Tag Archives: Vigeland Museum

Photoshoot at Vigeland Museum: Canola

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Next out in the series of designs photographed at the Vigeland Museum is the poncho I have designed for Hillesvåg Ullvarefabrikk. Named after Canola the Irish deity who ruled over music magic is this poncho with sideways cables at the bottom and on the high collar. The upper part is picked up and knitted from the lower cable panel and worked in stockinette stitch with shaping for the shoulders. The short sleeves in rib hold the poncho together. You can wear it with a belt or a shawl pin to gather it at the front or loose, just as you prefer. Model Emma Ross, with hair & makeup by Sissel Fylling and jewellery by Kaja Gjedebo Design, wore the poncho beautifully, and photographer Eivind Røhne captured these brilliant pictures at the Vigeland Museum back in November.

I styled Canola with pencil pants and Benedetta high wedge boots from Monica Stålvang, to show off the oversized fit, and did also add a belt to the front. Canola comes in one size and has a 194 cm/76.5″ circumference and a 74.5 cm/29.25″ length, the sleeves which are worked separately are 32 cm/12.5″ long.

The sample is knitted in Hillesvåg Ullvarefabrikk, Tinde pelt wool yarn made of 100% pelt wool with 260 meters/284 yards per 100 gram skein in the divine shade of Burgundy 2104, using 3.5 mm/US 4. The gauge used is 21 stitches and 30 rows in stockinette stitch. 

The body is knitted in four parts with cables on bottom part and stockinette stitch on the upper part. A long circular needle is used to accommodate the large number of stitches. The sleeves are knitted in the round in rib.The collar is knitted separately using a provisional cast-on so that the ends can be grafted together. If you prefer to have the collar loose, pick up and knit stitches around the neck and work an I-cord bind-off.

The Norwegian pattern and yarn kit will be launched at “Fagstrikk (Knits trade fair)” in Oslo in April, while the English pattern will be test knitted in my Ravelry group beginning on 15th of April before its release.

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Photoshoot at Vigeland Museum: Corra

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Let me present Corra worn by model Emma Ross, with hair & makeup by Sissel Fylling and jewellery by Kaja Gjedebo Design, brilliantly captured by photographer Eivind Røhne at the Vigeland Museum in November last year. Corra is made for Hillesvåg Ullvarefabrikk and knitted in their divine Tinde pelt wool yarn in the blue turquoise colour 2129. The colour does look gorgeous on Em, I think. I choose to style it with black pencil pants and Benedetta high wedge boots from Monica Stålvang.

Named after the Prophecy Goddess is this elaborate cabled pullover with slightly fitted waist. Two large cable panels are divided by a small cable that ends in a Henley neck, framed with an I-cord. Unlike the body the sleeves only have two small cables surrounded by stockinette stitch, so all the focus is on the body. Corra is knitted in pieces and seamed.

Em is wearing size S, but I have graded the pattern in sizes XS to 2XL, with a bust circumference of 86 cm to 126 cm/33.75 to 49.5″. The pullover is knitted with a 21 stitches and 30 rows gauge in stockinette stitch using 3.5 mm/US 4 needles, measures 10 cm/4″ square. Corra is photographed in the Monolith Hall, with the plaster models made by Gustav Vigeland as casts in parts for the granite 17.3 meter tall/56 feet and 9.1″ Monolith (the center piece of the Vigeland Park in Oslo); a column consisting of 121 figures. The figurine part is 14.2 meter/46 feet and 7″ tall, excluding the plinth. Carved from one single granite block, hence the name (mono: one, litho: stone). Take a look at Em in front of the Monolith in this blogpost: Behind the Scenes Photoshoot at Vigeland Museum.

The Norwegian pattern and yarn kit will be launched at “Fagstrikk (Knits trade fair)” in Oslo in April, while the English pattern will be test knitted in my Ravelry group beginning on 18th of March before its release. It was like a dream to spend the whole day, surrounded by all these amazing sculptures, in the company of only the curators and my crew! Thank you!

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Photoshoot at Vigeland Museum: Aibell

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The next set of photos I am going to show you is the Aibell, the dress I made for Hillesvåg Ullvarefabrikk, knitted in the divine Tinde pelt wool yarn. This was actually the first garment we photographed at the Vigeland Museum at our photoshoot in November. So while Sissel Fylling was working on Emma Ross’ hair and makeup, Eivind Røhne and I looked at the different halls and what we wanted as the backdrop to the different designs. We were awestruck by the large plaster sculptures in the Monolitt Hall and decided to start there. I styled the dress with boots from Monica Stålvang and statement jewellery from Kaja Gjedebo Design. Em did look magnificent in the dress. First I wanted to show you how I prefer the dress, simply hanging down and with the cowl worn as a collar.

