New pattern: Observatory Gate

In the mood for some cosy cables? This squishable scarf was created in collaboration with John Arbon Textiles, who are launching their new Yarnadelic Worsted yarn tomorrow (which just happens to be my birthday - I’ll be 43)! The Observatory Gate scarf is thick and cosy, with an all-over cable pattern meandering to and fro over a background of reverse stockinette.

A dark cabled scarf displayed on a black table, with a small grey cat investigating

Every now and then I see something when I’m out and about and just know it needs to be turned into knitting somehow. Inspiration struck during a walk through Melbourne’s Royal Botanic Gardens when I laid eyes on the intricate wrought-iron Observatory Gate, so named because it marks the way to an old historic observatory. I snapped the photo below and began charting and swatching, trying to find an effective way of capturing the gate’s wavy, fluid trellis-pattern in knitting. After many false starts involving twisted-stitch mini-cables, larger cables, and even colourwork, I hit upon this cable pattern which strikes a good balance between knitability and aesthetics.

A wrought iron gate with an unusual flowing trellis pattern studded with stars

The Observatory Gate at the Royal Botanic Gardens, Melbourne Australia

To knit my sample I used 5 skeins of Yarnadelic Worsted by John Arbon Textiles, which is 100% Falklands Corriedale wool, at 235yds/215m per 100g skein. Yarn kits for this pattern will be available on their website shortly, in a range of beautifully-heathered colour options. I used the colourway ‘Black Gold of the Sun’, a complex greenish-black shade perfect for evoking old ironwork. I haven’t knit many cabled projects in a colour this dark, but now that I’ve tried it I’m obsessed. Shoutout to my new-ish pair of reading glasses, without which I would not have been able to weave in the ends no matter how good the lighting!

I love how the woolliness of the yarn helps minimise the little imperfections in my tension; my usual stretched-out cable stitches look much better after washing and blocking. I’ve previously used the sport-weight version of Yarnadelic for knitting colourwork (in my Cat’s Eye Cowl), and I thought it worked brilliantly - the woolliness once again helps smooth everything out and makes for a cohesive fabric, and there are so many inspiring colour options. I’ll definitely keep the worsted version in mind for heavier-gauge colourwork.

Amy is wearing a dark cabled scarf over a black jacket and smiling at the viewer
Amy is holding up a dark cabled scarf to show off the texture

The scarf measures 77”/195.5cm in length, which can be adjusted by working a different number of cable-pattern repeats, and the 13”/33cm width is easily adjustable by adding or subtracting a multiple of 12 stitches to the cast on. If you’re confident with working 2-over-2 cables this should be a nice straightforward project with an impressive result.

I recommend blocking your scarf once it’s finished to tidy up any wonky stitches and help the edges uncurl. I wet-blocked mine by soaking it in warm water with a little wool wash, gently rinsing it and squeezing out the water, and carefully laying it out flat to dry. I didn’t use any pins or wires because I didn’t want to risk stretching it too much and flattening the cables. Instead I smoothed it out with my hands, and used a long wooden ruler to check the edges were straight and even.

A wide cabled scarf is laid flat to dry on interlocking foam mats

My scarf laid out to dry on my foam blocking mats - please excuse the claw and nibble marks, my cats are a bit too keen on these mats!

Observatory Gate features:

  • A scarf knit from end-to-end, with an all-over pattern of interlinked cables

  • One size is included in the pattern, with suggestions for adjusting the length and width

  • Requires 1,107yds/1,012m of worsted weight yarn (shown in John Arbon Textiles Yarnadelic Worsted)

  • Choose a non-superwash wool yarn in a solid or heathered shade

  • Scarf dimensions, relaxed after blocking: 77”/195.5cm length, and 13”/33cm width

  • Charts and written instructions are both provided in full.

Two grey cats sitting on a dark cabled scarf arranged on a black table

My little helpers love to get in on the photoshoot action.

Find out more about my Observatory Gate pattern, including Ravelry and Payhip purchase options.

Ensata Revisited

Brooklyn Tweed are launching a new yarn this month, and they’ve knit up a new sample of my Ensata Scarf to show it off! I love the fun, juicy-looking colour and the slightly softer, plump texture in this yarn. Tones Light will be available to purchase from the 17th of August, with more details and colour-reveals coming soon.

The Ensata Scarf & Cowl pattern includes directions for knitting the scarf in either fingering or laceweight yarn, plus directions for a fingering-weight cowl knit in the round. During the month of August, Brooklyn Tweed are offering a rare $1 USD discount on the pattern on their website, with no coupon code needed.

