Untangling: Katrina Updike of Fluffy U Fiber Farm

You don’t have to take a trip to the UK to find wool from British Breed sheep. You simply have to visit — or visit the website of — Fluffy U Fiber Farm in Dover, Pennsylvania.

Shepardess Katrina Updike has been raising British and rare breed sheep, including Blue-Faced Leicester, Gotland, Leicester Longwool and Teeswater, for the past 18 years, and she hand dyes all of their yarns for knitters and roving for hand spinners. I asked Katrina to tell me a little bit more about the farm.

Tell me how your farm got started.

I actually started out with two Blue-Faced Leicester ewes in the backyard in an old tractor shed. Eventually we built a small pole barn. My husband travelled a lot so each time he went away I would add another sheep or goat or two. Eventually we were able to purchase part of my husband’s grandparents’ farm and the rest, as they say, is history.

How did you decide to raise British breed and rare breed sheep?

I raised a bunch of different sheep breeds over the years. But, I’ve always had Blue-Faced Leicester sheep since the beginning. So it was just natural to start adding other British/rare breed sheep to the flock.

Where does the name Fluffy U come from.

I actually was going to call our farm the Updike Funny Farm but wasn’t sure anyone but me would find the humor in the name. But, I finally settled on Fluffy U Fiber Farm because our sheep are big and fluffy and U for our last name. Being able to bring the farm and farming back into the family the name seem appropriate.

How has the business changed over the last 18 years?

The business has progressively changed in order to keep up with the times. At first it was just roving and some basic yarn. But, as we have grown we have added more yarn and roving blends, books and notions, project kits and classes at the farm as well as doing fiber shows for the past six years. It has been a challenge for us as we sell and use very little commercial product in our line of yarn. But, there is no greater satisfaction for me than being able to tell someone which sheep or goat their yarn came from.

Do you knit yourself and, if so how did you learn?

My grandmother taught me to crochet as a child, but I didn’t start knitting until I was 19. A wonderful woman named Kay Thompson taught me. I’ve been knitting ever since then.

How did you get started spinning?

I took a class at the Mannings with Tom Knisley. Tom is a great teacher with a lot of patience for all of us who haven’t a clue how to make the wheel work correctly. So, since that class I have probably been spinning about 10 years.

What are some of your favorite projects made with Fluffy U Fiber yarn?

A cardigan made with our BFL using a daisy stitch in all white, our Conewago Shawl and Cassius Shawl that I have made using our natural blend yarn and also coopworth tencel blend yarn. Right now I’m really enjoying knitting fingerless mitts using my handspun yarn from the sheep.

What are some the best things you’ve learned running Fluffy U?

Knitting is universal you can always find a way to communicate. Everything is an experiment what might work for one show may not work for another. Be true to yourself and your dream. You can’t please everyone. There are more nice, crazy fiber people than not.

Untangling: Jennifer Porter of Porterness Studio

If there’s anything I love to shop for more than hand-dyed yarn, it’s handmade jewelry. Jennifer Porter of Porterness Studio combines the two with her products, which include beautiful necklaces and earrings and equally chic shawl pins and buttons. They’re all made from the 6,000-year-old lost wax casting technique, in which jewelry is made by pouring molten metal into a mold created from a wax model that is later melted away. Jennifer, a fellow knitter, hand crafts her products from the Silver Lake neighborhood of Los Angeles. I recently asked her about her process and background as a knitter and crocheter.

How did you get started making and selling jewelry?

My first real foray into the jewelry business actually happen in my childhood. I fondly remember my sister and I, age 11 and 12, making and selling handmade pompom animal pins to friends, family and door to door around the neighborhood. It was wonderful to see the neighborhood adorned with our humble little pins.