I did have a hard time choosing photos, especially for this dress since I also wanted to show off the different ways it can be worn. Here is my introduction to the dress: Named after the Celtic Goddess of Munster who had a magical harp in her possession is this ballon shaped dress where the shaping is done by the cables. The a-line created by the cables is mirrored on the body. The fronthas Right cables beginning at hip one at a time, while the back has Left cables. A cowl make a high cabled collar or a belt. Wear it loose hanging down, slightly pulled up or as a tunic with the rib turned.

Aibell is knitted in Hillesvåg Ullvarefabrikk, Tinde pelt wool yarn made of 100% pelt wool with 260 meters/284 yards per 100 grams using 3.5 mm/US 4 and 3 mm/US 2.5 for the bottom rib. The gauge is 21 stitches and 30 rows in stockinette stitch measures 10 cm/4″ square.

The dress is knitted in pieces and seamed. The cables shape the dress, by adding one cable at a time. Add elastic to the bottom if you prefer to wear it higher up. Adjust the length in the stocking stitch area, depending on how you prefer to wear it. The cowl can easily be adjusted to your preferred height by adding cable repeats or purl stitches in between the cables.

Next view is the rib pulled up. Em is wearing size Small with a bust circumference of 92 cm/36.25 but the pattern has been graded from size XS to 2XL: 86 to 122 cm/33.75 to 48″.

Here is how it looks slightly pulled up from the back.

My last option was to pull the rib inside out and using it as interfacing for a tunic. Here you can see it without the cowl. The neck has an I-cord bind off.

 A close up photo with the cowl, showing the dress worn as a tunic from the back.

Just before Em went to put on trousers for the photos with the dress worn as a tunic, Sissel had an idea. It was a revelation really. She suggested using the cowl as a belt. So we had a go at helping Em putting on the cowl.

It is not a look that will suit everyone but I did love seeing this trendy young look, so thank you Sissel for that idea! You can easily adjust the cowl or belt to your own preference.

Here is the final photo I will show you of Aibell and it is just in time for the test knit which begins on Monday in my Ravelry group. The English pattern will be released after the test knit is completed with the Norwegian pattern and yarn kits will be launched by Hillesvåg Ullvarefabrikk at “Fagstrikk” in Oslo in April. I am so thrilled with all these photos! Thank you to my amazing team!

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Photoshoot at Vigeland Museum: Tweed Jacket and Dewdrop Cowl

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I am delighted to show you the fantastic new photos of my old design Tweed Jacket and Dewdrop Cowl, both from my Norwegian knitting book that was published in 2012: “To rett, en vrang. Designstrikk” (only translated into Finnish). I do love the old photos of ballerina Cristiane Sá, but she is wearing a tutu so I thought some new ones would be good and I had room for one more garment in our photoshoot at the Vigeland Museum in November. Gorgeous model Emma Ross looks stunning in the jacket with the Dewdrop Cowl, worn together with Judith Bech’s stunning skirt. Em’s make up and hair is by Sissel Fylling and jewellery is by Kaja Gjedebo Design. Em is captured by Eivind Røhne in front of the impressive cast iron dragon, a sample for the Vigeland Park Gates.

Eivind and I agreed that the dragon added the drama we wanted to the photos. The Tweed Jacket is inspired by Christopher Kane’s elegant tweed version. Mine has sleeves in stranded colour work in stockinette stitch as a contrast to the tweed pattern, made with slipped stitches on the body and a fitted waist. The tweed jacket has been given a vintage look by using the fine lace weight Hillesvåg Ullvarefabrikk Alv combed yarn held double.

The Dewdrop Cowl is made of left over yarn from the jacket and I also choose to make a larger Cowl, which can be worn on top of each other and with wrist warmers, in the fingering Hillesvåg Ullvarefabrikk, Huldra in a beautiful dark rose red colour. I wanted to add some colour to the outfit and thought this was a magnificent solution. I love the way Sissel knotted Em’s hair in some of these photos!

