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I made a sweater. And for a humble sweater, it brings together a lot of ideas and people, hence my conundrum on the title of this blog post.

Heraldic Sweater Front View 2

A Heraldic Sweater made from Clara Yarn Shetland 1.0

When I got my lucky hands on some Shetland 1.0 by Clara Yarn – an occasional, exclusive, and always interesting yarn range from my dear friend and fellow Comrade in Wool, Clara Parkes – I wanted to play with colour, but I also wanted to eek out the yardage as much as I could. So the most obvious approach, stranded colour work, was out of the question: I wanted every inch of yarn to be knitted into a visible stitch. The second option was intarsia, and for a long time, I thought that this would be the solution.

Suddenly, a lot of things came together: I remembered my swatch of “tweed knitting”, a method of creating a tweedy fabric using a mistake rib, which I had found in a 1950s Dutch knitting book.

a better course in knitting - het breien in betere banen - de vries-hamburger

“Tweed knitting” from A Better Course in Knitting, a 1950s Dutch knitting book

My interest in knitting patterns from the 1980s:

A Jumper by Jane Wheeler

A cozy cardigan by Jane Wheeler, shown in Rowan’s Design Collection; Summer & Winter Knitting, edited by Stephen Sheard

Tapestry Sweater, designed by Susan Duckworth

Tapestry Sweater, designed by Susan Duckworth, from her book Floral Knitting

I implore anybody who shudders by the thought of 1980s knitwear to take a closer look. If you can see past the oversized boxy shapes, a rich world opens up. I don’t see a nadir in knitwear design, but an exciting and heady mix of texture, colour, and technique. Young knitwear designers and labels such as Artwork, Kaffe Fassett, Annabel Fox, Bodymap, and Patricia Roberts, to name just a few, explored exciting new things. Rowan yarns started to make a lot of new yarns in a variety of fibres, texture, and colour. No technique was considered too complicated. It’s full of inspiration for me. I particularly like the colourwork designs where the different areas of colours are accentuated by the use of a different stitch, or a yarn with a different texture, such as the Tapestry Sweater by Susan Duckworth. In my sweater, though, I wanted to stick to using the Shetland 1.0 only, so I started playing around with texture and colour.

Clara Yarn Swatch

An early swatch combining blocks of colour with contrast in texture – with apologies for the poor quality of my phone picture

As I now knew where I wanted to go, I made a start with knitting, even if I hadn’t worked out the detail yet, hoping that I would find a solution along the way. I had finished the back and one sleeve when I found out about Sequence Knitting, a knitting method explored and documented by Cecelia Campochiaro in her book. I had a flash of inspiration! Why not try out some sequence knitting by knitting swatches, which I could then incorporate into the front piece? To knit this unhampered by attempting to match stitch and row gauge, I would block the swatches and the back piece, and that way I could work out how to knit the front piece with matching holes, into which I could then sew the swatches. And that’s just what I did:

Heraldic Sweater Front Piece Puzzle

The front piece puzzle, using a wide range of knitting sequences

As you can see, the front piece blocked out a bit larger than planned, so sewing together was a bit more of a challenge than I had anticipated. Huzzah for my endless stash of coil-less safety pins.

Sewing Up of the Heraldic Sweater

Sewing the swatches into the front

When I had completed the sewing up, the front looked less than presentable. Lots of puckers along seam lines, and fabric pulling into all sorts of directions. But such is the power of The Second Blocking (after sewing up and adding button bands or collars, I always block again) that all puckers and warping disappeared, as I knew would happen; I had, after all, used the largest gauge swatch I could make: the whole back piece.

When I showed my nearly finished jumper to Anna Maltz, she declared it looked “very heraldic.” It all made sense:

Shield Sweater and Cardigan by Sandy Black

Shield Sweater and Cardigan, from Sandy Black’s Original Knitting, knitted in stocking stitch and reverse stocking stitch. The shield is on the front of the sweater, and the back of the cardigan

A bold design, and a contrast in texture by using different stitches: I believe I have managed to take what I like in 1980s knitwear, and make it into something new.

Heraldic Sweater Shoulder

A well-shaped sleeve cap, and a mock-turtle neck

There’s also a lot of shaping hidden in this sweater. The sleeve cap has a “proper” bell shape, like for a sewn shirt, and of course making the holes on the front meant using lots of different rates of increasing and decreasing: I learnt a lot about that, too! The mock turtle neck was knitted by graduating the needle size: at the picked up edge I used 3.5mm needles, and every few rows I went one size smaller until I reached 2.75mm. The part that’s folded to the inside is knitted on one needle size smaller throughout, from 2.5mm through to 3.25mm.

Heraldic Sweater Front View

Me looking a bit smug in my Heraldic Sweater

I thoroughly enjoyed bringing all these disparate things together in one sweater, and the Clara Yarn Shetland 1.0 was a dream to knit with. I hope to wear this sweater with much pleasure for years to come!

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