Autumn Symphony Knitted by Synnøve Alet Kristiansen

Posted on September 27, 2014 by Linda Marveng

I am so pleased to present this series of stunning photos of the Autumn Symphony Jacket, wrap and belt, Synnøve Alet Kristiansen knitted for her friend Brit-Elin Ladehaug (read: the model) taken by brilliant photographer Tim Øsleby, aka MaritimTIM. Synnøve, aka sykris on Ravlery, took part in the test knit of the English pattern of the Autumn Symphony Jacket and chose to knit the wrap and the belt as well in Blue, Jade and Turquoise Rauma Finull – shades carefully selected by Brit-Elin. The photos are taken at the spectacular Hennebygda, by the Innvik Fjord on the West Coast of Norway, see Nordfjord panorama. You will also find more photos and details on Synnøve’s blog: Sykris. Thank you so much, Synnøve! The Norwegian pattern has just been published in Familien issue no 20 (see previous post), while the English pattern is available on Ravelry.

Yet another version, I had not considered, is wearing the Tweed belt on top of the jacket. But I early figured out that the wrap works well as a wide belt making the jacket longer, while the tweed belt can also be worn as a cowl. I love the sharp blue top that matches the wrap so well. The tweed belt comes in the same sizes as the jacket: Size S to 3XL while the wrap comes in one size. Both can easily be adjusted by adding pattern repeats.

The jacket here worn on its own, with some of the buttons undone and that stunning landscape in the background. Lastly, I want to share a detailed photo of the lace pattern on the jacket and the tweed belt.

Autumn Symphony Jacket in Familien

Posted on September 24, 2014 by Linda Marveng

The Norwegian pattern of my Autumn Symphony Jacket with Cowl and Tweed Belt is just out in Familien, I am very pleased to announce. This issue which came out on Monday 22nd September has more than 40 pages of knitting patterns and all the Norwegian designers are briefly presented. A small photo of the cowl is on the side of the cover – see above – and there are 3 larger photos on the contents page, as well as the 4 page pattern spread. The set is beautifully photographed by in-house photographer Petter Berg and stunningly modeled by Trine Foon Karlsen in all the different wearing options. The A-line jacket with a side panel knitted in stockinette stitch, the lace cowl plus the tweed belt are all knitted in the fabulous Ask-Hifa 2 in 3 different melange colors, using 3.5 mm/US 4 and is available in sizes S to 3XL. I chose Farmred, Dark Terracotta and Orange but there were numerous divine selections shown during test knitting of the English pattern, see Ravelry.

In the editorial, Ingvild Hagen writes about the “Koftefeber” – the current knitting trend or fever in Norway is for traditional color work cardigans and sweaters with pewter buttons often updated in brighter colors, than the more classical ones. My Autumn Symphony can not be described as a “Kofte” since it has a lace stitch pattern but look at the cover and on the contents page above and you see examples of the ongoing trend. The traditional Fana Sweater in the top right corner is one of the popular patterns. Mix and match is the headline for my set.

The brief introduction to me says that I “worked as a Design Consultant for Rowan Yarns in London. She has published the book “To rette, en rang. Designstrikk” which was published by Cappelen Damm in 2012. Now, she lives in Oslo and designs for Familien, Made By Me and the American magazine Clotheshorse, holds workshops, proof reads and translates knitting patterns to and from English.” Then follows all the pattern information including the construction under notes: “The body is knitted in one piece to armholes, with a fake seam st in rev st st, then separated into three parts. The sleeves are knitted in the round. The leaf pattern is discontinued where the bind-off interferes with it on the sleeves and the fronts. The wrap is worked in the round and can easily be adjusted by adding or removing pattern repeats. The belt is worked flat, adjust width and length by adding pattern repeats. If you prefer to lengthen the belt to a skirt, consider whether to include elastic band at the waist.”