Hillesvåg Ullvarefabrikk Alv is a laceweight yarn made in 100% combed wool on a 200 gram cone with 1400 meters/1532 yards, which I held double for a machine knitted effect.  The gauge is 30 stitches and 31 rounds/rows in the sleeve pattern in stranded colourwork in stockinette stitch and 27 stitches and 60 rows in Tweed pattern, both with 2 strands held together using 3 mm/US 2.5 needles. The tweed pattern takes 3 colours: 2 greys and 1 black, while the stranded colour work is done in the darkest grey and black.

The body of the jacket is worked in parts and sewed together, while the sleeves are knitted in in the round up to the armholes. The double hems are worked in 2.5 mm/US 1.5 needle, while the other parts are made in 3 mm/US 2.5 needles.

Em is wearing size small with a bust and hip circumference of 90 cm/35.5″, but I have revised the English pattern, made the sleeves wider at the top and added an XL size with these measurements: 106 cm/43″. I also sent the revised pattern to my technical editor Barbara Khouri. It will be added to Ravelry and Loveknitting shortly, together with the Dewdrop Cowl pattern.

The Norwegian pattern will be printed in the magazine Familien at a later date. I am ever so thrilled with these new photos, so thank you to my amazing team!

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Photoshoot at Vigeland Museum: White Mountain Ruana

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Next out is the White Mountain Ruana, worn by the gorgeous model Emma Ross, with Hair & Make up by Sissel Fylling and jewellery by Kaja Gjedebo Design, brilliantly captured by Eivind Røhne at the Vigeland Museum. The Ruana was an accepted design submission to Interweave Knits Winter 2018, knitted in the divine Shibui Knits Maai; a chainette yarn made of 70% superbaby alpaca, 30% fine merino, with 160 meters/175 yards on each 50 gram skein. I chose to style it with black pencil trousers, a black top and black sculptural shoes by Amanda Skovgaard so the lovely brick colour would stand out.

Voluptuous, luxurious, and enveloping, the White Mountain Ruana is a chic layer perfect for winter wanderings. The overlapping fronts can be worn loose or closed with snap fasteners and an I-cord tie. An easy-to-knit allover ripple rib pattern gives this ruana an elegant texture; garter stitch on the collar offers contrast to the body. I love the contrast in texture and colour to the plaster sculptures in the Monolith Hall. You can see Em in front of the finished granite Monolith sculpture in the Vigeland Park in this blogpost: Behind the Scenes: Photoshoot at Vigeland Museum.

The Ruana is worked back and forth in pieces and seamed. A provisional cast on is replaced by an I-cord bind off, at the end. Stitches are cast-on for the width of the sleeve parts. The sleeve parts are identical for all sizes but the larger sizes end in a shorter rib that are picked up and knitted at the end. Two I-cords are made for a tie; one part is attached to the collar and the other to the inside seam. Three snap fasteners are sewed on along seam under arm on Right Front with the corresponding parts on the inside of the collar.

I chose this second side photo since it shows the ruana closed and the first one since you can see the snap fasteners. The White Mountain Ruana is knitted with a 25 stitch and 32 rows in Ripple Rib gauge measuring 10 cm/4” square using a 4 mm/US 6 needle. It was the first time I tried a Shibui Knits yarn and definitely not the last, since they have an impressive selection of luxurious yarns.

Em is wearing size Extra Small/Small, but the pattern is also available in sizes M/L and XL/2XL with a bust measurement (including sleeveparts) of 217 (234, 250) cm/85.5 (92.25, 98.5)” and a lower circumference: 151 (167.5, 184) cm/59.5 (66, 72.5)”. The English pattern is available on Ravelry and on Loveknitting. The Norwegian pattern will be printed in the magazine Familien at a later date. These photos convey the casual stylish look I was aiming for! So thank you to my fabulous team!

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Photoshoot at Vigeland Museum: Eira Pullover

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I have been looking forward to showing you more of the photos Eivind Røhne took at the Vigeland Museum in November last year. Out next is Eira Pullover, made for knit.wear Fall/Winter 2017, knitted in the divine The Fibre Co. Cumbria. Just like Nemetona, due to its light colour, I wanted to photograph this in Hall 9 with the huge plaster sculptures for the bridge in the Vigeland Park made by Gustav Vigeland in the background. Here is the gorgeous model Emma Ross, with hair & makeup by Sissel Fylling and jewellery by Kaja Gjedebo Design wearing the Eira Pullover. You can see the full sculpture in Michael’s photo in the Behind the Scenes: Photoshoot at Vigeland Museum blogpost.

