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Over the years, Brooklyn Tweed has occasionally released translations of individual patterns in languages other than English. For the first time ever, we’re pleased to announce that as of today, the entire 12-piece Fall 17 collection is now available in French, German, Japanese and Russian. We cherish knitting traditions from around the world as well as support diversity within our collective knitting culture. For these reasons, we chose to work with native-speaking translators who are knitters themselves to bring a full Brooklyn Tweed pattern collection to more knitters of the world. May these additional pattern translations help bridge the barrier when it comes to sharing handwork options globally.

When you purchase a Brooklyn Tweed pattern through our webstore or on Ravelry.com, the pattern PDF will automatically be available in all of its translations. The file name of each PDF designates its language. If you have already purchased a pattern from the Fall 17 collection, the translated versions are available to download in your BT account and/or Ravelry library. (If you’re purchased patterns from our webstore, read how to transfer them to your Ravelry library here.)

Additionally, our Pattern Translations page serves as a resource where you can find a list of all the translations available for Brooklyn Tweed patterns. This list is frequently updated as we’re committed to continuing to offer this service and sharing Brooklyn Tweed patterns with the world’s knitters.

Are there particular patterns from the BT Archives that you wish to see translated into a particular language? If so, leave us a comment below with the pattern name and language and we will add it to our wishlist!

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Every year we find ourselves eagerly awaiting the end of summer and the transition to fall. We’re especially excited to share with you this year’s BT Fall collection because it reminds us of all the things we love about the season. We’re looking forward to settling down to work in earnest on our cold-weather wardrobes and for any excuse to wear our knitwear in the meantime.

Join us on Ravelry for our BT Fall 17 KAL to kickstart this transitional knitting season. Choose your favorite pattern (or two!) from the BT Fall 17 collection and join in the fun — the official cast-on day is September 29 so there’s plenty of time to mull over your ideas. We invite you to share what you’re planning to knit in the BT Fan Club forum as the kick-off approaches.

In celebration of the KAL, the Wallace wrap pattern is available to purchase as a limited-edition kit with Quarry yarn. This quick-to-knit and easy-to-memorize pattern will keep you busy throughout the KAL, and you’ll be sure to cross the KAL finish line with a wrap large enough for keeping warm through the rest of the season’s knitting. The Wallace kit ships for free domestically through September 22, just in time to reach you for cast-on day.

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September in the Pacific Northwest is for picking apples, walking the riverbanks under yellow alders, and gathering with friends to watch flocks of migrating swifts bed down for the night in the old school chimneys. Inspired by Oregon country living, our Fall 17 collection offers respite from the city grind. Whether you prefer to curl up in a handsome library with a view of the forest fringe or walk the pastures amongst horses and llamas, the lookbook we’ll release on Wednesday the 13th promises solace and spark for your autumn knitting plans.

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The designers we selected to contribute to Wool People 11 were among the first knitters to sample our new Rambouillet laceweight, Vale. Today we share their impressions of the yarn as we feature their beautiful stoles.

Natalie Servant contributed Prism to this collection. Printed with diamonds and rhombuses, this geometric design can be a lace stole or a cowl. The charted shapes are filled with shifting textures — knit, purl, garter — so there’s more solid fabric than in many lace accessories, which puts Vale’s smooth and balanced preparation on display.

Natalie wrote, “I really enjoyed knitting with Vale. I found it easy to produce even stockinette and reverse stockinette. The surprise for me was when I washed and blocked the swatch: the drape was fantastic. The hardest part about working with Vale was having to send back the unused skeins!”

Sandhya Shadangi’s Ravine is patterned with rivulets of branching, shifting, straightening eyelets. A good stretch on blocking wires evens the long sides and opens the organic motifs to stand out against the stockinette background. Despite Vale’s elasticity, it’s a biddable yarn that accepts blocking to become fluid and drapey.

Sandhya’s impression of Vale was that it’s crisp, soft, and springy. Her fabric blocked beautifully to yield clean and even stitches with good definition, and it retained the crisp softness that had first struck her when handling it in the skein. “Overall, I think it’s perfect for lace. And I can imagine it being great for super-light garments that would also hold their shape nicely,” she concluded.

Amy van de Laar had this to say after creating Leadlight, a stole with a pattern of geometric tracery radiating from a pinhole cast-on:

“Vale is springy, light and soft, but substantial and full of personality. It’s next-to-the-skin soft, and it blocks easily and drapes beautifully — just perfect for lace knitting. The colour Heron is a calm, neutral, mid-toned grey with a subtle sheen to it.”