The picture text is my introduction to the pattern: “Autum Leaves cover this A-lined jacket knitted in one piece with a false seam in a middle of the stocking stitch panel. The sleeves are knitted in the round with leaves up to the shaping where the lace pattern is changed to reverse stocking stitch. A belt in autumn coloured tweed lengthens the jacket and introduces the orange wrap. Or why not wear the wrap as a belt and opposite. Choose your three favorite colours, then make your outfit.” I will soon share one of the test knitters brilliant result.

Marilla in Clotheshorse Magazine

Posted on September 20, 2014 by Linda Marveng

The latest, and unfortunately the final, issue of the digital Clotheshorse Magazine is out. It is with a heavy heart that editor and designer Mindy Gayle announces it, but she and co-editor designer Heather Dixon will both continue to design. I am very grateful that my designs have been selected to be part of this fashion forward knitting and crochet magazine. New friendships have been made, new lessons have been learnt, so thank you very much, Clotheshorse for your approval of my design submissions and excellent co-operation through the last few years! My last design for Clotheshorse is Marilla. Inspired by their Underwater Love mood board and blue shades into lime, yellows, gold and silver, I choose a hand-dyed silk with petit glass beads; Beaded Lace from Tilli Tomas in Jade. This is how I introduced the pattern in my submission: “A divine, generous lace top with a draped front and a shorter back to let the folds at the front rule. Knitted in a divine silk with beads attached from Tilli Tomas in an easy reversible lace pattern without any bands”. Brilliantly photographed by Heather Dixon and beautifully worn by Mindy Gayle.

The top is available in four sizes with these finished measurements: Chest 31.25 (40, 45, 48.5)”/79.5 (101.5, 114.5, 123) cm. Construction notes: It is worked in two parts, from bottom and up. The front has a triangular shape with a wider bottom to make the draped front, while the back is straight and shorter than the front to allow the front to hang. To avoid the holes growing too large, since silk grows during blocking, I choose to use a 2.5 mm/US 1.5 needle.

Tilli Tomas Beaded Lace is made of 100% silk has 150 m/168 yards on it. The stitch pattern I chose is from Lynne Barr’s excellent book: Reversible Knitting. Under notes in the pattern you will find this information: “This pattern will open up when blocked, so make sure to knit a gauge swatch to ensure correct sizing. The center stitch of the front is marked to correctly place the increases and pattern on the front; this marked stitch is referred to in the pattern as the center stitch. You may find it easier to place the center increases and pattern by moving the locking marker up every few rows. The front is wider than the back, and there may be a gap near the bottom of the armholes. If desired, when the top is complete, try it on and mark any gap. Sew a small dart, tapering to a point away from the armhole edge.”

I was so delighted with all the photos in the magazine, including the close-up of the stitch pattern, and the stunning beach location. Especially the last photo below which seem to draw you in.

You will find more pattern information on Ravelry, and do take a look at this magic last issue of Clotheshorse.

Bornholm Explored

Posted on September 17, 2014 by Linda Marveng

I was way too busy with Strik Bornholm to do any serious sightseeing, but I did have Sunday afternoon off, after participating in one of Norah Gaughan’s workshops. While I was holding my workshops, my husband had been sightseeing, and keeping me informed about what he thought was worth seeing. On top of that list was Hammershus Castle. On my list was Jons Kapel; that turned out not to be a seaside chapel, but a cliff (named after a hermit sent to Bornholm to bring Christianity to the islanders according to the legend) and it was quite a hike to get there too. The short drive from Rønne, one of the larger towns on the island where the ferry from Ystad arrives, to Allinge took less than an hour and provided us with a 180 degree view of the sea. The roads on Bornholm are perfect for cyclists, since they seem taken only by a few cars (tourists) and tractors. I had booked sea view from our holiday flat at Hotel Klintely and the morning sunrise was spectacular, see above. The island you can glimpse is Christiansø, the easternmost point of Denmark. Below is the day view from our terrace.

Allinge only has 1675 inhabitants, and was so idyllic with its old traditional building style. Several small harbors were scattered along the coastline, in between the long beach lines that provided kilometers of beach walks. The spectacular dome below, photographed by my husband who sneaked in during Norah Gaughan’s workshop, is located between Norlandshallen where the Exhibitors Hall was and Allinge Røgeri/Smokehouse on the beach.