A model is throwing a coral-pink lace scarf around her shoulders

Photo: ©Brooklyn Tweed

A model is wearing a coral-pink lace scarf softly draped around her shoulders

Photo: ©Brooklyn Tweed

A juicy coral lace scarf is draped over an old fashioned wooden chair

Photo: ©Brooklyn Tweed

New collection: Twisted Strings

I’ve been dreaming of making this collection a reality for literally years, and I’m so happy to be able to present it to the world! Twisted Strings is a collection of five accessories inspired by the decorative tracery found on Baroque string instruments, in unapologetic celebration of my particular brand of nerdery. The names of the individual designs - the Dowland Wrap, Tielke Shawl, Playford Hat, Jaye Mitts, and Simpson Cowl - are borrowed from seventeenth-century composers, instrument-makers, and music teachers and publishers.

Twisted Strings

My interest in the seventeenth-century musical world is a long-standing thing - I studied various aspects of it in my university days, which I touched on in my earlier post Why ‘Baroque Purls’? At around the same time I took up playing the viol - badly - before moving on to singing, which happily was a much better fit for me. I still enjoy messing around with songs from this period, but my cats do tend to object.

A couple of years ago I was fortunate enough to visit Europe for the first time, and one of the big highlights for me was visiting Leipzig and its Bach Museum, churches, and Museum of Musical Instruments. I took a ridiculous number of photos, some of which you can see below, and I took my inspiration for the cable patterns in this collection directly from a few of the decorative details I captured.

If you’re interested, you can find more examples of beautiful historical instruments in the Orpheon collection, and via the MIMO (Musical Instrument Museums Online) database, which I wish had existed when I was at uni!

A case full of viols, and an early edition of Playford’s Introduction to the Skill of Musicke (Musikinstrumentenmuseum der Universität Leipzig, 2016)

A case full of viols, and an early edition of Playford’s Introduction to the Skill of Musicke (Musikinstrumentenmuseum der Universität Leipzig, 2016)

This clavichord was one of the few instruments we were allowed to touch (Musikinstrumentenmuseum der Universität Leipzig, 2016)

This clavichord was one of the few instruments we were allowed to touch (Musikinstrumentenmuseum der Universität Leipzig, 2016)


Dowland Wrap:

Named for the composer John Dowland, famous for his melancholy songs and instrumental works for viols, the Dowland Wrap is a dramatic rectangular wrap featuring a central cable panel flanked by contrasting garter stitch.

Dowland Wrap

Contrabass, Italy, mid-17thC (Musikinstrumentenmuseum der Universität Leipzig)

From ‘Flow my teares’, a lute song from Dowland’s Second Booke of Songs or Ayres (1600)

Dowland Wrap features:

  • a rectangular wrap worked from end to end

  • a central cable panel inspired by the geometric tracery decorating 17thC string instruments, with wide garter stitch edges for textural contrast

  • simple 1-over-1 cables, which can be knit without a cable needle (instructions for my favourite twist method are included)

  • requires 5 skeins of Malabrigo Dos Tierras (50% baby alpaca, 50% merino wool; 210yds/192m per 100g skein), or 1050yds/960m of DK-weight yarn. Sample colourway: ‘Azul Profundo’

  • 72.5”/184cm long and 17.5”/44.5cm wide, relaxed after blocking

  • charts and written instructions are both provided in full.


Tielke shawl:

The Tielke Shawl is an asymmetric triangular shawl featuring a garter stitch ground and a cable panel which grows in complexity as you knit: it flows from simple twisted cables, representing the strings of musical instruments, into a complex intertwining motif. The shawl is named for the Tielke family of musical instrument makers - Joachim, who created richly decorated instruments in his Hamburg workshop, and Gottfried, who made the five-stringed contrabass (now in Leipzig’s musical instrument museum), which inspired the shawl’s cable detail.

Tielke+Shawl

Contrabass by Gottfried Tielke, 1662 (Musikinstrumentenmuseum der Universität Leipzig)

Tielke Shawl features:

  • an asymmetric triangular shawl worked from one point to the opposite side

  • simple garter stitch with a cable panel running along one edge, inspired by the geometric motif decorating a 17thC contrabass

  • simple 1-over-1 cables, which can be knit without a cable needle (instructions for my favourite twist method are included)

  • requires 4 skeins of Malabrigo Washted (100% superwash merino wool; 210yds/192m per 100g skein), or 820yds/750m of worsted-weight yarn. Sample colourway: ‘Sunset’

  • 74.5”/189cm wingspan and 31.5”/80cm depth, relaxed after blocking

  • charts and written instructions are both provided in full.


Playford hat:

The Playford Hat is named for the music publisher and bookseller John Playford, known for publishing music by various composers, the collection of dance melodies and steps The English Dancing Master, and instructional books for various instruments including the violin. The hat’s all-over cable pattern is inspired by the delicate latticework framed with hearts inscribed on a beautiful violin by Hans Krouchdaler (circa 1700).

Playford+Hat

Playford Hat features:

  • a cabled beanie worked in the round from the bottom up

  • an all-over cable pattern inspired by the geometric lattices framed with hearts on a highly-decorated Baroque violin

  • simple 1-over-1 cables, which can be knit without a cable needle (instructions for my favourite twist method are included)

  • requires 1 skein of Malabrigo Arroyo (100% superwash merino wool; 335yds/306m per 100g skein), or 205yds/187.5m of sport-weight yarn. Sample colourway: ‘Borraja’

  • 18”/46cm circumference and 8.75”/22.5cm length, relaxed after blocking

  • to fit 19-23”/48-58.5cm head circumference

  • charts and written instructions are both provided in full.

From The English Dancing Master (1651)

From The English Dancing Master (1651)


Jaye mitts:

The Jaye Mitts, named for the viol-maker Henry Jaye, are a pair of fingerless mitts featuring a delicately intertwining cable motif, and simple twisted cables on the palms representing the strings of musical instruments. Many modern viols being played today are careful copies of Jaye’s original instruments.

Jaye Mitts

Jaye Mitts features:

  • a cabled pair of mitts worked in the round from the bottom up

  • cable motifs inspired by the geometric decoration on a 17thC descant viol, and plain twisted cables on the palm side

  • simple 1-over-1 cables, which can be knit without a cable needle (instructions for my favourite twist method are included)

  • requires 1 skein of Malabrigo Sock (100% superwash merino; 440yds/402m per 100g skein), or 196.5yds/180m of light fingering weight yarn. Sample colourway: ‘Teal Feather’

  • 7”/18cm circumference and 7.25”/18.5cm length, relaxed after blocking

  • to fit 7-8.5”/18-21.5cm palm circumference

  • charts and written instructions are both provided in full.

Descant viol by Henry Jaye, mid-17thC (Musikinstrumentenmuseum der Universität Leipzig)


Simpson cowl:

The Simpson Cowl is named for viol-player and composer Christopher Simpson, who wrote The Division Viol to teach players how to embellish and improvise on a melody or bass line. The short cowl is worked in the round, and features an all-over pattern of intertwining cable motifs which I extrapolated from the lattice motifs found on various seventeenth-century viols and other instruments.

Simpson Cowl

Simpson Cowl features:

  • a cabled cowl knit in the round from the bottom up

  • an all-over cable pattern inspired by the decorative latticework on 17thC string instruments

  • simple 1-over-1 cables, which can be knit without a cable needle (instructions for my favourite twist method are included)

  • requires 1 skein of Malabrigo Washted (100% superwash merino wool; 210yds/192m per 100g skein), or 201yds/184m of worsted-weight yarn. Sample colourway: ‘Pearl’

  • 22”/56cm circumference and 8.5”/21.5cm depth, relaxed after blocking

  • charts and written instructions are both provided in full.

From The Division-viol, or The Art of Playing ex tempore to a Ground (1665)

From The Division-viol, or The Art of Playing ex tempore to a Ground (1665)


Twisted Strings (sketches)

The cable patterns featured in these designs have some elements in common across the whole collection, most notably interwoven latticework motifs of varying complexity, combined with 2-stitch cable ribs which symbolise the twisted strings of musical instruments. The cable patterns are relatively fuss-free, and can be worked entirely without a cable needle - instructions for my favourite method are included in the patterns, and you can also find my tutorial here. You will come across a few stitches worked through the back loop (because they give a crisper look to the cable tracery), but I’ve kept these to a minimum for the sake of ease.

All five patterns are available for download on Ravelry and Payhip, where you can find additional photos and details, and purchase them individually or together in an ebook (with a reduced price per pattern).

New patterns: Ensata Scarf & Cowl and Ensata Hat

I hope you’re in the mood for some texture and lace, because my Ensata Scarf & Cowl and Ensata Hat have just been published as part of Brooklyn Tweed’s Wool People 13! This is my fourth time contributing to Wool People, which is BT’s annual collection in collaboration with guest designers.

The stitch patterns in my Ensata designs are inspired by the gently curving pairs of leaves on my moth orchids. The working title at the time of submitting my ideas was the slightly clumsy ‘Orchid Leaves’, but we switched to ‘Ensata’ after the elegantly curved petals of the Japanese Iris, Iris ensata. The twisted ribbing, which flows into and out of the lace, provides a textural contrast and echoes the structure of a grand domed greenhouse.

Photo by Brooklyn Tweed

Photo by Brooklyn Tweed

The scarf is knit flat from end to end, and the cowl, which is included as a variation together with the scarf pattern, is worked in the round from the bottom up. The hat, available as a separate pattern, is also worked in the round from the bottom up. If you’re not a fan of knitting lace on both right-side and wrong-side rows, the cowl or hat might suit you better than the scarf. I know I found these stitches much more straightforward to work in the round!

The Ensata Scarf has been designed for either laceweight or fingering-weight yarn, and is shown here in Brooklyn Tweed Vale in the colourway Klimt. You will need 3 skeins of Vale or 6 skeins of Peerie to knit the scarf. The cowl and hat are both designed for fingering-weight yarn, and are shown in Brooklyn Tweed Peerie in Patina and Fleet (respectively). You will need 2 skeins for the cowl and 1 for the hat.

Both Vale and Peerie have wonderful springiness and stitch definition, which make them ideal for showing off knitted texture. I love the way the twisted ribbing almost looks like it’s been carved into the surface of these knits.

Photo by Brooklyn Tweed

Photo by Brooklyn Tweed

Ensata Scarf & Cowl features:

  • a delicate scarf knit flat from end to end, and a short cowl knit in the round from the bottom up

  • alternating bands of lace and twisted ribbing, with organic transitions between the two

  • scarf dimensions: 68” [172.5cm] in length and 15½“ [39.5cm] width

  • cowl dimensions: 26¾“ [68 cm] circumference and 12” [30.5 cm] height

  • scarf requires 1070 yards of laceweight or 1065 yards of fingering-weight yarn

  • cowl requires 375 yards of fingering-weight yarn

  • pattern includes charted stitch patterns only

  • pattern includes both scarf and cowl versions.

Ensata Hat features:

  • a stretchy beanie knit in the round from the bottom up

  • a ring of lace contrasts with the all-over texture of twisted ribbing and clean lines of the crown shaping

  • hat dimensions: 17¾“ [45 cm] in circumference and 8½” [21.5 cm] length, to fit adult head sizes ranging from 19-23” [48-58.5 cm] circumference

  • requires 163 yards of fingering-weight yarn

  • pattern includes charted stitch patterns only.

Photo by Brooklyn Tweed

Photo by Brooklyn Tweed

You can purchase the patterns on Ravelry, or from Brooklyn Tweed’s website (Ensata Scarf & Cowl, Ensata Hat). A kit including the Scarf & Cowl pattern and three pre-wound skeins of Vale is also available. And be sure to check out the always-beautiful Lookbook for the collection!

New pattern: Anagram

I'm so happy to finally be able to share this pair of projects with you! The Anagram Hat & Wrap are part of the new amirisu Winter 2018 issue, along with seven other patterns celebrating texture in knitting.

Photo by amirisu

The Anagram Hat is a cosy beanie with crisp texture, and its sibling the Anagram Wrap is a large dramatic rectangle with an all-over lace pattern. The stitch patterns combine modern geometric lace with garter stitch for texture and squish factor.

Geometric stitch patterns have become a real signature of mine - I find them very satisfying, both in the designing stage and the knitting. Because of the small repeating elements in their stitch patterns, the Hat & Wrap are very rhythmic and meditative to knit. I rearranged the little 'blocks' of pattern, with diagonal lines travelling across the garter stitch background, just like rearranging the letters in a word - so I think of these two stitch patterns as 'anagrams' of each other.

Photo by amirisu

The Anagram Hat & Wrap are both knit in Brooklyn Tweed Arbor in the delicate wintery shade 'Thaw'. Arbor's beautifully crisp stitch definition really lets their texture shine. You will need 7 skeins for the wrap and 2 for the hat (including a pompom if you wish).

Photo by amirisu

Hat Features:

  • a cosy textured beanie in modern geometric lace

  • can be topped with a pompom if you wish

  • knit in the round from the bottom up

  • techniques include the long tail cast on, and lace knitting including the occasional double increase and decrease

  • suitable for solid or semi-solid-dyed DK-weight yarn

  • one size, easy to alter by changing the number of repeats around

  • pattern includes full written instructions as well as charts.

Wrap Features:

  • a long cosy rectangular wrap in modern geometric lace

  • knit flat from end to end

  • techniques include the long tail cast on, lace knitting, and a stretchy bind off

  • suitable for solid or semi-solid-dyed DK-weight yarn

  • one size, easy to alter by changing the number of repeats across or lengthwise

  • pattern includes full written instructions as well as charts.

Photo by amirisu

Find out more about my Anagram Hat & Wrap pattern duo, including Ravelry and Payhip purchase options. The patterns are also available as part of amirisu Winter 2018, Issue 15. You can purchase a print copy from their website or your favourite yarn shop, or a digital copy from amirisu's website or Ravelry.