Here is my introduction to the Eira Pullover: A visually striking center cable named Kanik – Eskimo for snowflake – adorns the center front and back of this straight pullover. Kanik is framed by a staghorn cable on each side, while Moss stitch fills the background in the sides to allow the cables to shine. A saddle shoulder allows the staghorn sleeve cable to continue all the way to the neck.

Em is wearing size XS, but the sweater is available in sizes XS to 2XL with a bust circumference of 81 to 123 cm/32 to 48.5″. I chose to style it with tan wide silk trouser after consulting with Sissel, whether to choose cream coloured ones or Judith Bech’s cream coloured skirt.

Eira Pullover is knitted in pieces in the divine The Fibre Co. Cumbria using 4 mm/US 6 needles with a gauge of 20 stitches and 28 rows in stockinette stitch measures 10 cm/4″ square. The Cumbria yarn is made of 60% merino wool, 30% brown masham wool, 10% mohair, on each 100 gram skein and has 218 meters/238 yards. I knitted the sample is in Scafell Pike and it takes 6 skeins of 100 grams to make size XS or about 1107 meters/1210 yards in a worsted or heavy DK weight yarn. I love how Em is studying the sculpture as well as how well you can see the cable on the sleeve in the photo above. Eivind and I also found this particular sculpture with the scales of the dragon such a fitting contrast to the cables.

Last of the Eira Pullover photos is this one of the back. The English pattern is now available on Ravelry and on Loveknitting, as well as in the knit.wear magazine. This was the last one we photographed in Hall 9 at the Vigeland Museum, the remaining eight we photographed in the popular Monolith Hall. But I am sure we would have photographed some of those in the Fountain Hall, had it not been for the current exhibition of a contemporary artist showing an art piece we were not allowed to include in our photos, according to our contract. However, there were plenty of fantastic angles to use in the Monolith Hall. In my next blogpost from the Vigeland Museum Photoshoot I will tell you about another clause in our contract that Eivind liked to joke about. Thank you to my fantastic team! Next out is the Rørbye Cardigan.

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Photoshoot at Vigeland Museum: Nemetona

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I  have been looking forward to sharing the amazing photos Eivind Røhne took of gorgeous model Emma Ross, with hair & makeup by Sissel Fylling and jewellery by Kaja Gjedebo Design at the Vigeland Museum, next to the Vigeland Park in Oslo in November last year. The brick building in Norwegian Neo Classical style from the 1920’s does not look especially impressive from the outside, but I can promise you that the inside will blow you away. Not only because of all the sculptures but also because of the majestic ceiling height. “The museum is the result of a unique contract between Gustav Vigeland and the city of Oslo signed in 1921: The Municipality agreed to build a studio, residence and future museum for the artist and his work, and in return Vigeland donated nearly all his works, previous and future, to the city”. This year the Vigeland Museum celebrates that it is 150 years since the artist was born. What better occasion to start presenting these photos. First out is my new design Nemetona, since the test knit begins on Monday on Ravelry.

Nemetona is Celtic for goddess of all sacred places. Like a magical cable grove is each part of this pullover: Staghorn, Roman; and double cables are framed by Honeycomb pattern. The flowing longer back with its curved hem, creates a stylish contrast to the straight front. Nemetona is knitted in pieces in the divine The Fibre Co. Cumbria using 4 mm/US 6 needles and 3.5 mm/US 4 needles with a gauge of 20 stitches and 28 rows in stockinette stitch measures 10 cm/4″ square.

Em is wearing size small, while the pullover is graded from size XS to 2XL with a bust circumference of 84 to 126 cm/33 to 49.5″. I chose to style it with some tan coloured silk trousers, after asking for Sissel’s advice. In additon I had also brought the same trousers in cream and one of dress designer Judith Bech’s cream coloured long skirts with a train, because I had not made up my mind before we left for Oslo and the museum.

The sweater is knitted back and forth in pieces and then seamed. The neckband is worked in the round, double and folded down. The longer back has decreases in the double cable at the bottom. The vent edges are made with slipped stitches.

When the test knit of the English pattern is completed it will be released in my Ravelry store, while the Norwegian pattern will be published in the magazine Familien at a later date.

Nemetona was the second design (the other one was Eira Pullover) we photographed in Hall 9, with plaster models for the sculptures decorating the bridge in the Vigeland Park. You can see more of the sculptures in Michael’s photos in the Behind the Scenes: Photoshoot at Vigeland Museum blogpost. Both Eivind and I loved the massive, tall sculptures in this hall and the terracotta walls which we knew would suit Em’s hair colour.  Above you see the results, thanks to my fantastic team!

