One reason I cherish the day I stumbled upon Ravelry, is the community. Thousands of people who love handcrafts just like me. A place where it’s ok to geek out about yarn or the knits seen in a film.
Knitters actually left the movie theaters after watching Black Panther and got on Ravelry to find out more about that knit shawl/wrap.
Some knitters were wondering about the yarns used, while others wanted to know about the designer, if there is an official pattern out, and still others just want a good look at the piece, to see if they can reconstruct it.
So threads popped up on Ravelry, and sure enough fellow knitters posted pictures of the shawl within days. The shawl is on show in Los Angeles.
There’s been an impressive amount of detective work going on,
While some are waiting patiently, there is a very subtle convo taking place where folks want to make this piece but have to refrain from Reverse engineering it too closely or putting out patterns using the names of Black Panther or its characters, which are of course protected by Marvel copyright. No one wants to get caught in that trap!
What has impressed me though, is a new group that has popped up on Ravelry, which seeks to inspire knitters to take the Black Panther knit as creative inspiration.
That to me embodies the spirit of afrofuturism, where such a small thing like a handknit shawl in a movie can inspire the ongoing creativity of so many knitters and crocheters around the world.
Doreen St. Felix of the New Yorker breaks down why Amy Sherald’s Portrait of former First Lady Michelle Obama is so haunting.
Milly by Michelle Smith / vogue.com
There’s a funny thing about inspiration: While the Designer, Michelle Smith of Milly mentions to Vogue that her Inspiration was Mondrian, Amy Sherald made the connection to the quilts of the women of Gee’s Bend.
So although Folks are getting all upset because the portrait isn’t photo-realistic, it is clear that Obama and Sherald had a great working relationship, and she loved Sherald’s work. She likes how Sherald portrayed her for perpetuity. This is Art. It makes you stop and take a long hard look. And gets you thinking (why grey?), why this artist, why this dress, filling in the blanks, and what not.
It shook me how much Mrs. Obama looks like her younger daughter. But also how the negative space on the skirt suggests a heart (until it doesn’t). Sherald only paints 10 – 12 portraits a year, seeking out subjects who project a timeless quality. She hit it out of the ballpark.
I have a natural proclivity to think things over and over, which looks a lot like procrastination. And I honestly cannot say that it isn’t.
Every year, I knit a hat for my extremely knitworthy sister-in-law. Every year, I follow a pattern. This year, I decided to design one myself. It took me ages to decide how I wanted the hat to look: I even went to a Christmas Market, hung around sipping Mulled Wine (= Glühwein) and had a look at people’s heads, to get inspiration.
By the time I got it cast on and knit the band, I realized that I had cast on too many stitches. I had to rip it out and start again. And then I realized that I had to keep it simple because I had so little time to get to it, in-between shopping, menu-planning, and prepping to have the house full of relatives for the Holidays.
The Yarn: Lana Grossa Cosy by Lala Berlin. A soft fuzzy alpaca-wool blend. With just a smidgen of Nylon.
Very cozy and cuddly bulky yarn with a nice hand. And a gorgeous halo, which means that this yarn does not love too much frogging, but on the positive side, the easiest yarn splice ( I prefer not to splice with spit. I use water) I’ve ever done.
I’ll get into my new design once I’ve got it all written down. Suffice it to say, I finished it on Boxing Day while we were all watching Paddington. And it’s now winging ist way to Japan where my sister-in-law is on Holiday.
I vaguely remember the opening of the MoMA Exhibition Items: Is Fashion Modern?At the time, I thought, ‘What a pity that I’m not planning on being in New York to see this anytime soon.’
Well, now they’re offering a Massive Open Online Course (MOOC), based on the Exhibition over at Coursera.org. Enrollment is open until December 25.
The Course is run by the exhibition’s curator Paola Antonelli along with her team from the Department of Architecture and Design at the musem.
Among all objects of design, our clothes are the most universal and intimate. Like other kinds of design, fashion thrives on productive tensions between form and function, automation and craftsmanship, standardization and customization, universality and self-expression, and pragmatism and utopian vision. It exists in the service of others, and it can have profound consequences—social, political, cultural, economic, and environmental.
Fashion as Design focuses on a selection of more than 70 garments and accessories from around the world, ranging from kente cloth to jeans to 3D-printed dresses. Through these garments, we’re going to look closely at what we wear, why we wear it, how it’s made, and what it means. You’ll hear directly from a range of designers, makers, historians, and others working with clothing every day—and, in some cases, reinventing it for the future. Studio visits, interviews, and other resources introduce the history and development of each garment and their changing uses, meanings, and impact over time.
