When Rachel Atkinson told me she was working on producing a yarn, using her dad’s flock of Hebridean sheep, I just knew it was going to be something really special. I love the deepest, darkest shade of chocolate brown you get from naturally black sheep, and Rachel’s yarn, aptly named Daughter of a Shepherd, really does the Hebridean sheep justice.
Rachel’s Daughter of a Shepherd yarn: a luscious, deepest, darkest chocolate brown
Despite the colour, it shows up textured stitches really well, which was a good thing, because my love affair with Cecelia Campochiaro’s Sequence Knitting is still going strong. One type of fabric you can create with sequence knitting is a broken garter stitch (alternating columns of garter stitch from knit stitches, garter stitch from purl stitches,) which give a very strong vertical texture, enhanced by columns of slip stitches, a type of fabric Cecelia calls “boxpleats,” as it has a 3D quality to it.
Boxpleat pattern from Cecelia Campochiaro’s groundbreaking work, Sequence Knitting
Waiting for the right project to come along, was some of Elizabeth Johnston‘s handspun Shetland yarn, which she made from grey Shetland wool, overdyed with madder. It wasn’t much, but enough to provide a pleasing accent of colour. I took measurements from a French workwear smock, and after swatching, I cast on and mostly made design decisions as I went along.
My good friend Jeni Reid has taken all the pictures following below, and I’m using them with kind permission and they are credited to Jeni Reid/Small Window. You may have spotted her at yarn festivals with a big camera in hand, and being a knitter and spinner herself, she manages to capture goings-on with a knitterly eye.
Me looking mighty pleased in my boxpleat jumper
Boxpleats for armhole shaping. I love all the movement in the back shoulder area
The armholes are shaped using actual box pleats and I’ve gathered the sleeveheads, so there is volume along the arms to show off the boxpleat fabric, but keeps the shoulder saddles neat and tidy.
The boxpleat pattern is best knitted flat, so the jumper was knitted in pieces, and then seamed together using a three-needle bind-off. I’m a real fan of the three-needle bind-off for seaming. Sure, it takes a while to pick up stitches along each seam edge, but the resulting seam is strong, yet it retains some stretch quality, something that was really important here, as the jumper is very heavy, and therefore I anticipate it will grow longer in wear.
The hems are finished with a split
Although knitted in pieces, the over-all shaping is more or less based on the classic Elizabeth Zimmermann seamless saddle shoulder pull-over.
I was in a very studious mood…
Last but not least, I used a lot of gradually differing needle sizes. The sleeves start at the cuffs in 2.5mm needles, and by the time I reached the sleevecap, the needle size had increased to 4.5mm. This created a gently shaped sleeve, allowing for the boxpleat pattern to do its pleating at its best. To stop the jumper from flaring at the hems, I knitted them on a slightly smaller needle to gently draw in the fabric. The neck is finished with a funnel neck, highlighting the non-curling quality of the boxpleat pattern.
I thoroughly enjoyed designing and knitting this jumper, and as you can tell from the pictures, I finished it just in time to put it away for summer.
With special thanks to Rachel Atkinson for letting me buy a few more skeins for this special project, and to Jeni Reid for taking such beautiful pictures, as this jumper provided a photographic challenge, due to the colour.