This dome is built by Boligselskabernes Landsforening/Denmark Public Housing and called the “Peoples Meeting Dome” according to the architects; Bureau Detours: “BL, Denmark Public Housing participated in this year’s Peoples Meeting on  Bornholm, in order to generate debate on the future of housing. According to BL a standard  exhibition tent would not do justice to a debate of such importance. Instead they wanted a  space that stuck out, inspired and invited inside.  In addition to creating the physical space for this debate, it was important for us that the  space also became an independent contribution. We wish to stick out, but in the right way.  We have the ambition that architecture is to be as site-specific as possible, that architecture is influenced by the local surroundings; the view, the landscape, the wind and the sun. And the features it offers.  On the drawing board was a sketch model that has been a long time underway, but had been  missing the right circumstances, sentiments and audience. A model of a deconstructed ”Dome”, a construction iconized by the hippies in the 70s.” Continues with a lot more photos on Bureau Detours.

Inside was a workshop held by Norah Gaughan in progress. Despite its fantastic interior, it did not contain the most comfortable benches to sit on during a 6 hours workshop, hence a number of knitters had moved outside when time came for individual work.

“The rocky cliffs of Jons Kapel, which give a panoramic view of the west coast of the island, are reached from the car park on Jons Kapelvej by descending a steep path beside a little stream called Askebækken. Jons Kapel can be seen from the beach, north of the point where the path reaches the coast. The cliffs consist of Vang granite, named after the fishing village of Vang, just to the north. The cliff has several caves. Jon’s Cave is high above the sea. North of the cave, there is an almost vertical rockface known as Hvidkleven (White Cliff). The caves to the south are known as Jons Sovekammer (Jon’s Bedroom), Jons Sakristi, Jons Spisestue (Jon’s Dining Room) and Jons Madkælder (Jon’s Food Cellar)”. More on Wikipedia. It provided us with the exercise for the day.

A short drive away is Hammershus “the largest castle ruin in Northern Europe and the most popular attraction on Bornholm. The oldest part of the fortress was probably built in the early 12th century to consolidate control of the island by the Archbishop of Lund (which was then part of Denmark), which he had acquired through a treaty with King Svend III Grathe of Denmark. For the next 500 years Hammershus was the stronghold of the island’s various rulers. Hammershus was rebuilt and extended on several occasions.” See more on: Bornholm Info. You could easily imagine how glorious the Castle must have looked in its heyday, and it was hard not think of Shakespeare’s Hamlet while walking around. See the setting above, photographed by my husband.

The sea view was spectacular. No wonder that a number of people had decided to have their picnic at the castle. We were lucky enough to spot the café shop and some cake. Above I framed my husband with my camera lens.

We bumped into designer Maria Gustafson, designer Kerstin Lindh, aka Alalindh and Christina at the Castle. Until next time we said, and caught them on camera waving goodbye.

Norah Gaughan at Strik Bornholm

Posted on September 13, 2014 by Linda Marveng

I was so excited to be invited to hold workshops at Strik Bornholm, and could hardly believe my eyes when I discovered that the American designer and former Creative Director of Berroco; Norah Gaughan would be the star attraction. Well, since I was holding 2 workshops, I wondered whether they both would go ahead with enough participants. For once I had the chance to take part in one of Norah’s workshops, and for awhile I considered whether I could participate in two if my second workshop was cancelled. Just as some knitters signed on for all her workshops; Day 1: Modern Cable Design. Day 2: Designing Modern Sweaters. Day 3 (only half-day): Pattern Stitch Development and Design Possibilities. I took part in the latter one, together with designer Bente Geil (above in the centre), designer Maria Gustafsson, yarn dyer Lene Nielsen of Fredsminde Unika Design (above right) and five experienced knitters. Of course I had to wear one of Norah’s designs I have knitted; the popular Cabled Bolero that was on the cover of Vogue Knitting winter 2006/07. Below is a photo Maria took of me at the workshop, and I captured her in pink in the second photo below. The bolero, or Capecho as Norah called it, is made from several connected pentagons and is a pattern you either adored like me, or needed help to crack the code, see Capecho Workshop.