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Behind the Scenes: Photoshoot at Vigeland Museum

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On Monday, I had a photoshoot at the Vigeland Museum, next to the Vigeland Park in Oslo. The brick building, with a majestic ceiling height, was built in the 1920’s in a Norwegian Neo Classical style. “The museum is the result of a unique contract between Gustav Vigeland and the city of Oslo signed in 1921: The Municipality agreed to build a studio, residence and future museum for the artist and his work, and in return Vigeland donated nearly all his works, previous and future, to the city”. It was with anticipation we (read my brilliant team: Photographer Eivind Røhne; Hair & Make Up Artist Sissel Fylling; Model Emma Ross; Michael; and me) were let in by one of the curators, as the museum is closed to the public on Mondays. During the day we had the chance to observe the curators at work and they us. As much as we admired their work, they enjoyed watching the beautiful garments being photographed and wondered which fashion magazine we were from. I explained that I designed handknit and that the photos were for the patterns and for the magazine Familien. Above you see gorgeous model Em, photographed by Michael in front of one of the plaster models for a sculpture to the park. Em is wearing Eira Pullover made for knit.wear Fall/Winter 2017, soon to be released in English in my Ravelry store.

“Vigeland moved into the new building in 1924, living in the apartment on the top floor of the east wing. Here he resided and worked until his death in 1943. From the tower in this majestic red brick building he had a beautiful view towards the fields of Frogner, where his great project, the park, soon was to be reality.” We were guided into the Children’s room, were we would camp out all day. I am sure we enjoyed it as much as the children who usually visit that room! While Hair & Make up Artist Sissel was working her magic on Em, Eivind and I did a round in the museum. We picked two halls as for our shoot: Hall 9, which you see above and the Monolith Hall, which you see below. On the agenda was photographing a total of 10 garments: 4 new designs for Hillesvåg Ullvarefabrikk; 1 new design for the Norwegian magazine Familien: Nemetona; 4 returning designs from Interweave: Eira Pullover, Rørbye Cardigan, White Mountain Ruana and Andaman Top; 1 old design from my book: Tweedjakke with accessories: Duggdråpe Halser.

“The museum opened in 1947, houses almost Vigeland’s entire production; sculptures in plaster, granite, bronze, marble, works in wrought iron, thousands of drawings, woodcuts and woodcarvings. In the museum you will find the original plasters to his famous busts and monuments, in addition to the plaster models to the sculptures in the Vigeland Park.” Above you can see Eivind in action, with me standing next to him and Michael just behind him. In the end we photographed nearly all of the garments, with the two exceptions you see above, in the Monolith Hall.

The lizard in wrought iron is a model for the gates in the Vigeland Park and the most complicated of these wrought iron works Vigeland made. Their graphical presence added extra drama and was perfect for the Tweedjakke worn over Judith Bech’s wonderful skirt with a train. I was wearing the Patent Poncho, while Sissel – as you can see was cold – and wore her coat inside. To our surprise she did not cut Em’s hair this time. I had also borrowed jewellery by Kaja Gjedebo Design, as I usually do. There is no café at the museum so I had ordered catering from the nearby Eckers Cafe, with one delivery of drinks in the morning and one for lunch, so that we would not loose too much time looking for a nearby restaurant and wait for our lunch. That worked well and while we spent quite a bit of time to set up and prepare for the first garment, the remaining ones went quickly.

Michael assisted Eivind but also had the time to photograph some of the collection in the museum. Eivind had brought both extra lighting and a huge flash to make sure the lighting would be good enough. Above is the Monolith model for the park in front of the Monolith itself. “In the Monolith Hall stand several of the original plaster models to the 36 granite sculptures on the Monolith plateau, as well as the Monolith itself. This sculpture was carved in one piece (hence the name Monolith), but it was first modelled in clay, and then casted in plaster in three parts, as displayed in the museum today.”

The Vigeland Museum is a popular venue for fashion shows, but also for concerts outside in the courtyard during the summer. The photoshoot was exhausting but also extremely rewarding and wonderful at the same time! After the shoot was a wrap – thanks to a brilliant team – and we had taken farewell with the curators and the security officer, we headed for the park, as Em has not had the time previously to see it. Above you see here in  front of the Monolith in granite. Do visit both the park and the museum, when in Oslo, they are worth it. I will recapture our visit by choosing pictures from Eivind.

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