Fans of Plains, a limited edition yarn that we produced in collaboration with Mountain Meadow Mill in Wyoming, have been asking how Vale compares. Our customer service specialist, Jamie Maccarthy, describes the distinction between them this way:

“In spite of their commonalities (Vale and Plains are both two-ply, worsted spun, breed-specific laceweight yarns made from Rambouillet fleece grown on the plains of Wyoming), they do differ. Plains is a slightly rustic yarn, spun a bit thick-and-thin with a lot of spring in its step. While Vale maintains some of the bounce that Plains has, it is a polished yarn with an even weight and twist, which would be lovely knit up into a light top or sweater.” Read more about the development and characteristics of both Vale and Plains here.

What are you making with Vale? We’d love to know your impressions of it! Don’t forget to tag your project photos with #ValeYarn so we can follow your progress. We’ll be reposting some of our favorites on our Instagram account in the coming weeks.

@jess_schreibstein, @looplondonloves, @softsweater, @knitgraffiti, @minib, @jen_beeman

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We’re celebrating independence and collaboration with the release of Wool People 11 today! We always enjoy the chance our Wool People project offers to work alongside independent designers, both new and established — there’s a sense of fresh energy and perspective in combing through the hundreds of submissions we receive for these collections and in bringing the selected designs to life.

This issue feels extra special because it incorporates our two newest yarns, Arbor and Vale. Next week we’ll do a feature on the Vale accessories and share the designers’ thoughts about working with our new laceweight. But before we delve into the wonderful world of lace and kick off our Summer of Lace KAL, we want to talk about the Wool People 11 garments. There are eight gorgeous sweaters in three different yarns, and what really stands out to us is the diversity of fabrics the designers have achieved in these wearable, flattering pieces.

For cozy bundling in the light but warm stockinette that Shelter creates, Ann Klimpert and Andrea Mowry present Rivet and Ronan. Both of these long-length cardigans rely on Shelter’s airy, woolen-spun nature to stay versatile and hold their shape despite their large swathes of fabric. Rivet has a vintage feel, while Ronan’s is a totally modern silhouette with a collar in fluffy brioche.

For those who like a trim and classic pullover, Mossbank and Bell give a twist to timeless layering pieces by using mostly reverse stockinette fabric. The pebbly texture of the purl side is a great way to set off softly rounded cables in a woolen-spun yarn, as Ann McCauley chose to do with Bell. Kerry Robb was inspired by the back side of her swatch in our Newsprint marl, realizing that the bumps blend the contrasting colors into an inviting heathery haze.

Loft in garter stitch is total comfort fabric, and triangular shawls like Nancy Whitman’s Level are comfort wear. For cool summer evenings when you want to linger outdoors, this graphic layer is the remedy. Level’s inventive construction and a dab of intarsia make the knitting sprightlier than usual for a garter triangle. If you’ve got a summer road trip planned, we think light and packable Loft shawls make good travel companions as knitting projects and as finished pieces.

One reason we’ve been so excited to add Arbor to our core yarn line is that it’s entirely different from our woolen-spun yarns. Besides being stronger, denser, and smoother, Arbor is rounder. Its third ply makes the yarn cylindrical rather than helical, and its tighter twist keeps those three plies completely engaged in a happy ménage. Arbor’s stitches don’t blend in amongst their neighbors; they stand proud and individual. And that means we can knit fabrics with more dimension and more vivid texture.

Four of our Wool People designers put Arbor through its paces with very different approaches. Melissa Wehrle uses a simple all-over texture of knits and purls to create a waffly fabric for Harlowe, and a relaxed gauge allows the sweater to drape beautifully. Yoko Hatta’s sculptural Akiko cardigan shows the yarn’s affinity for cables and contrasts moss stitch fronts with a clean plane of fluid stockinette on the back. Olga Buraya-Kefelian opts for a modern, high-impact ribbing treatment to elevate her Boundary mock turtleneck. And Emily Greene pulls out all the stops with panels of directional half-twisted rib in her Divide pullover.

Are you ready to swatch some new fabrics to add to your closet? We hope you find inspiration in the talent and vision of the Wool People designers. Take some time with the new lookbook and let us know what’s calling your name!

