Boxpleat Jumper

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.

Daughter of a Shepherd Yarn

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.

Sequence Knitting in Boxpleat pattern

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.

tomofholland boxpleat jumper in daughter of a shepherd yarn

Me looking mighty pleased in my boxpleat jumper

tomofholland boxpleat jumper in daughter of a shepherd yarn

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.

tomofholland boxpleat jumper in daughter of a shepherd yarn

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.

tomofholland boxpleat jumper in daughter of a shepherd yarn

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.

tomofholland boxpleat jumper in daughter of a shepherd yarn

Boxpleat jumper

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.

Sequence Sweater; or Accepting Slow Progress

After my interview with Cecelia Campochiaro about Sequence Knitting, I was very eager to cast on a project and use her innovative techniques. Let me explain briefly what ‘sequence knitting’ is: by repeating a simple unit of knit and purl stitches over and over again, it is possible to create a complex textured fabric. A simple sequence knit example would be a 2×2 ribbing. You cast on a multiple of 4 stitches, and repeat the unit ‘knit 2, purl 2’ until you reach the end of the row. On the next row, you can start again with the unit. By playing around with the unit, and the number of stitches cast on, you can create very complex patterns indeed. They would be a nightmare to follow in a chart, but by memorising the unit, it is, in principle, very easy to knit.

Sequence Sweater Arms Wide Open

Easy knitting makes you feel good!

 

So, when my partner Anthony wanted a new sweater, we went yarn shopping and he set his heart on The Uncommon Thread‘s BFL Fingering in ‘Fe2O3’, which is a colourway custom-dyed for Yarn and Knitting, Brighton’s newest yarn shop. The sequence knitting needs something that will show up stitch definition, and from pictures in Campochiaro’s book it was also evident that a hand-dyed yarn would look wonderful. The slight irregularities resulting from hand-dyeing, combined with knits and purls makes for a very vibrant and lively looking fabric.

Sequence Sweater Standing

A comfy sweater in a soft yarn

Anthony wanted a sweater with plenty of ease and nothing too warm, so I psyched myself up for a project that would take me a long time to make: frequently changing knits and purls and a fingering weight yarn meant slow progress. The sequence knitting was easily committed to memory and almost drop-shoulder shaping meant there was little shaping to worry about for the front and back panel and those two parts were easily knitted. However, in this particular sequence pattern, the number of stitches cast on were not a multiple of the number of stitches in the unit, which meant that at the end of the row your unit was not completed. On the next row, you complete the unit. So, for armhole, neck, and sleeve shaping I had to come up with a method of keeping track of where to continue.

Sequence Sweater Chart

A sequence knitting chart. The numbers represent a block of knits or purls in a unit, and the shading shows how it shows on the right side of the fabric

It turns out that Cecelia has used similar methods when knitting something that included shaping. The chart may look confusing, but the only thing you need to know is how to continue at the beginning of a row so you know how to complete a unit. After that it’s plain sailing until the beginning of the next row.

So although the front and the back panel were easier to knit, as I didn’t have to refer to these kind of charts very often, I found that feeling to be making progress was more evident when knitting the sleeves: with such skinny yarn it can feel like you haven’t done a lot of knitting at all, as the fabric doesn’t grow quickly, and it was nice to be able to tick off rows and see I completed another ten rows on my daily commute.

Sequence Sweater Neckline

 

The ribbing on the welts, cuffs, and neck is based on the particular unit of this sequence pattern; see if you can work it out

I’ve written before about slow crafting and taking time, and this is a good example of it. Slow crafting means accepting slow progress. This is probably easier to accept if you’re a process knitter rather than a product knitter (ie your emphasis is on the process of knitting/making, rather than on getting a finished object,) but being accepting of slow progress, allowed me to take the time for details such as the visible three-needle bind-off I used for all the seams. There’s an awful lot of stitches to pick up on each seam! However, the bold lines that are created this way really frame the textured fabric: well worth the effort and the week it took me to complete it.

Sequence Sweater Seams in 3-needle bind-off

Bold seams frame the sweater

Another detail I was very happy about is the neckline. After seaming together the panels, I crocheted a chain around the neck line. I then picked up stitches through the crochet chain. This gave a very flush transition from main panel to ribbing, and I like the way it subtly accentuates the neckline. The ribbing itself was knitted on graduatingly smaller needles so that it really pulls together at the edge.

I’m glad that Anthony was also accepting of my slow approach; he’s been patiently waiting for his sweater. But after nearly five months of knitting, it’s now finished. And as you can see, he’s lovin’ it!

Sequence Sweater Posing

Strike a pose!

A Heraldic Sweater/Clara Yarn/1980s Knitwear/More Sequence Knitting

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!

%d bloggers like this: