me to go through my stash and grab all the handspun yarn I needed.

Lace mitochondria

The pattern is Waiting for rain, by Sylvia Mc Fadden. It is a crescent shape garter stitch shawl, beginning with ten stitches and ending with 438. The interesting thing is the short row lace sections. Just listen to it: Short row lace, isn’t it intriguing! It just starts in the middle of a row and opens up the garter stitch, revealing a sweet lace window to peek through.

A section of a crescent shape lace shawl. The shawl is knit in grey garter stitch, with short row lace sections in shades of blue.
A section of a crescent shape lace shawl. The shawl is knit in grey garter stitch, with short row lace sections in shades of blue.
The combination of simple garter stitch, sheer mitochondria lace and track pant stripes makes the Waiting for rain shawl very interesting.

The lace sections remind me of mitochondria – just a big blob with an intricate pattern in the middle of something completely different.

Contrasts

The shawl was originally knit up in one colour, but the pattern designer also had suggestions for a two-colour play, where she had knit the short row lace sections in a different colour. Furthermore, she had added extra rows of the second colour as stripes in the garter sections. I love the contrast between the simple garter base, the sheer lace blobs and the track pant-like stripes.

The yarns

I was very keen on the idea of making the shawl in stashed and reused handspun yarns only. Here are the players I chose and the decisions I made for my shawl.

A woman looking at the view over a lake. She is wearing a grey garter stitch shawl with blue short-row lace sections.
A woman looking at the view over a lake. She is wearing a grey garter stitch shawl with blue short-row lace sections. A Fair Isle hat in natural colours on her head.
The Waiting for rain shawl in light snowfall. The hat is the Crofthoose hat by Ella Gordon.

Rutan the Värmland 2-ply

For the main yarn I chose a grey yarn I created in 2021 from a variegated Värmland fleece (from a ewe named Rutan). I spun it a few years ago, and divided the fleece into piles of different shades of grey for a gradient from light to dark grey.

Four skeins of yarn in different shades of grey.
The gradient yarn I created from a variegated grey fleece of Värmland wool back in 2021..

I had saved it for a suitable fair-isle pattern that would turn up when I at least expected it, but I realized that this shawl was the perfect candidate for the pattern. As a bonus, the meterage was just right. I chose to knit it as a gradient too, from dark at the neck to light at the bottom.

Burning the midnight oil

Another stashed yarn was actually spun from an industrially prepared blend. I don’t have many of those and I never use them these days.

A handspun yarn in intense blue, beside a supported spindle with some of the yarn on the shaft.
Burning the midnight oil, a mulberry silk/merino blend, from 2016.

Years ago, though, I asked a wool store to make me a blend with the colour of oil in a puddle. It sounds nasty, but if you consider the colour stripped from its ugly context it’s a quite fascinating colour mix. I loved the result and spun a lot of it on train rides. Held double, the fine yarn was a perfect match for the somewhat rustic looking grey Värmland wool.

Rip and rip some more

Sometimes you have a vision of a garment and when you put it on it looks just wrong. That’s what happened with my Stevenson Sweater by Kate Davies. I spun a lovely yarn with white and dyed Swedish Jämtland wool and some natural fawn Shetland wool. Once I had made a hank of the I soaked the ripped yarns I soaked it, used the blue (Held double) for the shawl and saved the white for later. I did save the matchning gauntlets, though. I use them when I work from home on cold days.

A knitted blue hem, a skein on a nostepinne and a pile of cut off and ripped yarn.
A half-ripped knitted shawl in teal and dark brown and two half-wound skeins in the same colour.
Rippnings the Stevenson Sweater from 2016 and the Merging ripples shawl from 2014 to get hold of the dyed yarns.

The story repeated itself with a shawl pattern I found in a knitting magazine, the Merging ripples shawl by Kyoko Nakayoshi. It looked so stylish on the model, but like a random piece of fabric across my shoulders when I had finished knitting it. This too was Jämtland wool where I had actually succeeded in creating a lovely teal dye. This yarn too got a place among the lace blobs.

Dyed and redyed finull yarn

My fourth candidate for the lace sections was a finull yarn that I spun last year. I had saved it to dye with my homegrown indigo. I actually did dye it with the very last batch of fresh leaves, but it was way too much wool in the dye pot, and way too late in the season. It barely got dyed at all. You can see the sad colour as the first couple of light green stripes near the neck. I overdyed it with some Aijozome indigo from Loop of the loom into a lovely colour (the lace section at the bottom of the shawl).

Stripes and drape

Since the lace sections are knit in short rows, the contrasting colours leave a stripe throughout the width of the shawl. Just like in one of the knit shawls in the pattern, I played with this, and added several stripes before and after the lace. It gave a very interesting effect and helped me keep count of the rows between the short row sections.

A woman looking at the view over a lake. She is wearing a grey garter stitch shawl with blue short-row lace sections.
A woman looking at the view over a lake. She is wearing a grey garter stitch shawl with blue short-row lace sections. She is throwing the end of the shawl over her shoulder.
A woman looking at the view over a lake. She is wearing a grey garter stitch shawl with blue short-row lace sections. She is standing with her back toward the camera.
My stash and grab Waiting for rain shawl is comfortable and drapey. Look at how it curls at the ends!