I had already met Norah at the breakfast at Hotel Klintely, where we and several other designer & knitters stayed. So I was already star struck before I joined her workshop. To my surprise I was the only one wearing one of her designs, despite the Indian Summer heat we experienced. After seeing her slide show at the Party Dinner, the excitement grew even further. The brief introduction to the workshop – Pattern Stitch Development and Design Possibilities states: “One thought leads to another when it comes to making up pattern stitches. Norah will share some insights about her design process and show the progression of charts and swatches that lead to final products. Then, once you have a pattern stitch, how do you explore what to do with it?” The workshop started with a slide show, where Norah talked about her designs, and how they came into life.

Our first exercise was to match a series of inspiration photos with Norah’s designs. It seemed fairly obvious, until we started noticing that there were several alternative solutions. The second exercise was to select a ball of yarn from Norah’s collection – all in different fibers and structures – then knit a given lace swatch, a stitch pattern she had found studying a Donna Karan sweater. In a way we were helping her on the next step of the design. We knitted, changed needles, and then started thinking about how we could improve the swatch. I borrowed larger needles since I had brought too small needles, and discovered that due to the two slipped stitches with yarn in front of work, the yarn overs were covered hence a row need to be purled instead of knitted. The minor change I choose made a difference to the pattern, and the visibility of the holes created by the yarn overs. My swatch is second from left.

Above is the result of our knitting and experimentation; proof that we took part in the workshop. The task demonstrated how different a stitch pattern looks in a variety of yarns and fibers. We agreed that the grey ribbon yarn was totally unsuited for this stitch pattern, while the cream colored linen worked the best, followed by the two lighter blue cotton mixes. We learnt the importance of matching yarn and stitch pattern for a perfect combination. Our third and final exercise was to consider what kind of a garment two stitch patterns in a yoked pullover could easily be transferred into. There were lot of suggestions but none of us made the obvious connection to a hat. Other topics covered were her sources of inspiration: Ready to wear collections, nature (see my blogpost on her book: Knitting Nature by Norah Gaughan), science, other arts and herself. Norah uses Barbara Walker’s stitch dictionaries, and is introducing her at Vogue Knitting Live event in Chicago in October. Norah will often change a stitch pattern to simplify, or enlarge the scale of it, or make recombinations and changing the scale. Hence she has built up her own vocabulary of stitches and motifs.

Above is a selection of swatches Norah showed us. We studied the swatches in awe for ages. The large swatches are from the days when she sold swatches to agencies – they demanded large swatches or the whole front of a sweater – to sell on to the high end fashion houses such as Ralph Lauren. These are the ones, Norah could not bear to send off, but wanted to use herself. Her advice to us where to: “Swatch & swatch again; be open to surprises; be one step removed from copying; think of something, then make it easier, be determined, but not in a hurry.” Thank you so much, Norah for a superb workshop! And also to Strik Bornholm for making it possible for me to join this amazing class! My head was spinning for days afterwards. This month she is holding a 4 day workshop called “Cable School” where you are part of her design team, near her studio in Harrisville, New Hampshire. I would love to be there, but if you go, do let me know. Here are more details: Four day workshop modern cable design.

Strik Bornholm Report

Posted on September 10, 2014 by Linda Marveng

My husband and I are just back from the idyllic island of Bornholm. Not only did I enjoy every second of the knitting event, I also loved every minute of my stay on the island. There were more than 450 knitters signed on in advance to the event, and a huge number that turned up to see the exhibitors hall as well as the all the knitting action during the weekend. Above is a photo from my first workshop on Friday in Japanske Mønstre/Japanese Patterns at Allinge Røgeri/Smokehouse located on the beach. I had an amazing group including the acknowledged designer Vivian Høxbro of Domino Knitting fame (read: with 2 books published in Japan), and they did not want to sit inside in the wonderful warm weather. We tested both the front terrace of the restaurant in the morning, and the beach at the back in the afternoon when we were joined by the ever colorful Danish designer Charlotte Kaae and her group in the background.