However, my official jewelry-making career began in 2007. I started out offering jewelry on Etsy that was inspired by and incorporated beautiful mid century German glass beads. In the early days, I would search high and low for these tiny colorful glass sculptures and once found, I would spend hours combining them into one-of-a-kind pieces of jewelry. Little did I know that the spark of intrigue and fascination for these unique beads would lead me to discover the allure of many processes of ancient jewelry-making. Eventually, my curiosity for these early techniques inspired me to enroll in my first lost wax casting course.

I was immediately enthralled with the 6,000-year-old lost wax casting technique and it has maintained its ranks as my favorite and primary method of my design process.

After over a year of intense study, practice, and personal refinement of this ancient process, I created Porterness Studios.

How did you choose the method that you use?

I chose lost wax casting method for not only for its place in ancient art history but because of a personal desire to preserve and showcase what this amazing process can create. While it is not the quickest, or the easiest process to master or utilize, the results are simply amazing and create beautiful heirloom pieces.

You still crochet and knit? What are some of your favorite things to make?

My knitting story is hardly unique, I’m sure, and is standard for most of our fellow knitters and crocheters. My grandmother first taught me how to crochet when I was 10, and I would pick up the hook from time to time.

Fast forward to the day I stumbled upon the magical world of indie dyers. I immediately was reminded of those first few German glass beads that really fueled my journey into lost wax casting. This was one reason why I wanted to design a collection specifically intended to harmonize with heirloom knitted and crocheted garments. If I would have known about hand-dyed yarn when I was 10, I probably would never stopped. Now, I’m finding myself buying yarn just to look at it as a spirit object in my home.

As a relatively new knitter I’m firmly ensconced in hat- and scarf-land but I plan on casting on a poncho very, very soon. Wish me luck.

When did you decide to create shawl pins and buttons?

I have been secretly making shawl pins and buttons as gifts for my mother for quite some time now. She is the prolific knitter and designer in the family, so I must credit her amazing designs for the inspiration to create the Porterness Studios Fiber Age Collection. It was really just a matter of time and encouragement before the yarn bug would bite me too and lead me to create pieces that can harmonize with knitted garments.

What have been your most popular sellers?

The Demi-sec tiny bubble fork and Circular shawl pin.

What inspires your designs?

I draw inspiration from all over but art history, ancient cultures, and Modernist and Mid Century design have all played a significant role in my collections.

As of late, I have been nerding out on all of the mind blowing fiber art garments and hand dyers on Instagram and Ravelry, and they are quickly becoming huge inspiration to create new designs.

How often do you create new designs?

I start my day with a cup of coffee and new design. I’ll wake up to design for 20 minutes or hours depending on the day (or my level of productive procrastination). A design is my morning meditation and mental yoga. A small percentage of those pre-coffee designs make it into production, but it is a daily process.

What are some of the best things you’ve learned running your handmade business?

Learning how to transmit my passion for my designs and my design process to others has been one of my biggest challenges, and something that I have spent considerable time working on this year. The lost wax casting process is mystical and fascinating and I am absolutely thrilled that so many other people seem to share this excitement and passion once they learn about it, too.

This year I also began learning and integrating 3D modeling into my design process and it has opened up my design potential in ways that previously would have required a team of people, with 20+ years of experience, and thousand of dollars of equipment. This new skill allows me to create work with a small eco footprint by cutting out waste and designing within a small workspace. The versatility of 3D molding opened my design process so I can offer items that are complicated and refined right out of the gate. It’s also really exciting to be at the forefront of a new production process that combines the ancient art of lost wax casting with new and modern design and manufacturing technologies like 3D modeling and printing.

But I am always striving to learn and grow. Since starting Porterness Studio and developing each subsequent collection, I have worked to refine and further develop all of the techniques and processes I utilize both modern and ancient, and this ancient modernism toolbox has manifested itself into every facet and design of Porterness Studio.

Untangling Invictus Yarns

Sue of Invictus Yarns was one of the first dyers I reached out to when I began putting together Indie Untangled four years ago. Since then, she has become one of the most prolific posters, with a beautiful range of products that include her standout gradient and rainbow miniskein sets and expertly dyed variegated colorways.