Despite the eye catching lace, most of the shawl is the garter base. Garter stitch pulls the material together lengthwise, so to get length in the shawl there needs to be more rows in garter stitch than in other techniques. This makes the shawl very drapey and feel very safe and comfy in its weight. I love the curled ends, they remind me of the tips of lamb locks.

It took me 40 minutes to bind off the 438 stitches. I chose to do that too in a contrasting colour and I am very happy with that decision, it makes a neat finish.

”Block aggressively”

That was the last sentence of the pattern descrition, block aggressively. I used a gazillion pins, rearranged both them and the blocking pieces several times and spent about an hour crawling around on the floor until I was happy. Well, not entirely on the floor, I skipped up and down the stairs several times too to see from above how the blocking turned out.

A somewhat wrinkled shawl on the floor.
A stretched-out shawl on the floor. The shawl is pinned down onto a large floor puzzle.
Finished bindning off (left) and blocking (right).

The stripes actually helped me in the blocking as they served as a guide for the shape of the shawl. When I eventually decided I was finished I knew the time I had spent was totally worth it. I was also very grateful for blocking wires.

Stash and grab-friendly patterns

I have done quite a few stashbusting projects this fall. Some of them are excellent for small amounts or single skeins of handspun yarn:

  • The Seguin top, knit from a ripped sweater in a commercial yarn
  • The Ursina top, knit from leftovers from an earlier handspun project
  • Hats! The Algae hat is on my needles right now, with the leftovers from the Waiting for rain shawl. And the Hipster hat on another set of needles with a handspun Shetland yarn. I might make another two hats before the holidays.
A woman wearing a linen hand knit top. A square of gathered stitches right above the bust.
A hand knit top on a hanger in front of a wooden shed door. The top has four broad stripes in light blue, medium blue, dark grey and light grey.
More stash and grab projects are the Seguin and Ursina tops.

Older stash and grab projects from my handspun yarns are

  • The Lamina wrap, perfect for small batches of yarn in the same weight
  • Enchanted Mesa sweater, where I have mixed commercial and handspun yarns
  • The Daisy crescent shawl, perfect for your smallest skeins of flowery colours.
Previous stash and grab projects are the Enchanted mesa from 2014 (handspun and commercial yarns), the Lamina wrap from 2017 and the Daisy Crescent from 2016 (background colour handspun as well as some of the daisies, the rest of the flowers are stashed commercial yarns).

The feeling of cleaning out the handspun stash is the sweetest. Like a rinse, a spring rain or a deep exhale.

Happy spinning!

You can find me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden or to book me for a lecture.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • Read the book Knit (spin) Sweden! by Sara Wolf. I am a co-author and write in the fleece section about how I spin yarn from Swedish sheep breeds.
  • I am writing a book! In the later half of 2025 Listen to the wool: A why-to guide for mindful spinning will be available. Read more about the book here.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.
Posted on

New socks

I’m not a sock knitter. I love the idea of hand knit socks, but I rarely wear them and I find the knitting quite boring. But then came cold baths. And suddenly I need lots of new socks.

I love Irene Waggener’s book Keepers of the sheep. A couple of years ago I knit myself a pair of pants from the book. Another project I wanted to knit was the new socks.

Socks in the bath tub

I take baths in my lake every day of the year. When the water temperature sinks, the energy in the body rushes to the vital parts – the torso. The outer ends of the extremities are left – literally – in the cold. Hands and feet get very cold when the body works very intelligently to protect the torso. This is where socks and mittens (and a hat) come in handy in the cold bath.

A pair of feet sticking up above the surface of a lake. The feet are wearing socks. A willow tree is mirrored in the water.
A pair of feet sticking up above the surface of a lake. The feet are wearing socks. A willow tree is mirrored in the water.
Socks in the bath tub on a November morning. 8 °C. in the water. Photos from video screen shot. Just seconds later the beaver swam by.

I know cold is a relative term here, but for me that temperature is around 13 degrees for my hands and a couple of degrees below that for my feet. During the autumn as the water temperature sinks I put on neopren gloves and wool socks in the bath. When I saw the new sock pattern in Irene’s book I realized they would be perfect for cold bathing.

Tqasher Jadeed

Eventhough I haven’t knit very many socks in my life I realize that the engineering of the Tqasher Jadeed –new socks – is different than the models I have seen. As with all the other patterns in Irene’s book, this one is built up as a try-as-you-go process where you need to be confident enough to trust your instincts when it comes to the fit. All of the parameters – needles, yarn thickness and numbers – are sort of fluid in a very compelling way. The technique for toes and heels are there of course, but the rest is up to the knitter to balance.

A book page featuring a photograph of a pair of white hand knit socks with a ribbed leg. A twisted yarn end ties the socks around the calf.
Tqasher Jadeed, new socks. A lovely pattern in Keepers of the sheep. Photo published with permission from the author.