 

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Our latest collection, BT Yokes, offers even the most seasoned colorwork knitter lots of opportunity for experimentation. We had fun playing with color options for Schulz, a unisex pullover designed by Michele Wang. Try Cinnabar or Thistle for a bright pop of vintage nostalgia, or a neutral like Cast Iron or Pumpernickel for a slightly more subdued effect. These are just a few ideas — we can’t wait to see what you come up with!

The colorways as shown in the photo above:

1 — Almanac (C1), Fossil (C2) & Cast Iron (C3)

2 — Tent (C1), Fossil (C2) & Cast Iron (C3)

3 — Thistle (C1), Fossil (C2) & Cast Iron (C3)

4 — Cast Iron (C1 & C3), Fossil (C2)

5 — Pumpernickel (C1), Fossil (C2) & Cast Iron (C3)

6 — Embers (C1), Fossil (C2) & Cast Iron (C3)

7 — Hayloft (C1), Fossil (C2) & Cast Iron (C3)

8 — Cinnabar (C1), Fossil (C2) & Cast Iron (C3)

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Sunbursts, trees and stars, reindeer and snowflakes, mutable landscapes of blended color. In vivid hues or in natural sheep shades, figural or geometric in design, the yoke sweaters of the North Atlantic are distinctive and enduring. The story of their creation in the 20th century is one of enterprise and canny marketing as knitters leveraged traditional skills to make ends meet in a rapidly changing and newly global economy.

The Icelandic lopapeysa, the Scandinavian and Shetland yokes, and the sweaters of the Bohus Stickning cooperative in Sweden may all have their roots in a Greenlandic ornamental accessory called the nuilarmiut that has nothing to do with knitting — it’s an element of traditional formalwear made of glass beads that cover the shoulders and bust in a large collar of brightly patterned geometric designs. The nuilarmiut’s appearance in a 1930 Danish film and, later, on members of the Danish royal family seems to have inspired several Scandinavian knitwear designers to imitate the effect in wool. Three of the earliest known circular yoke patterns bore the name “Eskimo,” suggesting their common inspiration. In the 1940s, the Bohus Stickning company in Sweden made the yoke sweater a mid-century status symbol. The designers’ innovative and masterful color play broke entirely with traditional motifs and methods to create subtly shifting forms and juxtaposed hues, all rendered at extremely fine gauge in luxurious angora-blend yarns. Bohus sweaters were worn by royalty and cultural icons — and commanded prices to match. The knitters’ earnings supported many families during an economically difficult time. Cottage industries in Shetland and Iceland were also quick to capitalize on the international taste for yokes, channeling their potent knitting histories to create garments that became lucrative exports more accessible to the average pocket book.

The strategic position of the patterning on a circular yoke serves two purposes. The designs ring the throat and shoulders like jewelry, drawing attention to the face. The plain body and sleeves heighten this effect while slyly achieving a second end: all that unadorned fabric is easy and relatively speedy knitting. In the case of the famous Shetland yokes, many of which featured tree and star designs borrowed from neighboring Norway, the jumper bodies and sleeves were knit by machine and then passed to the handknitters for the colorwork portion. The sweaters could then be completed at a cracking pace to achieve a successful commercial scale, and the knitters could develop one beautiful variation after another by skillfully shading both the background and foreground colors. The Bohus sweaters were always knit entirely by hand, but even at 8 or 9 stitches to the inch, the plain bodies allowed the most accomplished knitters to complete a couture garment in just a few weeks. Icelandic production knitters still work by hand, but take advantage of their native sheep’s long-stapled fleeces to work at a loose large gauge that supports strong geometric motifs and rapid sweater completion.

Yokes have climbed to the height of fashion, plunged into outmoded fustiness, and ascended once again in recent decades. Across the North Atlantic, a resurgence of admiration for these powerful symbols of national identity has led younger generations to embrace them. Knitters around the world have been quick to appreciate the joy of crafting yokes; a basic circular yoke is one of the most foolproof sweaters to knit, and the possibilities for elaboration are endless.

Brooklyn Tweed pays homage to the bold beauty and variety of yoke designs in five sweaters and two accessories that tip the cap to history, but hew to modern fit principles and allow each designer to explore original ideas. In these pages you’ll find seamless construction (both bottom up and top down), stranded colorwork, cabled texture, and even a wink at classic cartoons. Welcome to BT Yokes.