Tell me about how you got started dyeing yarn.

It was something that seemed fun to try. A few people asked me to dye skeins for them, too, and before I knew it, I had a shop and had a booth at Lambtown, a local fiber show. I haven’t looked back, and have discovered that I really enjoy my time in the dye pots!

How did you decide on the name Invictus Yarns?

The feelings of strength, courage, and determination that came with with the process were just amazing, and I wanted something that would convey them. As soon as Invictus came into my head, I knew it was the direction I wanted to go.

What inspires your colorways and your colorway names?

I get this question fairly often, and am almost embarrassed to give a truthful answer, but for the most part, I let the skeins hang to dry and let them tell me what they want to be called. Sometimes I’ll have an idea before I dye them, but for the most part, the name comes to me after they’re dyed.

Do you have a favorite color or colors, and have they changed since you became a dyer?

Purple is definitely my favorite color, but I’ve always loved jewel tones. I was never a fan of oranges, but have to admit that it’s become a fave lately.

Is there a color that you would love to dye, but that is challenging to create?

It seems like I’m always on the hunt for the perfect red. I don’t think I really realized how many different shades there were before I started dyeing! I think the biggest challenge is often with getting accurate pictures for the shop, especially for reds and greens.


How often do you update your online shop?

It varies, but usually several times a month.

Is dyeing your main business, or do you have another job?

I still have another job, but have cut it down to just a few hours per week so that I can spend more time on the shop. Dyeing is definitely my main business.

What are some of your favorite FOs you or your customers have made with your yarn?

I think that changes every time I see another project! : D I love seeing the projects on Ravelry and at shows! A Phoenix-Wing shawl that was knit for a booth sample will probably always be one of my faves, tho. It was like wrapping myself in a giant hug when I opened it.

What are some of the best things you’ve learned running your fiber business?

Hmmm. This may sound really silly, but it’s the first thing that comes to mind: I felt rather awkward when I began doing fiber shows, but learned that it can be a real blast to chat with people. As an introvert, that was a biggie, even if it sounds pretty basic. It also goes along with the whole Invictus strength-courage-determination thing, now that I think about it! It can still be a challenge trying to determine how much to chat and how much to let people just browse without coming across as though you aren’t acknowledging them, if that makes sense.

Rhinebeck Trunk Show preview from Yarn Culture

This is the ninth in a series of blog posts featuring the fabulous sponsors of the 2017 Rhinebeck Trunk Show.

Time sure flies when you’re having fun! We are proud and delighted to be the Featured Sponsor for the Indie-Untangled Trunk show for the third year! Sharing yarns we love with knitters is one of the very best parts of what we do everyday. The Indie Untangled Trunk Show is a perfect time for us to showcase some of these yarns. This year we are hosting two lovely and different yarns – Rosy Green Wool and Crave Yarn.

Rosy Green Wool

ROSY GREEN WOOL is the result of a passionate desire to produce a hand knitting yarn that is certified organic through every aspect of production and product delivery. From the farms in Patagonia where the original fleece is sourced, through the spinning and dyeing process and to both distribution centers world wide, Rosy Green Wool meets the strict standards of the Global Organic Textile Standards (GOTS).

What does this mean to you? Rosy Green Wool is a yarn you can feel great about AND a yarn that feels great to knit, crochet and wear.

We’ll have four yarn bases for you to try at the Indie Untangled Trunk Show:

Rosy Green Wool Cheeky Merino Joy, Big Merino Hug, Heb Merino Fine, and Manx Merino Fine.

Patrick Gruban of Rosy Green Wool

We’ll be featuring beautiful new patterns by German designers Melanie Berg, Jana Huck and Isabell Kraemer.