Elsa the Gestrike sheep

I had the perfect wool to match the socks, from Elsa the Gestrike sheep. I got the fleece a couple of years ago when I helped out on shearing day at my friend Claudia’s sheep farm. Elsa had beautiful grey wool with lots of variations in her fleece.

Newly shorn autumn fleece from a Swedish Gestrike sheep.
A row of wool staples in different shapes, lengths and amount of crimp.
Elsa the Gestrike sheep has lots of different staple types in her fleece. For the new socks I used the long and conical staples to the left on the rightmost picture.

I divided the fleece into categories of different staple types. The biggest pile was with long, conical staples with around 50 per cent undercoat and 50 per cent outercoat. They were the perfect match for my socks. When I met Irene Waggener this summer I brought some of the wool to show her what breed I had knit the pants with and would knit the socks with.

Yarn and socks

I carded the wool into rolags and spun quite fine singles with an English longdraw. To get the strength I wanted for the socks I 3-plied them with more twist than I would for a different kind of project. The yarn is around sport weight.

A skein of grey yarn
Two balls of grey yarn and a started sock knitting project. Two toe ends are knit on a cable needle.
Two sock feet on knitting needles and a skein of yarn between them. The socks have red pieces of yarn to secure loose stitches.
My 3-ply gestrike wool yarn worked perfectly for the new socks.

I really loved the resulting yarn – rustic but smooth and with a blueish grey sheen to it. It was a joy to knit with, very straightforward and sweetly rounded.

A bath

Happy as a clam I skipped down to the dock with my new socks the other day, the ties secured around my wrists. I knit the socks quite large, which suits me perfectly for my bath. In the mid winter when both water and air temperatures are considerably lower than 8 °C, taking off the socks after the bath needs to go fast. I need to get clothed quickly and my hands lack some dexterity in those temperatures, so too snug a snug fit on wet socks isn’t ideal.

Happy feet with new socks, ready for a cold November bath.

These were very easy to take off dripping wet after the bath (I change into dry socks for my four minute walk back home). Still, I am considering fulling the socks slightly for just a tad slimmer fit. I’ll think about it after tomorrow’s bath. The water temperature has just sunk below 8 °C.

At the dock

I had some shots of the socks at the dock from last week, but the other morning the fog left a beautiful light across the lake and I wanted to take just a couple of more. I mounted the camera on the flexible tripod and set the timer on a picture every three seconds. To start, I took a few pictures on my feet as I was about to get in the water. That done, I wanted just one more picture of my socked feet in the water. I put the tripod on top of my head, as I have several times, and walked down the ladder.

A very blurry picture taken from the sea bed.
I call this “Lake Mälaren seen from the sea bed”.

In a split second the tripod with my phone fell in the water. I gasped for air and just stared down into the darkness, astounded by the fact that I hadn’t been able to catch it in the fall. It was really actually no kidding on the sea bed. I fumbled around with my feet, but I could’t feel it. The lake bed is very steep by the ladder, I can stand just below the lowest step but not ten centimeters further out. I was paralyzed. My bathing friends noticed the commotion and came to me, they had been in the water for a while as I had been fiddling with the first camera setup. Gunilla offered to dive once to see if she could find the camera. She did, but she could neither see nor feel anything.

A tilted picture of a dock at a lake. In the bottom corner is half a smiling face.
The legs of a person bathing in a lake. A water-filled skiff beside.
The first picture the camera took after I had brought it back up was on my relieved face (left). After the commotion I finally took my cold bath (right), in the beautiful fog.

A thousand thoughts rushed through my head, all too fast and too unreasonable to get a hold of. Mostly about how ridiculously vain I had been, chasing a good shot and ruining both my camera and my sweet dip. I gasped for air again. All my previous knowledge about breathing techniques to calm down were blown away the second the camera broke the surface. I felt again with my feet around me as far and as deep as I could reach, and I found something. It could be a leg of the tripod, and it could be a branch. The weight was no clue as other rules of gravity reigned in the water. I grasped it with my feet and hoisted whatever it was up. My still shocked breath mixed with a deep sigh of relief as I had the camera in my hand. It was still taking pictures.

Irene, I know you wanted to see my new socks together with the Sirwal pants, but that will have to wait a couple of months. They are still way too warm, I usually wear them to my walk down to the dock when the air temperature sinks below -6 °C. I can’t wait for winter!

Happy spinning!

You can find me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden or to book me for a lecture.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • Read the book Knit (spin) Sweden! by Sara Wolf. I am a co-author and write in the fleece section about how I spin yarn from Swedish sheep breeds.
  • I am writing a book! In the later half of 2025 Listen to the wool: A why-to guide for mindful spinning will be available. Read more about the book here.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.
Posted on

Stash top

Several coincidences led me to knitting this stash top – a weekend in need of a knit. A stashed handspun yarn in need of a project. Hands and mind in need of wool on long work meetings.

The idea for this sweater project started quite a while ago, but was sparked by a weekend in need of a knitting project.