Are ribs ever not in? I think it’s very much about texture and structure. Solène Le Roux, a designer out of Hong Kong, has some very classic pieces (Rib and Garter Stitch Shawl right, and Ribbed Raglan Sweater top left), while Meghan Fernandes’ contribution to the Slow Knitting book, Spruce features ribbing in cozy cowl form.
In fact, the more I think about it, the more I want to include my Sheep Sorrel in as a rib (because panels are also about texture and structure).
Now, I’ve been seeing ruffles for quite a while now, so I will not ask if we have reached ‘peak ruffle.’ If you like ruffles (I love ruffles, and am finally thrilled to have learned how to knit them), then I say knit ruffles.
And lastly, I was disappointed to find that there aren’t a lot of clear definitions on the interwebs about what exactly a Ruana is. So, I’ve done a bit of research for us, my dear readers.
A poncho is more or less a square or rectangular shaped outer garment, with a slit/hole in the middle where the head slips through. They can be knit on the bias (with a point in front), or straight (often referred to as a serape). In contrast, a ruana looks like a T or a Y when lain flat. Deidre at BiddyMurphy says that ruanas come from the Andes region of Venezuela, and the word originally meant ‘Lord of Blankets.’ They may or may not have a hood attached, but tend to generally be longer than a poncho.
I’m knitting Pam Allen’s Sheep Sorrel hat using Falkland Aran by Debbie Bliss in Claret. This is a soft, shiny organic wool, from a farming community in the Falklands. It’s a three-ply, with a good amount of twist, stitch definition, and has a good amount of loft (ie very springy and squishy) and elasticity.
The pattern is clearly and efficiently written, even including instructions on how to do the cables with and without a cable needle.
Why bother You can knit faster. You know when sections change, and know what comes next. You can find (and correct) errors faster. With a recurring pattern, you reading your knitting means you understand what the designer intended, and you can actually let go of the pattern (which means portability). Many people often praise patterns for being easy to memorize. Reading your knitting means you don’t need to memorize at all.
How-to Read the general description in the pattern introduction first. This will not click at first. But we’ll come back to that later.
Then look at the pattern section. Make a rough stitch chart if there isn’t one. (If there is, then skip to the next step). It doesn’t have to be perfect, it just has to be good enough for you to understand. The Sheep Sorrel hat has a 15 stitch repeat over 4 rounds.
Do a mini-swatch
If you are a learning-by-doing knitter like me, making a swatch to learn a pattern isn’t such a hardship. Cast on the required stitch number plus 6 extra for a 3 stitch border on each side. Place stitch markers, so you don’t forget where your border sits. Knit three rows (for a garter stitch/ non rolling edge) and then get going. Once you’ve done two or three repeat, finish off with with three knit rows and bind off.
I wouldn’t bother cutting my yarn. This swatch isn’t to be blocked, so it is perfectly fine to rip it out after, and knit it into the hat.
I definitely am not a big fan of swatching in the round, however I wanted to see how quickly it would take me to learn the pattern on the fly. I took me four repeats, dear Readers. In my defense, a glass of red wine was involved.
On the fly
Once you’ve gotten into knitting the pattern, exactly as written (a stitch marker after each repeat will help you keep your place), stop and have a good look at what’s on the needles.
Now is the time to revisit that general description and compare it to what you have before you. Sheep Sorrel seems to be about panels and mini-cables (actually twisted stitches, but hey, let’s not quibble). We can see that the garter and patterned panels alternate and are separated by columns of cable. We also see that each column of cable has a p1 before and after it.
Once I realized this, I realized that one type of twist was used per column. Some columns twisted to the right and others to the left. That meant I could undo and repair any twist that was incorrect (if something looks like an S, then it’s wrong). I left one S, because nothing in this world is perfect.
At this point, I knit another round, without peeking, to see if I understood the pattern. Once I had done that, checked, then made my corrections, I knew I could let go the pattern and continue the required length of knitting. I wouldn’t say that I’ve memorized the pattern, but I’ve understood the logic behind it: I want to keep my panels going, and the cables twisting the right way round.
This survey in no way claims to be a comprehensive list of all knitting magazines published in Germany. It is however a list based on what you would find in any well-stocked local supermarket or yarn shop.
Publications by Yarn Companies – like the one above, the yarn companies are now putting out their catalogues, which look more like Fashion magazines. Filati from Lana Grossa, and Made by Me – Handknitting from Rico. Depending on which yarns the LYS carries, you’ll find a variety of these magazines in yarn shops, but also on the magazine racks in supermarkets, bookstores and even railway stations.
Publications in women’s magazines – like Brigitte. Although Brigitte has recently branched off into the yarn market. They have launched a wool line, in cooperation with Lana Grossa, they publish a yearly knit-issue, and have launched a Special Edition Brigitte Creative magazine, with patterns and kits for sale. Another notable magazine venturing into patterns and yarn and kits is Landlust, which started out as a magazine celebrating living the good life in the countryside. Their patterns turned out to be so successful, that it seems only natural that they now offer the yarns (lovely tweedy yarns).