In the evening of our arrival, I received my name badge, list of participants on my workshops, and finally met Swedish designer Maria Gustafsson, initiative takers Heidi Beckmann and designer Bente Geil plus organizer Mikkel from Team Bornholm, in person, in addition to a number of other participating designers. Later on the knitters joined us and the knitting café. Apparently, it was Heidi that convinced Mikkel that knitters would come, he admitted during the party dinner on Saturday night (see photo above), that they had their doubts about organizing a knitting festival. But even the party dinner was so popular it was moved to a larger venue, and still the waiting list kept growing. Now, they are thoroughly convinced. The star attraction was American designer and former Creative Director of Berroco; Norah Gaughan whose love of cables leave knitters breathless, and addicted to her designs for life. Some knitters had booked all three of her workshops, while I was thrilled to take part in merely one on the day I was not teaching called: Pattern Stitch Development and Design Possibilities. My head is still spinning from all the knowledge she shared, and a separate blog post will come.

How was I supposed to restrict my buying of yarn and new books, was a common topic, as you can imagine. The temptations in the exhibitors hall was overwhelming, and hugely in-demand was the local hand-dyed yarn from Fredsminde Unika Design. I had already discovered the local yarn shop in Allinge called Strikkehjørnet who also with a stand in the hall, and spent more than I planned. A well known problem for us knitters. Here is the list of exhibitors at Strik Bornholm.

There were a total of 4 Norwegian knitters present at the Festival, 3 from the Stavanger Strikk & Drikk/Knit & Drink group and me, a few Swedish knitters and designers with the majority of participants from Denmark. The highlight of the party dinner was a presentation with slides by Norah Gaughan on her background and design. She was brilliantly translated by Heidi into Danish, giving us time to digest and admire each design. Editor Inga Walløe from the Danish magazine “Hendes Verden“/Her World, had a difficult act to follow but made an impressive attempt. Next, was a quiz filled with Danish questions my Swedish friends, and I found hard to answer hence we came second to last but still received a prize consisting of knitting magazines and hand-made buttons. Between the courses there was plenty of knitting to be spotted, I am happy to report. My husband was never given a choice whether he wanted to join the dinner or not – unlike a few others – I just told him to accompany me, and it would be worth it merely listening to Norah Gaughan’s presentation.

My second workshop on Saturday on Montering/Finishing only had 3 knitters signed on, and took place in the exhibitors hall. It was an ideal place to show off my book, Hifa yarn and a few selected garments. Curious knitters also wanted to know what the workshop was about. After the workshop, I made another tour in the exhibitors hall to make sure I did not miss anything. On the last day of the festival, Sunday, I was ready for Norah Gaughan’s workshop followed by a bit of sightseeing on the island. This was the first Strik Bornholm, but hopefully only the first of many. Thank you so much to Heidi, Bente and Team Bornholm for the invitation to take part! I would love to come back.

New Design: Lattice Back Jacket

Posted on September 6, 2014 by Linda Marveng

I was captivated by an amazing cable panel in one of Barbara Walkers’ treasuries of stitch patterns, and knew I wanted it in a divine but not too dark a colour, so I chose melange purple in one of my favorite yarns: Ask-Hifa 2 using a 3.5 mm/US 4. Both Made By Me editor Mary-Ann Astrup and Makeløs/Remarkable stylist Kristin Elise Halkjelsvik, approved of my color choice for this jacket in our series of Jugend style designs. The cable panel fitted easily onto the back, but not on each front, unless I made a sweater instead of jacket, but the design itself wanted to be a jacket so I had to ponder for awhile how to adorn the fronts and then the sleeves. The solution became obvious after studying the chart for a time; a set of three straight cables, identical to the moving central one in the chart. I knew it would give a classic look to the fronts hence it became a fitted vintage style jacket with a v-neck and eleven small buttons. Of course, I wanted Siri Berrefjord’s bespoke buttons (read: like an addiction) but realized that they needed to be small, hence would not show off their supreme quality. The Lattice Back Jacket pattern is available in Norwegian in Made By Me 2/2014, see the previous post, while the English version is currently being test knitted in my group on Ravelry and will be released on its completion.

