BT News

Keep up with our current projects, collections, ideas and announcements here

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

View Comments Leave a Comment
Share
Categories:

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)

View Comments Leave a Comment
Share
Categories:

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?

View Comments Leave a Comment
Share
Categories:

news_arbor_launch_banner

We’re thrilled to unveil an all-new 100% American yarn today! It’s long been our goal to expand the range of Brooklyn Tweed offerings, but a great deal of planning, care, and time are required to build lasting partnerships, source everything domestically, and make sure our supply chain is robust enough to meet customer demand. Arbor has been in the works for more than a year — it’s entirely different from our woolen-spun core lines and its journey from sheep to skein is wholly new.

The fiber

Arbor comes from purebred Targhee sheep grazing the rangelands of Montana and South Dakota. The Targhee is an American breed, based on Rambouillet stock but augmented with Corriedale and Lincoln longwool for strength. Targhee yarn knits up as supple, long-wearing fabric that’s luxuriously soft but everyday durable.

news_161019_arbor_launch_01

The Milling Process

We send our Targhee clip to the historic Jagger Brothers Spinning Mill in southern Maine for worsted processing. This yarn is not the rustic jumble of lightly twisted fibers you’ve come to expect from Brooklyn Tweed. Worsted spinning involves combing all the fibers into smooth alignment before spinning to produce a perfectly even roving. Arbor is a bouncy, round 3-ply yarn with a tight twist for superior stitch definition and strength.

The Palette

We wanted Arbor to be a celebration of color with a deep, nuanced range of hues. From the velvety depths of Nightfall and Dorado to the blaze of Firebrush and the tang of Tincture, our custom-dyed solids span the spectrum. The neutrals offer unexpected twists — the faded black denim of Porter, the subtle warm tones of Humpback, the lichen green of Gale, the barely-there blush of pink in Degas. A few of our favorites from the Plains palette — Morandi, Rainier, and Treehouse — now have a permanent home in the Arbor line. These colors are created with minimal impact on the environment by the master dyers at Saco River Dyehouse, the country’s only organically certified yarn dyeing operation.

jjf_160923_0070

The Collection

To introduce this new yarn, Jared Flood has created a tasting menu of accessories that will let you sample Arbor in bite-size projects or wrap yourself in rich color at a larger scale. Some of the patterns are familiar favorites from the Brooklyn Tweed archives reworked for Arbor’s gauge and unique characteristics; others are fresh offerings. The Arbor Collection includes nine patterns for hats, scarves, shawls, and cowls that sing the yarn’s praises in cables, twisted stitches, and textural motifs. With gift knitting season upon us, we hope you’ll find inspiration in our new lookbook for treating your knitworthy loved ones.

news_arbor_launch_02

We’re so excited about our new partnerships in the U.S. textile industry that have allowed us to bring you Arbor, and we hope it will find a home in your workbasket. We can’t wait to hear what you think and to see what you’ll make.

View Comments Leave a Comment
Share
Categories:

news_cricket_fit_0001_cricket-his-hers

We were so pleased to finally reveal the his and hers collection for Fall 16; the designs had been in development for almost a year and we eagerly anticipated their release into the wild. We love designing menswear and we’ve been gratified to hear your requests for more of it!

Producing a dual collection like this required some new thinking about how to offer the patterns for sale. We ultimately decided to bundle the patterns for which the two versions are similar enough not to require double effort on the part of the designer and editing team, but to sell the others separately. We’ve gotten some questions about why we didn’t bundle the two patterns for designs like Carver or Tamarack, which don’t differ markedly at first glance. We realize the details in the guts of a pattern that complicate the production effort may not be readily discernible when you’re viewing the modeled garment. So, since we love to geek out over construction and fit at any opportunity, we’ll turn the spotlight on Julie Hoover’s Cricket to talk about the planning that goes into ensuring a great fit and a longer garment life. (We’ll spare you the trigonometry. Promise.)