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Winter is lingering long in Portland this year, but we’re choosing to see these days of near-freezing drizzle as a prompt to make the most of our knitwear. Warm weather still feels so far away that we’re more than happy to contemplate casting on another sweater, especially with the lure of a just-right portion of decorative stitchwork. That’s what we love about yoke designs: their perfect balance of carefree stockinette seasoned with a dash of colorwork or textural patterning. They’re fun to knit, easy to integrate into any wardrobe, and endlessly inviting when we want to experiment with color or cables. To share our enthusiasm, we’re releasing our themed collection for 2017 today: BT Yokes.

We drew inspiration from the sweaters of Iceland, Shetland, and Scandinavia — a history we enjoyed researching for a feature in our lookbook. Jared Flood’s Atlas (now sized for the whole family) nods to the lopapeysa; Véronik Avery elevates her Frostpeak colorwork with cunningly placed purl stitches, an idea pioneered by the Bohus Stickning designers of Sweden; Michele Wang’s Morse cowl stacks bands of small geometric motifs common to Shetland and Norway.

The beauty of yokes has always been their versatility as a canvas for anything a designer can dream up, so we haven’t been too faithful in our interpretations of the form. Some garments apply inventive shaping principles (wait till you see Julie Hoover’s newest take on raglan decreases) and motifs that owe more to Charlie Brown than to anything ever knit in the North Atlantic regions. Norah Gaughan’s flights of cabled fancy are iconic in and of themselves, and her full powers are on display in Tundra and Pyry.

A surprise storm system meant we had to be creative about staging our photoshoot for BT Yokes, but is there a more perfect backdrop for a collection of cozy woolens than a fresh blanket of snow? We hope you’ll enjoy browsing the new lookbook and making the most of the knitting weather.

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We were delighted to release Michele Wang’s Capsule last week. This book represents a tremendous amount of labor and love, and we think Michele’s beautiful aesthetic truly shines in this focused collection. We chatted with her about this project for today’s blog post.

 

 

You’ve been designing for Brooklyn Tweed for six years, preparing an amazing 59 pieces for the seasonal collections. Did planning your Capsule book feel different from your usual design process?

It definitely felt different because there was the pressure of being the only designer. For the seasonal collections, the planning is collaborative and what we end up designing depends greatly on what the other designers are contributing. For the Capsule, it was nice to be able to design all the pieces I wanted to for the collection, but it’s also a lot of pressure — more pressure than I like or am used to! After this solo effort, I appreciated working with a team so much more.

You’ve created a lot of iconic garments that have helped to define the house style at BT; you’re especially known for your cables, and they figure prominently in this collection. What do you love about cabled texture and where do you find ideas for new motifs?

There are so many things I love about cables! I think I always come back to cables because they transcend time and trend. The same cable used in one way feels traditional, but in another setting can yield an updated, trendy look. I also love cables because they’re so much easier to knit than they look! They’re visually impressive, yet all you’re doing is working stitches out of order. To design new motifs, I depend greatly on stitch dictionaries. They’re an endless source of inspiration for me. I love flipping through them as you’d peruse a catalog, imagining where I would use a certain cable or what it would look like in a particular yarn. From there, I’ll usually play off of one motif and grow some supporting cables, changing the scale or introducing a mirroring effect.

The theme of your Capsule is loungewear. Did you know that would be the focus from the outset, and can you tell us what inspired that choice?

I did know that would be the focus and theme. I presented a mood board to Jared way in the beginning and he liked it, so we went from there. For me, hand knits are all about loungewear. Like Mr. Rogers, I love coming home and throwing on a big cardigan. There’s something about it that feels like a hug, and it grounds me. There’s nothing better than putting on a handknit (or many), some fuzzy slippers, making yourself a hot beverage and settling in for the evening. Handknits are a necessity for lounging!

Do you have a favorite piece from this collection? How do you imagine wearing it?

Wow, that’s a tough question. I guess the obvious answer would be Aspen. It’s everything a piece of loungewear should be: cabled, robe-like, with a shawl collar and waist tie. I envisioned a knitter reaching for this cardigan when she plans on staying in her jammies all day!

We confess we may have done a bit of working from home in jammies during Portland’s successive snowstorms of late, and Aspen (or Radmere, her masculine counterpart) would have made the experience so much more glamorous!

How about you, knitters? Do you have an early favorite from Michele’s new collection? How would you wear it?

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