Yoga practice

I practice yoga asana every morning and evening. Towards the end I want to put something on to avoid getting cold, but nothing too warm. I started to look for patterns for a cropped top, something to just throw on before the final relaxation of my practice to keep my chest warm. I found the Ursina pattern by Jacqueline Cieslak and saved it for later.

In need of a knit

A few weeks ago I went with my wool traveling club to our annual wool journey. I realized I needed a knitting project for both the train ride and for our hours and hours of chatting.

A woman wearing a sweater with a knit weather with a stranded colourwork yoke. The colours are white, light grey, dark grey and blue.
Photo by Dan Waltin
Skeins of handspun wool yarn.
I had some handspun singles left from knitting the Telja sweater, a lopi style singles yarn from Icelandic wool, that was perfect for the top.

After browsing Ravelry for a while I found the saved Ursina pattern and decided it was time for it. I had some low twist lopi style handspun yarn left after knitting a Telja sweater by Jennifer Steingass and it was the perfect fit.

Colour scheme

I had five colours left of the yarn – the natural white, light grey and dark grey and some light blue and medium blue that I had dyed. Stripes was my choice for the project. I picked the smallest yardage for the neckline and changed into increasingly larger yardages as I knit. I added a thin white stripe between each colour shift to avoid a gradient feeling.

A top on a hanger outdoors. The top has a short body and long sleeves. It is striped from light blue at the neckline, through medium blue and dark grey to light grey at the hem. A wood shed in the background.
To optimize the colours in the stashed yarn I decided to make the stash top striped.

I have knit stripes with stashed yarn like this before in my Bianka sweater, and the fiddly part is always after separating body and sleeves. both times I ended up with live stitches on cables in body and sleeves, knitting a couple of rounds at a time to end up in an even stripe across sleeves and body. In the end it’s worth it, though, for a smart striping and efficient use of stashed yarn.

Knit reknit

Due to optimistic measures of gauge I ripped and reknit the top. Twice. But I didn’t mind, it gave me something to knit on meetings at work. I remember some of my colleagues looking at my knitting and wishing they had something to do with their hands too to avoid falling asleep in a stuffed conference room.

Ursina and Jacqueline

I want to tell you about this pattern. Of course I fell for the design – the cropped body, the brioche stitch triangle at the hem, the brioche stitch faux seams and the sweet V-neck.

A woman is sitting cross-legged outdoors. She is wearing a cropped handknit sweater in blue, grey and white.
A woman is sitting cross-legged outdoors. She is wearing a cropped handknit sweater in blue, grey and white.
Ursina has brioche stitch faux seams and hem and a sweet V-neck.

But after having bought the pattern and cast on I was astounded by the pattern description. I have never seen a pattern description with such a well-planned structure! Not only does Jacqueline Cieslak accomodate for different body sizes, bust sizes, body shapes and yarn weights, but she has structured the description in a unique and very clear way to make it easy and effortless to find where you are in the pattern. She is a true pattern construction and pattern designer star and I want to knit all her patterns.

My new post-yoga stash top does exactly what I wanted it to do – it keeps me warm after my practice and is cozy to wear. I may knit another one.

Happy spinning!

You can find me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden or to book me for a lecture.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • Read the book Knit (spin) Sweden! by Sara Wolf. I am a co-author and write in the fleece section about how I spin yarn from Swedish sheep breeds.
  • I am writing a book! In the later half of 2025 Listen to the wool: A why-to guide for mindful spinning will be available. Read more about the book here.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.
Posted on

Wool Journey 2023

in 2014 I started a wool traveling club with four friends. Since then we have gone on an annual wool journey together. This year we went to one of the members’ house to weave.

Today I launch a new short online lecture about picking fleece! Welcome to my online school!

To be able to tell you about the 2023 wool journey I need to go back first. The 2022 wool journey went to Dala-Floda where we learned a local embroidery technique called påsöm. The teacher we hired for the course, Anna-Karin Jobs Arnberg, also arranges fulling workshops in the local 17th century fulling mill.

Weaving for fulling

A fulling mill is a mill that uses water to operate giant beams that stomp into larger troughs. Loosely woven wool cloth is placed in the troughs – 20 meters in each trough, and is fulled by the beams. You can read more about the fulling mill here and watch a video I recorded around the fulling mill back in 2018.

The 17th centrum fulling mill where we will be going in 2024. Pictures from 2018. Rightmost picture of the beams and the troughs by Dan Waltin.

At the 2022 course we decided to weave together on the 2023 wool journey with the aim of fulling our woven cloths on the 2024 wool journey at the fulling mill. Boel invited us all to her house to weave.

Boel’s house

Boel’s house is to die for. Smack in the middle of nowhere, still cozily tucked between green hills, forests and pastures. A flock of her parents’ Gotland sheep graze right around the yard and bind the perfect picture together with their quiet munching and sweet bleating.

Photo by Kristin Jelsa
Where there are sheep there may be cuddling. Anna to the left, Kristin in the center. Boel is in the background to the right.

It’s been a while since I met sheep and I was overjoyed at the opportunity to cuddle Boel’s sweet ladies. Being with sheep is such a serene place to be. Their warmth, their wool, the smell of lanolin, grass and sheep poo calmes me and makes my heart sing. Or bleat.