Cricket is a sporty crewneck with set-in sleeves and waist shaping for a tailored fit. Both versions have waist shaping — the women’s has the carefully weighted hourglass curve you’re used to seeing, while the men’s is narrower at the hips than at the chest to create a trim silhouette that’s more flattering on most gents. But even when you’re looking closely, the two Crickets look awfully similar. So why didn’t we package them together? The secret is in the shoulders.

news_cricket_fit_flat_hers

The human shoulder needs a lot of freedom to move, both up and down and fore and aft. When a sweater is designed to fit loosely, the shoulder doesn’t require any special treatment. You can knit a traditional drop shoulder with the sleeve projecting at a right angle, you can work a basic raglan with double decreases at each joining point every other round, you can decrease concentrically for a round yoke, and the ample ease will allow comfortable movement without distorting the sweater fabric. But a slimmer fit complicates the situation. You can’t join a narrow sleeve to a narrow body at 90 degrees, because when you lower your arm the fabric will bind over your shoulder and bunch at your underarm. You can get away with a basic raglan scheme to an extent, relying on the elasticity of knitted fabric to give you the extra ease when and where you need it, but it’s hard to achieve an anatomical fit and you put strain on the fabric. A round yoke worked with minimal ease will often look good across the back, but leave a pooch of extra fabric near each underarm in the front as the shoulders naturally round forward. So when designers who really understand human anatomy create a tailored sweater, they often choose to modify the raglan shape, changing the rate of decrease to make the lines more sinuous. They might hybridize a raglan style with a round yoke. But quite often they turn to the set-in sleeve.

The set-in sleeve, with its bell-shaped sleeve cap and armscye shaped like an exponential equation graph, gives the designer total control over the amount of fabric assigned to the body and to the sleeve. But deploying it correctly requires quite a bit of know-how. A slim-fitting garment needs a taller, narrower sleeve cap, while one with more ease should have a shorter, broader curve. For Cricket, Julie designed the women’s version for a small amount of ease — 2-4 inches — but gave the guys a more relaxed fit with 4-6 inches. Men typically have proportionally larger shoulders and more mass through the sleeve cap area, which also affects how much fabric Julie allows there.

news_cricket_fit_flat_his

Grading the curves of the armscye and the sleeve cap for a full range of well-fitting sizes requires a lot of careful math on the part of our tech editors. When we double the number of sizes and change the geometry of those curves, we’re giving Robin and Sue the workload of two separate patterns — hence the decision to offer the two versions of Cricket separately.

Where there’s a salient detail that differs between the unbundled his and hers patterns, we’ve given you options to mix and match features. The women’s Tamarack includes directions for the shawl collar shown on the men’s sample, for instance. Both Carvers have instructions for the turtleneck option or the crew neck, and the yardage estimate includes the extra yarn you’ll need to extend the ribbing.

Wondering about further modifications to customize one of these patterns? Contribute to the collection thread in the Brooklyn Tweed Fan Club Ravelry group, where there’s an active community ready to discuss all kinds of pattern adaptations. And if you’re curious to learn more about what goes on behind the scenes at Brooklyn Tweed to bring these collections to life, watch this space for an interview with Robin Melanson about her work as a tech editor.

View Comments Leave a Comment
Share
Categories:
news_btf16_launch_0000_01_banner

The tailoring trade is a bottomless well of inspiration. Attention to detail, canny consideration of each fabric’s properties, pursuit of a perfect fit — at Brooklyn Tweed we hew to the same principles in our design work. Knowing we’d shoot this collection on the premises of Wildwood & Company, a bespoke tailoring studio in downtown Portland, we took our inspiration from fine examples of classic menswear.

news_btf16_launch_0000_02_tamaracks

Our mission for Fall 2016 was to create pairs of designs — one for him and one for her — that spring from a single concept. In some instances, small adjustments to the fit distinguish the two versions; in other cases a shift in scale or a major alteration to the garment’s shape achieves distinct but related looks.

news_btf16_launch_0001_02_triptych

Three of the collection’s patterns — SpearheadsPavo, and Vika — bundle both versions as they are variations on the same pattern model. Since each version of the remainder of the collection was written independently in order to account for the nuances of tailoring to fit bodies of differing proportions, each version of these patterns is sold separately. Whether you’re in the mood to knit an understated pullover or a chunky statement piece, we’ve put together a collection that suits a wide range of fit and styling preferences. Cables, texture, a splash of colorwork — it’s all here.

news_btf16_launch_0001_04_mohrs

All Fall 16 patterns are now available for download on our website and on Ravelry. You’ll notice we’ve updated our pattern layout, too — we hope you’ll find the new format clear and supportive as you knit your next BT garment.

 

We invite you to leaf through our new lookbook and stay awhile in the cool and tranquil atmosphere of Wildwood & Company. Welcome, all, and welcome, fall!

View Comments Leave a Comment
Share
Categories:

One of our favorite aspects of curating Wool People collections is the chance to collaborate with designers we haven’t worked with before. Our submissions call is open to everyone and we love seeing fresh ideas. Stacey Gerbman, Nadia Crétin-Léchenne, Rebecca Blair, Christine de Castelbajac, and Kerry Robb contributed designs to Wool People 10 for the first time, and we were smitten by their beautiful work. We wanted to feature these newly minted Wool People on the blog today and hope you’ll enjoy following them as their design careers unfold.160604_NEWS__Header

What’s your favorite detail about your WP10 design contribution?