What kind of edging do I want? I opted for a double hem, which I love, and then increase stitches for each cable in a set-up row, work using a smaller sized needle; a 3 mm/US 2.5 in this case. I do not always work this type of hem with 2 circular needles held together (see my blogpost with a video for hem & tuck making here: Knitting Techniques Videos) and use 1 as a stitch holder until it is complete because it does tend to roll a bit hence not stay as flat as I like it. Therefore I often prefer to attach it on the wrong side by hand, stitch by stitch at the end, that is my kind of embroidery.

The jacket is shaped for the waist in the sides in stockinette stitch. Just as the increases on the sleeves are made in stockinette stitch. I have made each front is 1 cm wider than 1/2 the back circumference, to achieve symmetry, usual in typical vintage garments. I was advised by the test knitters of my Tyrol Jacket, which has the same shape, to add under notes: “This jacket is like vintage jackets very fitted, please compare your waist measurements to the size you need and adjust if necessary, to make sure it will fit.” I initially made the jacket in sizes S (M, L, XL, 2XL) but since I received a few messages requesting an XS size, I have added it to the test knit. I am still looking for test knitters for size 2XL, so if you are interested send me a message on Ravelry.

The buttons are made by husband in Fimo Soft modelling clay, they are shaped and a part of a paper clip is bended into a loop inserted into the ball, and then hardened in the oven. I had showed him Siri’s buttons, and this is his attempt. As you can see there is no pattern, and no layers of painted colors, only two colors mixed trying to achieve the right shade of purple. So the result is quite different from what both my husband and I had in mind, but it works very well. To add a bit of glamor to it, Kristin accessorized it with a brilliant brooch made by Siri, added meters and meters of chiffon fabric to make a large scarf bow and chose one of her pastel colored embroidered table cloths as a dress. It looked stunning on model Pia Cecilie/Team Models as the brilliant photographer Eivind Røhne captured on our photo shoot in Fredrikstad.

The Lattice Back Jacket is currently being test knitted in my Ravelry group and the English pattern will be released on its completion. One knitter has chosen to add a zip instead of buttons to make it less vintage looking, while another has chosen to knit the hem in a contrast color. I cannot wait to see the finished jackets and with the incredible knitting speed a few are sporting it will not be long!

Made By Me Magazine 2/2014

Posted on September 3, 2014 by Linda Marveng

Our Jugend Love series is released. This has been a magnificent co-operation between Makeløs/Remarkable Re-design stylist Kristin Elise Halkjelsvik and myself together with shoe designer Monica Stålvang and jewelry designer Siri Berrefjord for the Norwegian crafts magazine Made By Me. Editor Mary-Ann Astrup skillfully selected the rest of the team essential for the photo shoot at the Bjørnulfgården in Fredrikstad: Brilliant Photographer Eivind Røhne, stunning Model Pia Cecilie/Team Models and talented Make-up & Hair Stylist Janne Skarpeid Hermansen. In addition Kristin had asked her beautiful daughter Elise and handsome friend Adrian Bjørk to model some of her re-design pieces. Kristin’s preference of the Jugend period, especially its elaborate hand-made textiles, was the starting point, and fitted well with the intricate stitch patterns I favor. Truly remarkable is the way she drapes an embroidered table cloth into a skirt or dress or poncho, and accessorize it with contrasting fabrics preferably in bright clear colors. I had two designs I had already started that fitted well into this series: Icelandic Jacket and Cable Round Sweater, in addition I created two new ones: Lattice Back Jacket and Lyre Bolero. The article introduction actually begins four pages earlier with an interview of Kristin covering four pages, and then in these pages; four of her re-designed outfits.