Gotland sheep

If you are outside of Sweden and have come in contact with Gotland sheep in your country, chances are their wool is softer than the wool of Swedish Gotland sheep. The Swedish breed standards encourage breeding for strong and lustrous Gotland wool to provide for beautiful skins. The Swedish Gotland wool is truly beautiful, but I rarely spin it since it is quite rough and at the same time very slippery.

A sweet moment with Gotland sheep.

Since I had the perfect opportunity, I bought a skin from Elton, the allegedly mean ram. He had done his job and fathered three seasons’ lambs. Rumour has it that he tasted good. And his skin is magnificent – large, silvery with a blueish tint and with a darker stripe down the mid back, an eel in the language of Gotland fleece.

A Gotland sheep skin is a true beauty. Here is Elton the mean ram with a killer eel down the back.

Looms and projects

For this year’s wool journey in preparation for next year’s we didn’t hire a teacher or attend a course. We just got together at Boel’s house to weave. Anna and I came with our rigid heddle looms on the train, Kristin brought her rigid heddle loom in her car and Boel had her floor loom in her house. Ellinor couldn’t make it this year.

Weaving in Boel’s conservatory overlooking the sheep pastures. The bosom friend I’m wearing is my handspun. It is available as a pattern in the spring 2022 issue of Spin-Off magazine. Screenshot from video by Kristin Jelsa.

I didn’t use a handspun yarn for this weave, I didn’t have one ready. I did however have lots of Shetland yarn I bought at a clearance after a lady who was the first in Sweden to import Shetland yarns. My plan is to turn the fulled cloth into a pillowcase. I have lots of yarn left and my idea is to use the three colours but in a different order and in different patterns for a collection of pillowcases.

Together in our hands

The members of the wool traveling club usually don’t meet between the wool journeys, so we have a lot to talk about when we do meet. About wool and crafting of course, but also about families, relationships and the ways of the world. Children growing up – there are eleven children between us, from 2 to 22 years old. Joys, frustrations, we talk about everything and anything.

Cats happen at Boel’s house. This one found a tolerable napping space. Photo by Boel Dittmer.

Crafting and talking is such a sweet space to be a part of. Being in our hands together gives an extra dimension to the room, something more, deeper, more sincere. I cherish these moments and am very grateful for them and for my sisters in craft.

We have different lives and live in different parts of the country, yet when we come together we take part of each other’s realities with warmth. When the journey is over we go back to our regular lives, and the following year we pick up where we left off.

Breathing

It was so quiet. Not a human-made sound, just the buzzing of bees, bleating of sheep, fluttering of leaves and bare feet in the grass. Breathing in the air in a place like that must be extra nourishing. I like to think that the air I breathe when I get up at five a.m. is unused, crisp like a new sprout. But this, here, is something extra.

Breathing in the countryside and the early morning skinny dip.

Knitting outdoors in the September sun, listening to the silence and resting my eyes on trees and pastures with the needles dancing in my hands was such a bliss. Kristin and I sneaked out both mornings for a lovely dip in a nearby lake. That too a lovely space to be, in the water with a friend in the early hours.

Ready to full

As I got back home to Stockholm I finished the last stripes of my weave. The next weave to full will hopefully be a handspun one.

A few days after I got home I finished the last of my weave.

I have actually already finished one that has been waiting for a couple of years by now to be fulled. I can’t wait to get to the fulling mill!

Now go and enroll in that online lecture about picking fleece!

Happy spinning!

You can find me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden or to book me for a lecture.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • Read the book Knit (spin) Sweden! by Sara Wolf. I am a co-author and write in the fleece section about how I spin yarn from Swedish sheep breeds.fleece section about how I spin yarn from Swedish sheep breeds.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.
Posted on

Knit, rip, reknit

Have you ever knit a garment, not really used it, ripped it and reknit it into something else? I hadn’t until just recently. Today I knit, rip, reknit and rejoice. Spoiler alert: There is no spinning in this post.

A while ago, when I was looking for inspiration for linen knits, I stumbled upon a top that I really wanted to knit. My plan was to knit it with my handspun linen yarn.

Knit, 2014

However, I did have a top that I had knit back in 2014 in a commercial yarn that was the same as the yarn required in the pattern for this new top. The commercial yarn was a beautiful linen yarn by Quince & co. that I had ordered from the U.S. for the 2014 sweater.

Back in 2014 I knit the East end top by Alicia Plummer. It’s a lovely top, but I didn’t wear it very much. Photo by Dan Waltin.

I did love the top back when I knit it, but when I wore it, it was quite fiddly. The neck was a bit on the wide side and there was always a risk of body parts or bra straps showing. It never occurred to me back then to alter the fit. Therefore I didn’t use it very much.

Rip, 2023

When I found the new pattern requiring the same yarn, I decided it was time to rip the old top. Ripping linen yarn was a bit of a detangling challenge, but after some fiddling and occasional secret cutting, I managed to undo the whole top. To even out the phone cord curls I soaked the squiggly yarn overnight and hung it to dry, lightly weighted. It worked very well, reknitting with it felt no different than when I knit with it the first time.