Stacey: I am attracted to patterns that can be easily memorized because it’s meditative for me to truly relax while my hands move through the process of creating a garment. I fell in love with the simplicity and rich texture of cables, knits, and purls from the moment I finished the first swatch for the Migration cardigan.

Nadia: The fabric. I’m very fond of garter stitch. Knitted with Plains, the Scalene shawl has such a nice drape. It’s soft and springy — all that I like in a spring garment.

Rebecca: Kierson’s braided cable panels come in mirror-image pairs for a subtle touch of symmetry.

Christine: My favorite detail of Loess is the different sizes of pattern strips. They create a modern effect so people will never be bored of knitting this elegant shawl.

Kerry: Aquinnah has many little details I love, though I’m partial to the long lines of twisted rib. I think they separate the cabled elements nicely and draw the eye along the length of each piece.

 

160604_NEWS__image 02

 

Any interesting techniques in the design you’d like to tell knitters about?

Stacey: Migration was the first time I used a sloped bind-off, and I am so happy with the result. This technique gives a perfectly angled shoulder seam, avoiding the stair- step effect that can happen when binding off stitches traditionally at the shoulder and underarm.

Nadia: Scalene is “beginner friendly” — all the techniques I used are really simple.

Rebecca: Substituting garter stitch as the background for a cable design is a simple but effective way to change up the look — it lends a lightness to the finished appearance, as the cables appear to float above the furrows.

Christine: You will love Indian Cross Stitch. It’s an unusual technique, but you will have a lot of fun knitting it and the subtle effect of transparency is stunning.

Kerry: I’m especially happy with the selvedges that run along the long sizes of Aquinnah. I swatched (and swatched!) and eventually landed on a version of an I-cord selvedge that suits the design very well, and it’s also fun to knit.

 

160604_NEWS__image 03

 

What’s your favorite place to knit?

Stacey: I wish I could say a special corner of my studio or on my porch swing. The honest truth is most of my knitting gets done on my couch in front of my TV after my 3-year-old son is in bed. Lots of late nights watching Netflix seems to be where the majority of the work gets done!

Nadia: I’m not a “knit everywhere” person. I like to knit on the couch, in the garden or even in my bed, but I don’t knit much outside my house. I’m a homebody.

Rebecca: At my kitchen table, in the morning, with a fresh pot of coffee to hand.

Christine: My favorite place to knit is in my living room near my fireplace when the leaves are red outside.

Kerry: I do most of my knitting at home after my kids go to bed in the evening. But I think my favorite place to knit is in my studio, curled up in a wrap, and sitting in front of my sturdy little space heater. I have some nice Christmas lights draped over my workspace, and it feels like winter even in the middle of summer, thanks to the building’s always being cold.

 

160604_NEWS__image 04

 

Who inspired you to start designing knitwear?

Stacey: My mother taught me how to crochet at age 8 after much begging and pleading. Once she saw how much I enjoyed the craft she fully supported me — we went on many after-work shopping trips to the local craft store so I could buy yarn to make my dolls new clothes. That never-ending belief in my creativity led me pursue a career in textile and knitwear design.

Nadia: I could name many designers, but I have a sort of “golden triangle:” three ladies that I’m admiring for their work, their creativity, sensibility and experience: Veera Välimaki, Gudrun Johnston and Ysolda Teague. I wish to be as good as they are, one day.

Rebecca: It did not occur to me until I read Sharon Miller’s magnificent reference book Heirloom Knitting that it is totally possible to rearrange and recombine different stitch patterns into any configuration, to fit into a given space or create a particular effect.

Christine: My mother. She was a wonderful woman and taught me most of my knowledge. She disappeared too early and I miss her. She would be proud of me.

Kerry: Honestly, it was yarn that inspired me to start. I taught myself to knit a couple of years ago, and everyone was talking about how much they loved superwash, so that’s what I used. But as I learned more about fiber and different breeds, I began to appreciate wool and other fibers in a new way. I’m a very tactile person, and as I began to fall in love with certain fibers and yarns, I yearned to create something new in homage to the people and animals whose work had gone into each yarn. I’m particularly passionate about yarns produced in the US, and I’m so proud to have designed something for Brooklyn Tweed.