Curtains, bell pulls, or a series of table clothes like these to the left; where one is made for the piano keys and the other for the piano itself. The latter one is skilfully used as a skirt. We occupied the stair case all day – thankfully it was not too busy – and were fortunate enough to borrow the keeper’s office as a changing and storage room to fill with Kristin’s suitcases and bags.

My Cable Round Sweater has interlocking cables framed by a rib in the side. The ribbing makes the straight sweater pull in and appear fitted. With a crew neck and a double stockinette band, I felt it need a long cowl you can wear twice around your neck. It is knitted in Norsk Pelsull/Norwegian Pelt wool by Hifa in a divine melange light denim color using a 3.5 mm/US 4. Styled with a masculine white shirt and trousers with a studded jugend motif. As a contrast an orange chiffon scarf, and stunning cuff links by Siri Berrefjord were added to the outfit. The to-die-for Carmen Boots in petrol are by Monica Stålvang. Both designers are briefly presented with a photograph on the page. Notice that Adrian is wearing bell pulls as braces. I will release the English pattern after a test knit in my Ravelry Group, date to be confirmed. I am delighted to share that this sweater has made it to the blogsphere; Knitigating Circumstances by Kelly Dawn see her post: Pattern Radar August 2014.

The Lattice Back Jacket worn over a beautiful dress; is actually a large table cloth pinned together with the fringes making a stunning back drop. Meters and meters of tulle tied into a bow around the neck, adds glamor to the outfit. Adorning the front and the sleeves is a series of small cables, while the back has a large intricate cable panel. Like a vintage jacket it is very fitted, and the body pieces are knitted flat while the sleeves are knitted in the round in a gorgeous melange purple in Ask-Hifa 2 using a 3 mm/US 2.5. The English pattern will be released after the test knit, which has just started in my group on Ravelry, is completed. Next is the Lyre Bolero with its accompanying cummerbund, which also can be used as a cowl worn twice around the neck according to Kristin. The bolero is cropped and the body is knitted flat in pieces, while the sleeves are knitted in the round in the bouncy Embla-Hifa 3 using a 4 mm/US 6 needle. I made the cummerbund to add length to the bolero, which I imagined to worn with a beautiful skirt like this made of a table cloth with a black tulle petticoat beneath. The bolero is closed with magnificent jugend brooches from Siri Berrefjord. I will release the English pattern after a test knit, date to be confirmed.

Last but not least is my Icelandic Jacket worn with a table cloth as a skirt, a tulle petticoat and gorgeous green Bettina Boots by Monica Stålvang. It is knitted in Jaggerspun Zephyr Lace in Juniper with cuffs in Rowan Felted Tweed and Rowan Fine Tweed, the latter is also used in the back panel and cowl, all using a 3 mm/US 2.5 needle. The sleeves are knitted in the round while the remaining 3 panels are knitted flat. The cowl is identical to the back panel just longer. Kristin also demonstrated how to use the cowl as a belt, merely by using a shawl pin to adjust it to the waist measurement. Only one bespoke button by Siri Berrefjord made it to the photoshoot (due to slow mail service), but you can see it with the planned three on the pattern page. I plan to have the Icelandic Jacket test knit in October after the Conic Coat, then released in English.

My Lattice Back Jacket also feature on the contents page, where editor Mary-Ann Astrup writes under the heading: “Boundless Creative Enthusiasm” referring to stylist and re-designer Kristin Elise Halkjelsvik: “You can also see some of her gorgeous outfits, composed around old embroidered table cloths, bell pulls and curtains. In combination with new beautiful cable knits from Linda Marveng, the unity becomes sensational.” The magazine is available from newsagents like Narvesen and selected supermarkets or online here: Familiens lille butikk.

It was an amazing photo shoot and co-operation, which we have decided to do again. In the mean time, I am already working on the next series of designs for Made By Me with Monica Stålvang and a dress designer this time. More to follow.

Linda Marveng

Knit wear designer and author

Monthly Archives: September 2014