Reknit, 2023

The new pattern is the Seguin top, by Quince. & co. It is a simple bottom-up knit in the round stockinette raglan sweater with rolled up cuffs and hem and a simple 1×1 ribbed neck band. The detail that makes the whole sweater interesting is a rectangular chest panel in sort of a tight oats pattern. The one over two cable repeat pulls the fabric together, making it look like decreased stitches underneath the panel, but it’s exactly the same amount of stitches.

The Seguin top is the loveliest everyday top.

I really like this detail, that shapes the whole yoke and gives some flare from the bust down. In combination with the simple stockinette and rolled hems it is the perfect everyday want-to-live-in kind of a top.

Shortage and abundance

The further I knit on the Seguin top, the more I realized that I might need to buy a couple of extra skeins. I found an online shop in France that carried the yarn in the same colour. I bought two to be safe, but I ended up using only a quarter of a skein to finish the sweater.

A colour shirt where I needed to join a quarter of a skein of new yarn is a sweet reminder of the thriftiness that is the core of this top.

I knew there was a risk that the colours of the used, ripped and washed 2014 yarn and the new 2023 yarn wouldn’t exactly match, but it didn’t bother me. It would just be a quirky conversation starter in the name of sustainability and making do and mend.

I was right, there is a colour shift from the old to the new yarn, and I quite like it. Ripping and reknitting has been a way of taking care of precious yarn and clothe your family through rough times. Knitting in the round works very well for this purpose – once a garment has been mended and patched until it can’t be mended anymore, it has been frogged and reknit into something else.

Happy spinning!

You can find me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • Read the book Knit (spin) Sweden! by Sara Wolf. I am a co-author and write in the fleece section about how I spin yarn from Swedish sheep breeds.fleece section about how I spin yarn from Swedish sheep breeds.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.
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Linen shawl

Another long-time project is finished, a linen shawl in yarn I spun last summer and have been knitting off and on since then. The flax is between 80 and 120 years old and comes from the Austrian Berta’s flax project.

Many of you may have heard of the Berta’s flax project, started by Austrian Christiane Seufferlein who got a dowry chest filled with flax grown and prepared in the 1940’s. This was the first of many such chests, and now Christiane ships stricks of flax all over the world to enthusiastic spinners who want to honour the memory of Berta and all the other women whose chests have been donated. You can read more about Berta’s flax and become a member of the Berta’s flax Guild here.

My handspun linen shawl is finished! Photos by Dan Waltin.

Spinning on the balcony

I got a few stricks of flax from the Berta’s flax project, between 80 and 120 years old. I spun it in the afternoon shade on my balcony last summer on my sweet flax wheel Henrietta. Since I had learned that flax grows counter-clockwise I spun it counter-clockwise.

80–120 year old stricks of Austrian flax from the Berta’s flax project (left). Spinning on my flax wheel Henrietta, while wearing a blouse that once belonged to my Austrian great-grandmother Henrietta (center). To the right a finished skein of my handspun flax yarn.

The Austrian flax has an overwhelming quality. All the steps from sewing and growing to retting and processing has been performed with such skill and dedication. And why shouldn’t it have been – this was a vital life insurance for the women of the time. And I got to spin it, which I did with love and reference to their work.

I had no specific plans with the yarn, but having seen Christiane in a beautiful hand-knit shawl I decided I would knit something similar, so I plied the yarn into a Z-plied yarn.

Knitting

As I started knitting my linen shawl I realized that I unplied the Z-plied yarn as I knit – the yarn ended up in two strands held together in the fabric. I put some extra plying twist in the following skeins, which made it a little better. The lace fringe at the ends turned out biased, but after blocking it doesn’t really show. But I did learn something! As I keep telling my students: My mistakes are a map of what I have learned.

Knitting in Austria, on the train back home and at home on the balcony.

I brought the knitting project on the train to Austria that summer, the same route my parents had taken in the late 1950’s and early 1960’s to be able to be together. I really wanted to bring the knitting project back to where it had been grown and processed so many decades ago, to the land where my father and my grandmothers were born and where I have three of my four roots. When I met Christiane I could also show her what was becoming of the flax she had so generously sent me.

I could live in this shawl. It is cool, soft and has the sweetest drape. Photo by Dan Waltin.

Flax isn’t very flexible in knitting, so my hands hurt after a while. Other projects have cut in line, but the shawl has always been patiently waiting, cool and sweet.

Harvest shades

In one end of the linen shawl the colour of the flax is slightly darker than the in the rest of the shawl. And that is how flax works – depending on weather, location, retting and climate, the flax can differ in colour. It is a sweet reminder of the natural material and that nature is perfect in its imperfection.

Finishing

I finished the shawl this week. At the same time, we were packing for a vacation in a rented log cabin and things were scattered around the house in preparation for the journey. I wanted to block the shawl, but I realized that it would take up too much floor space. Then I realized I could just bring the shawl and my blocking wires to the log cabin and block the shawl on one of the spare beds. And so I did.