View Comments Leave a Comment
Share
Categories:

HDR_wool_against_the_sea_WEB

 

Ganseys. Guernseys. Jerseys. Whatever name they’re given, the seaman’s sweaters of the British Isles are iconic. Knit to wear like iron and to shield their wearers from bitter onslaughts of wind and seawater, cleverly engineered with innovative features that maximized their durability and comfort, and patterned to sing proudly of love and skill, these garments number among the great achievements of knitting history.

 

gansey_1

 

Myths about ganseys abound — photographic evidence doesn’t support the romantic notion that towns and families had their own exclusive patterns, for instance. Fishermen were among the most mobile people in Europe, always in and out of ports all over the North Sea, which gave knitters plenty of opportunity to admire and copy distinctive patterns. And it wasn’t just men who followed the herring migrations. Girls who gutted and packed the fish wore ganseys, too, with short sleeves to bare their arms for the messy work. The lasses often skipped the familiar navy and black yarn in favor of macaron hues of peach, raspberry, lemon, and pistachio. Knitters didn’t just make ganseys for themselves or for family members, either. A cottage industry that endured until the 1930s sprang up, and women could earn much-needed supplemental income by hand-knitting ganseys for sale.

 

gansey_2

 

Most ganseys shared a set of common features. They were knit in the round to the underarms, and then the squared-off fronts and backs were completed working flat to create a drop shoulder. They were made of sturdy 5-ply wool and knit at a gauge of 8 stitches per inch to achieve the densest possible fabric. Ganseys seem to have begun as plain warm underwear, but they were often exposed to view as hardworking wearers stripped off outergarments, and by the mid-19th century knitters were beginning to add texture and design by incorporating purl stitches. Diamonds, stars, welts, and other geometric forms often embellished the upper torso and sometimes the upper sleeves. Simple rope cables and pictorial anchors, hearts, crosses, and Tree of Life motifs imbued the ganseys with symbolism. The most beautiful sweaters were worn for Sunday best.

 

gansey_3

 

Ganseys were also marked by novel construction that maximized their lifespan as working garments. Diamond-shaped underarm gussets allowed greater freedom of movement and reduced stress on the fabric. Many ganseys had shoulder straps worked in ribbing for further elasticity. A variety of inventive cast-ons reinforced wear-prone hems and cuffs. This attention to quality and lasting sturdiness has allowed a great many historical ganseys to survive in excellent condition. Although few knitters today are willing to invest the time and effort required to produce an authentic gansey, we are all fortunate to be able to learn from the innovations and high standards established in these garments.

Our recent collection — Brooklyn Tweed Ganseys — pays homage to the gansey tradition in five sweaters and three accessories that may not take you to sea, but will inject trim nautical style into your wardrobe. We took them to a lonely stretch of Oregon coast for a photoshoot to hark back to their origins, but their clean, contemporary shapes will make them equally at home in the city if your working environment is a desk rather than a dock. Like the originals, these new designs bespeak knitterly pride in a smart detail or a well-chosen technique. We hope you’ll enjoy the challenge of shaping an unusual neckline or trying a new cable as you make these garments your own.

View Comments Leave a Comment
Share
Categories:

Opener

 

Thank you all for your warm reception of our Ganseys collection last week. We’ve been so excited to launch our first batch of designs inspired by a specific knitting tradition, and today we’d like to share a little more about the gansey-style details our designers chose to incorporate in these garments.

When Jared proposed the gansey idea to our Design Team, he wasn’t necessarily looking for fully traditional construction. While BT’s aesthetic has deep roots into knitting history, we aim to create garments that feel totally contemporary. The goal, then, was to keep the characteristic features of historical ganseys in mind, but execute them playfully and in service of each designer’s own creative vision.

 

Fairweather

 

Véronik wanted to incorporate the triangular gusset shaping somehow, but not at the traditional place under the arms. Her choice to position gussets at the sides of the boat neckline creates a delightful visual detail that’s also completely functional, improving the fit of the garment and adding a bit of shoulder coverage that makes Fairweather easier to wear. She also wanted to knit in the traditional construction: a seamless body worked from the bottom up and divided at the armholes. She joined her shoulder seams with a visible 3-needle bind-off (which forms a tidy chain on the right side of the garment, another classic gansey detail) then picked up stitches for the sleeves around the armhole and worked circularly to the cuff. This directional shift in the knitting—upward on the body, downward on the sleeves—adds visual interest to the garment, as the lace and cable panels flow in opposing directions.