Publications by craft companies – for some strange reason (probably post-war Mad Men era publishers and ad-men deciding what housewives wanted) most of the craft-focused magazines have girly names like Ana, Diana, Verena, and Sabrina. There’s also Häkeln for you (for crocheters) and a Stricktrends (Knittrends).
A solid exception is Burda, well-known for years in sewist circles, they started out with Burda Stricken, and has recently responded to the growing market for more creative crafty magazines by putting out a Burda Creative with a wider mix of interesting craft projects.
Following this upsurge, we also saw the introduction of Mollie Makes in German, and of course, The Knitter, more or less recycling years-old material for German knitters.
One final note: International knitting publications from the US (like Interweave) and the UK (like the english version of The Knitter), are available mostly in railway stations or in the larger chain bookstores. Vogue Knitting is called Designer Knitting outside the US.
Where do you prefer to get your knitting magazines?
I know, I know! Anyone who knits or crochets, knows that the pieces above are crocheted. The point I want to make is, Oktoberfest is a THING in Germany. Yes, we love a good party. With lots of good beer and good food to soak up said beer. Bear with me here (excuse the pun!)
Oktoberfest is originally from Bavaria. It was exported to other parts of Germany (yes, Bavaria was once it’s own kingdom with a King, a mad prince, fairytale castles and the whole kit), and is still a great excuse to throw a party – the basic menu is so simple, it’s any host’s dream (beer, soft pretzels, done).
Be aware though, that Oktoberfest is only ever a Thing from late September to early November. It’s one of many Festivals taking place in western and southern Germany. Along the Rhine, for example, you’ll find more wine festivals (each village with their very own wine princess or the occasional prince).
However, we’re more interested in what to wear to Oktoberfest. And that brings us to the traditional costmes: Dirndls, Lederhosen and knits/crochets.
Traditional costumes (Trachten) differ from region to region. In the Black Forest, it’s mostly black, with red accents. Married women wear wide-brimmed hats with black pompoms, while single girls wear red pompoms on their hats.
The Dirndl is worn with a blouse, the overdress, a skirt and an apron in it’s simplest variation. How you tie the bow of the Apron, signifies your marital status (left, if you’re single and looking). Nowadays, you’ll also see young women wearing Lederhosen (from Hotpants to regular length).
October evenings do tend to get cold, so having something to layer on, is quite important. One option is a felted wool jacket called a Janker; others opt for a reverse stockinette stitch/ garter-stitch jacket. Not unheard of, is a nice big warm shawl (with a flounce, or an accent trim to match the colour of the apron).
This is a lovely alternative, if you don’t crochet, especially as it really calls back to the traditional knit jackets. And who doesn’t love a ruffle?
I went to a local Heimatmuseum (most districts and cities in Germany have some form of Heimatmuseum or association,which has permanent exhibits about the history of the specific area), the Pfinzgaumuseum to take a look at a private collection of summer shoes, called ‘Bambus, Binsen, Birkenrinde’ (Bamboo, Birchbark) .
The private collector, Hildegund Brandenburg, an architect made these shoes while away with her family on holiday. According to the exhibition information, it all started more than 20 years ago during a holiday in Norway. She described how her children were bored out of their skulls. So, the idea was to get the kids out to gather natural materials to make a house. She ran into some tree bark and decided to make sandals for the kids.
“I imagine myself to be a woman from prehistoric times, who has to make shoes for every family member every day.”
She often uses glue, needle and thread, but mostly restricts herself to using her swiss army knife. Her ideal shoe is one that is made of only one material, and quick to make.
She further describes how, compared to architecture, where the timeframes can be very long (from idea to completion), making a shoe is almost like instant gratification. After a while, it seems, she would make only one shoe ( I guess as a souvenir, once her kids were grown), as she wasn’t interested in repeating the process.
One shoe, highlights the real challenge for her: getting to know the materials intimately (characteristics, life period and stability, static and dynamic limits, and compatibility with other materials), and solving the thorny problem of how to connect the various parts. Each shoe tells the story of the holiday – from the Mediterranean palms, cork from Corsica, tree bark from Northern Europe.
I had expected twenty shoes, quaintly displayed, and was pleasantly surprised to see over a hundred sandals spread out on shelves. The museum did attempt to provide some extra information about the various regional plants used. This exhibition belongs in a museum of applied arts or the shoe museum in Hauenstein, with more space and resources to show the shoes and their materials properly. What would interest me, was how prehistoric people solved that summer shoe problem…