I blocked the shawl on one of the spare beds in the log cabin and wove in the ends down by the creek (photo right: Dan Waltin)

After having woven in the ends I had a finished linen shawl and the perfect location for a photo shoot.

Some numbers

Some questions always arise regarding measurements and weights, so here you go:

  • Shawl weight: 275 grams
  • Shawl measurements: 56 x 200 centimeters
  • Yarn grist: 3200 m/kg
  • Yarn meterage for the shawl: 880 meters.
A finished linen shawl. On the left fringe you can see a slight colour shift. Photo by Dan Waltin

The pattern is Veela, by Libby Jonson.

I am using the leftover 100 meters or so of yarn for a small traveling project which I will show you another time.

References

Here are some earlier blog posts about the Berta’s flax project and how I have rehackled and spun the yarn for this shawl:

Happy spinning!

You can find me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • Read the book Knit (spin) Sweden! by Sara Wolf. I am a co-author and write in the fleece section about how I spin yarn from Swedish sheep breeds.fleece section about how I spin yarn from Swedish sheep breeds.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.
Posted on

Knit sleeve jacket

It’s done. The knit sleeve jacket I have been working on since I started spinning the sleeve yarn four years ago. This is one of my biggest projects. It includes five different textile techniques, and I am glad to share it with you today. It’s really done.

It started with sweet locks of dalapäls wool and a dream of a knit sleeve jacket. This project has been with me for such a long time and I can’t believe it’s finished.

The making

Creating this knit sleeve jacket has been such a joy. I have had this project in my hands in one way or another on and off since 2019. The sleeves have been with me on many train rides and vacations. Lately also on coffe breaks and meetings at work.

In 2023 I have worked on the sleeves more focused and finished them, and since mid-April I have sewn and embroidered almost every evening. I have felt the soft and safe wool in my hands over and over again.

A five-technique project is finished and I am very proud of it.

Sometimes when I craft I watch a series or listen to an audiobook. But for this project, I have mostly just enjoyed being in the materials and in my hands, letting my thoughts come and go like the wool between my hands, the stitches from needle to needle, the thread up and down the cloth and my breath in and out.

The model

This jacket has elements that are traditional in the County of Dalarna. I am not from Dalarna, but I am intrigued by the techniques and the rich textile heritage of the area. The techniques are sometimes used together, but probably not the way I have put them together. So, while to an untrained eye (like mine) the jacket may look like something of a folk costume jacket, it is not. It is just the result of my exploration and celebration of various techniques and designs.

The lining is almost in place, just the front opening left to stitch.

Five textile techniques

So, in this project I have used five textile techniques:

  • I spun the yarn on a supported spindle. The wool comes from the longest locks of several dalapäls sheep.
  • I two-end knitted the sleeves with my spindle spun yarn
  • I bought the broadcloth and hand sewed the bodice with waxed linen thread (commercial). I ebayed the lining and machine sewed it together and hand stitched it onto the broadcloth
  • I wove the band with a commercial linen yarn
  • I embroidered the greenery with påsöm technique and commercial yarn.

I will walk you through the techniques and my journey with them.

Supported spindle spinning the yarn

I started this project in 2019, spinning the yarn from locks of dalapäls wool on a supported spindle. This has of course taken a lot of time, but I have loved every spinning second. Dalapäls wool is very shiny and has strong outercoat fibers and fine undercoat fibers.

I have spun the sleeve yarn on supported Björn Peck spindles from teased locks of dalapäls wool.

I opened up and lightly teased each staple and spun from the cut ends. This was to make sure I got both undercoat and outercoat fibers evenly in the yarn.

Since I wanted to two-end knit the sleeves I spun the yarn counter-clockwise and plied clockwise. This way the yarn looks its very best for this particular technique.

Two-end knitting the yarn

Tvåändsstickning, or two-end knitting is a technique that has an old history in Sweden, and particularly in Dalarna. The knitter alternates two yarn ends, usually the inner and outer ends from the same ball, and wrap them around each other at the back between the stitches. Tvåändsstickning means two-end knitting. A common translation is twined knitting. This translation came about since someone decided it was more commercially pleasing than two-end knitting. I prefer the latter.

From lock to sleeve through teasing, spinning, plying, skeining and hand winding a centerpull ball.

After some adventures with running out of yarn, finding a suitable substitute sheep, frogging and reknitting I finally knit up to the armholes this spring. In April this year Karin Kahnlund, master knitter with two-end knitting as her specialty, helped me calculate how to decrease for the sleeve caps. I knit the caps in the round and cut the steeks when I was happy. All of a sudden I was done! And very happy.

The finished sleeves. Right side out (top) and wrong side out (bottom). The twisted stitches create horizontal ridges on the wrong side, making the fabric very sturdy and wind proof.

The sleeves weigh approximately 250 grams each, without the embroideries. Here are some resources about spinning and knitting the sleeves:

Hand sewing the bodice

Karin Kahnlund also helped me find a pattern for the bodice, a model called Gertrud. This also happened to be from the County of Dalarna. I had been thinking about having a professional seamstress sew the bodice for me, but Karin cheered me on to do it myself. And I am glad I did, I got to spend some lovely time with high quality broadcloth and waxed linen thread in hand.