 

Larus

 

Norah also wanted to use the exposed 3-needle bind-off, but she chose to place hers at the back of the collar. Larus is perhaps the least traditional garment of the collection, but like the gansey it balances the proportions of patterned and plain fabric to beautiful effect. By putting the patterned section on the vertical instead of horizontally across the upper torso, Norah created a garment that’s more flattering to many body shapes without sacrificing roomy comfort. She also incorporated a unique knitterly detail by reversing the chevron cable motif along the wearer’s left neckline, as shown in the photo above left.

 

Vanora

 

Like Norah, Michele played with incorporating neckline shaping in an interesting way that maintains vertical patterns established in the lower portion of the body. She elaborated on a traditional flag motif of purl triangles on a stockinette ground to create parallelogram blocks that slant attractively to draw the eye across the fabric. She applied this subtle texture all over the body, punctuating it with delicate cables, but left her sleeves plain to let the eye rest. Vanora’s bracelet-length sleeves nod to the cropped sleeves on many historical feminine ganseys, which bared the wearers’ wrists and forearms for work.

 

Breslin

 

Both Julie and Jared opted for a more classic placement of textured stitches and cables on the upper yoke of the body. Despite the traditional positioning, each garment’s motifs are distinctly modern. Julie’s Breslin uses an original combination of purl stitches and cables to create an industrial effect. She chose to work the lower body and sleeves in reverse stockinette, dialing down the contrast between textured and plain fabric. Breslin’s tailored fit and set-in sleeves are non-traditional, but honor the gansey’s origins as good-looking workwear for those of us who aren’t employed in the fisheries.

 

Caspian

 

Jared liked the idea of using oversized chains, which seemed appropriate for a nautical garment. Caspian nods to several other historical gansey features as well. The ribbed saddle shoulders that extend vertically from the sleeve cap were meant to mimic the knit-and-purl welts that often adorn gansey shoulders. Another detail he incorporated from traditional ganseys is the seamless flow of the side seam details through the underarm gusset and down the sleeve. Since he wasn’t working gussets, he created a variation on that theme by working a side seam detail on the body that flows into the armhole selvedge of the yoke. He also cribbed a common split hem detail from the traditional gansey, beginning the seam at the stockinette portion of the torso to leave a small vent at each side.

The marriage of beauty and purpose that distinguishes gansey knitting is endlessly inspiring to all of us here. We hope you’ll enjoy exploring BT’s unique take on the gansey tradition, savoring these details as much as we have.

View Comments Leave a Comment
Share
Categories:

Last year the Brooklyn Tweed design team hatched the idea of setting a regular design challenge for ourselves — a chance for all five of us to throw down our best ideas interpreting a particular historical genre in knitwear. First up? Ganseys!

 

COVER_btg1

 

These historical seaman’s sweaters of the British Isles were not only practical garments, worked densely to guard the wearer against the North Sea elements; they also featured ingenious construction to improve comfort and durability. Frequently embellished with bold textural motifs, they were canvases for knitters’ skill and artistry, and as a whole gave rise to a cottage industry that helped to support families.

Gansey Triptych

In seeking inspiration from this rich tradition, we sought to incorporate the elements that most fascinate us—striking stitch motifs, the sense of balance between patterned and plain fabric, the innovative adjustments to fit—while updating garment shapes and bending to modern knitterly realities. (Few of us nowadays want to knit adult-size sweaters in black wool at 8 stitches to the inch!)

Caspian

Today we launch five new sweater patterns in Loft and Shelter, plus a quick-knitting cap in Quarry. Each design riffs on different points of gansey styling; we look forward to highlighting some of those special details when we blog about our approach to this collection next week. BT Ganseys offer a variety of silhouettes, so whether you prefer a trim fit, a cozy oversize shape, or a dash of funky flare, we hope you’ll find a sweater that appeals.

Hats

We also took the opportunity to restyle two hats from the BT archive to accompany this collection. We knit up Forge (shown above), a folded-brim watch cap marked by OXO cables and an elfin peak (shown above), in Fauna. Crag (shown in Artifact with the Vanora pullover), has been worked to a beanie length slightly shorter than the original, a modification that’s now been added to the pattern. (If you’ve previously purchased Crag electronically, you’ll receive a free update.)

beach

As always, we look forward to seeing how you’ll make these new designs your own! If you’re already a gansey connoisseur, maybe we’ll see you adding initials to the fabric of your sweater or deploying a Channel Island cast-on. If you’re new to the history of ganseys, we hope you’ll enjoy learning more about this rich knitting tradition. Happy knitting!

 

 


Quick Links:

View all the patterns   |   View the Lookbook  |  View Collection on Ravelry

View Comments Leave a Comment
Share
Categories: