The Turquoise Pullover

This is another one from the vaults, as they say. It began because I went to a spinners’ festival once upon a time at the Arboretum in Ann Arbor, Michigan. It must have been in the late 1980’s. I bought four yarns that day, just because they were beautiful, including two in bluey-greens. Then I didn’t know what to do with any of it.

The two blue-green yarns coordinated. One was a thick-and-thin mohair blend – I’ve since learned that I always like thick-and-thin yarns in the skein and never know what to do with them – and the other was a smooth silk blend, maybe aran weight. I had envisioned the two yarns together, even though their textures were really different, but couldn’t find a pattern. I also didn’t have that much of either of them.

When I found a commercial yarn that came in two shades that coordinated beautifully, this was the result:

turquoise pullover designed and knit by Deborah Cooke

The two handspun yarns are used for the top and the sleeves. I alternated them in 4-row stripes of moss stitch. Even the blue and green commercial yarns had blended colours, so they worked really well with the handspun ones.

Turquoise pullover designed and knit by Deborah Cooke

The cream contrast is another commercial yarn with a long variegation. It feels as if it’s part cotton, maybe part acrylic, but the label is long gone. I loved the gradation in it.

I have a vague recollection that the intarsia pattern was from a book, but I don’t know which one now.

This sweater is a cropped length because that’s how much yarn I had. It’s incredibly warm so I never wore it much. In fact, I haven’t worn it even once in over 30 years, so something needs to be done. The yarn is too beautiful to sit in the cedar box.

Here’s my Ravelry project page, although there isn’t a lot of detail there.

I tried this sweater on again and rediscovered another issue. The top is very thick and bulky, and it’s wide in the shoulders. It’s not a flattering fit. Also the contrast line above the intarsia used to be below my bustline. Now it isn’t. Ha. So, that’s not a good look either. I decided to unravel it and save the intarsia part as a cowl.

Wow. Did I ever do a good job of seaming up this sweater! It was a challenge, but I’ve taken apart the body and have what will be the cowl back on my needles. (I’m guessing what size they were.) The plan is to knit a ribbed backing and join it to the cast-on hem, so only the part between the contrast ridges will be on the right side. I’ll show it to you when it’s completed.

I dove into the stash in search of more of the blue and green commercial yarn. No luck but I did find more of the creamy one *and* the label. (Ha.)

What about the thick-and-thin mohair and the silk blend? Stay tuned for its new incarnation. I have a plan…

Pretty Little Shawl

Last year, at the readers’ conference Romancing the Capital, Carol gave me some of her beautiful merino handspun. She’d dyed it, too, and I spent a lot of time looking at the (very soft!) yarn, trying to figure out how to show it off.handspun marl

I finally decided on a pattern called Daybreak by Stephen West. It’s written for fingering weight yarn and this was heavier, so I just winged it. I started with the purple, then striped in the turquoise. When I ran out of purple, I switched to the pink, then did the edging in pink when the turquoise was gone.  I’m very happy with how it came out:Daybreak shawl by Stephen Wesst knit in handspun by Deborah Cooke

It’s just the perfect size to sit over the shoulders and falls to my elbows. I love shawls of this size as they keep my back warm but stay out the way.

The pattern was great and I’ll definitely knit another.

I’m heading to RTC again next week, and I’m going to wear the shawl. I’m hoping that Carol will be there.

What do you think?