I made a tuile out of an old sheet and felt very grown up.

The bodice pattern is quite simple. Two back panels and one front panel with two vertical darts on each panel. The front opening is also shaping the garment. I made a tuile out of a sheet first to make sure the fit was right. The bottom hem was originally straight, but I added some shape to it.

Gertrud the bodice, in fine broadcloth.

Years ago I had an itch for ebayed textiles. In one Ebay raid I found a piece of printed cotton cloth that I immediately knew would serve as the lining for the bodice. However, the piece was too small, so I paired it up with a similar fabric from the same raid. I did machine sew it, but stitched it to the bodice by hand.

A woven band

You know when you get an itch to weave a linen band in candy store colours? Well, I did, and I happened to find colours that would perfectly match the jacket lining, in Kerstin Neumüller’s web shop. Initially I had planned to do something with the band on the lining, but as I saw one version of the bodice pattern with woven bands along the front openings, I knew that was where they should be.

A woven linen band in candystore colours, perfectly matching the ebayed cotton lining. Clasps from DiviniCouture. Right photo by Nora Waltin.

I wove the band on a backstrap loom, using just a bundle of hand carved sticks. Here is a blog post poem I wrote while weaving the band on a train ride back in February.

Påsöm embroidery

Påsöm is also a technique that is traditional in Dalarna. Bulky, almost paw print like flowers stitched with 4-ply, airy yarn in scrumptious colours. Who wouldn’t want that on their two-end knitted sleeves? As it turns out, the dense quality of two-end knitted fabric works perfectly for påsöm embroidery. A tradition in Dala-Floda, where the påsöm technique has been mostly used, is to stitch påsöm patterns on two-end knitted mittens. I decided to fill parts of my sleeves with the bombastic flower arrangements, with commercial yarn from Flodaros. I wouldn’t dream of spinning this yarn myself, let alone dye it.

The finished sleeves, Left underarm and right upper arm. To the right are some traditional two-end knitted sleeves. On some of them the pattern is larger the closer to the shoulder they get.

In some older knit sleeve jackets with knit patterns, the shapes are larger the higher up on the sleeves they are placed. I wanted to do something similar with my embroidery. On the right upper arm the top flower is larger than the middle and the bottom one and the arrangement also narrowes downward. On the left underarm the pansies are the same size, but the greenery gets larger towards the elbow.

You can read more about påsöm embroidery here. And here are some of my other påsöm projects: A hat, a pocket and a spindle case.

If you are a patron (or want to become one) you can see some of the påsöm embroidery on the sleeves in the May 2023 video postcard.

Embroidering on two-end knitting

Påsöm embroidery has been traditional on two-end knitted textiles. Because of the technique with the tight knitting, the twisting on the wrong side and the fine needles, the fabric is quite dense and inelastic. In this sense, it behaves more like woven fabric than knitted. I can stitch my embroidery without using an embroidery hoop and without running the risk of the sleeve getting bubbly or the embroidery pulled together.

Two-end knitting is a lovely textile to embroider on.

Still, it’s different than embroidering on broadcloth and it was a delight to get to know the cooperation between the påsöm embroidery and the two-end knitted material.

Wearing the knit sleeve jacket

As I put the jacket on I suddenly wear all those hours of making – spinning, knitting, sewing, weaving and embroidering. I know every nook and cranny of this jacket and I am proud of every corner of it, including the wonky stitches. Perhaps especially the wonky stitches. This jacket has been made with such love, dedication and curiosity.

The sweetest linen shift, from the Berta’s flax project (video screen shots).

The other day I picked up a parcel from my friend Christiane of the Berta’s flax project. She had sent me the most beautiful handspun, handwoven 120-ish year old shift that was just perfect to wear underneath the knit sleeve jacket. It was likely worn by an Austrian woman named Josefine.

Wearing this jacket is such a joy!

I had no idea of the finished result when I started spinning the yarn. All I knew was that I wanted to make a knit sleeve jacket. It’s here now and I love it.

The early summer light

There is a spot near our house that turns magic for around fifteen minutes every evening during just a couple of weeks in June. The evening sun shines through the trees onto the light green and fresh grass. The light is truly magic. It’s there for such a short time (provided the sky is clear), yet I giggle at the thought of the limits. I can’t get everything the way I want it. Nature decides, just as it should.

Greenery in the early summer light. Photo by Nora Waltin.

Yesterday I went to the spot for a photo shoot. I was back at the time and the spot where I, three years ago, shot a video of me spinning the yarn for the sleeves, catch the light. I brought my tripod and my daughter to the spot and shot a series of photos and a video with the finished jacket A special feeling indeed. Pop over to my Instagram account to see a reel from the photo session.

Happy spinning!

You can find me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • Read the book Knit (spin) Sweden! by Sara Wolf. I am a co-author and write in the fleece section about how I spin yarn from Swedish sheep breeds.fleece section about how I spin yarn from Swedish sheep breeds.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.