Find inspiration and yarn to create garments we know you’ll love including:

Streetscape by Jana Huck, Rheinlust by Melanie Berg, Helgoland by Melanie Berg, Ainu by Isabell Kraemer

Follow Yarn Culture on Instagram, Facebook and Twitter

Untangling Valerie Hobbs of laughingstar knits

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I love seeing my favorite indie dyers and designers collaborate on special projects — especially when it’s for something as special as Rhinebeck.

Massachusetts-based designer Valerie Hobbs recently worked with Alice O’Reilly of Backyard Fiberworks on two designs that will be showcased at the Indie Untangled Rhinebeck Trunk Show next Friday, Oct. 20. The Winter Creek Vest, pictured on Valerie above, was knit with Backyard Fiberworks Field, a 100% Superwash Merino worsted weight, and her Meadow Cardigan, which will be released Nov. 1, uses Backyard Fiberworks Meadow, a DK weight MCN. Both garments will be on display at the Backyard Fiberworks booth at the show.

When Valerie is not designing patterns, she works as an interior designer and furniture consultant for a large university. I asked her to tell me a little more about her inspirations and herself.

Tell me what inspired the Winter Creek Vest and Meadowbrook Cardigan?

Winter Creek – I was playing with a long scarf and came up with the idea of shaping it around the neck and having the ends drape down the front, and then adding stitches for the armholes and body. The stitch pattern was from a cowl I had designed previously but never published. I made a fleece mock-up to figure out the draping, and the shaping of the armholes and neck.

Meadowbrook – This one started as a sketch. I had an idea for a cardigan with columns of lace that started at different points. I then turned to my stitch dictionaries to find the right lace and ended up modifying a stitch pattern from a Japanese stitch dictionary. When I had the sweater almost completed, the lace and cashmere seemed to call out for a ruffled collar. I checked with my daughter, who has excellent taste, and she agreed it would be the perfect finish!

How does your work as an interior designer inform your knitwear designs?

I work at a university – my interior design work is classic and functional to fit my clients’ needs, and I think my knitwear design is similar.

What made you decide to start designing knitwear?

Like so many designers, I was always modifying patterns, whether they were for knitting or sewing. About seven years ago, I designed a cardigan because I couldn’t find the style I wanted. I got so many requests for the pattern on Ravelry, that I published it, and then a couple of years after that, started designing more seriously. I’ve always been a designer one way or the other, whether in the theater, where I worked in costume design and construction, or as an interior designer, or for my own personal needs. So when I reconnected with knitting after a long break, designing knitwear seemed like a natural choice.

When and how did you learn to knit?

I’ve been knitting for so long I don’t even really remember. I think my grandmother taught me the basics, but mostly I learned from books — it was the pre-Internet era!

The Meadowbrook Cardigan.

What’s the first thing you do when you start designing a pattern?

Usually, I’ll start with a sketch. I’m always scribbling down ideas – I even have a notebook in the car for those times I’m stopped in commuter traffic. When I’m ready to start a new design, I’ll go back through my notebooks to see what inspires me. Sometimes I’ll have a yarn or a stitch pattern in mind as I look at the sketches – and if not, I’ll go through my stitch dictionaries, look through my stash, research options, draw a schematic. And then I swatch!!

What are some of your favorite colors and how has designing changed them?

I like all colors except orange! My favorite is purple – but I’ve been staying away from it because it’s so hard to photograph. I seem to be using a lot of blues most recently.

Have you been to Rhinebeck before? What are some of your favorite things to see there?

Yes, I’ve been traveling there with a group of knitting friends for the last few years. My favorite thing – looking at the sweaters, shawls, and other knitted objects that people are wearing! And of course, all the yarn!

Pre-Rhinebeck Untangling: Signature Needle Co.’s Signature Sock Series

This is the eighth in a series of blog posts featuring the fabulous sponsors of the 2017 Rhinebeck Trunk Show.

Signature needles have long been a coveted item among knitters, though the company’s offerings have remained pretty standard — until now. The Wisconsin-based Signature Needle Arts — run by knitter Cathryn Bothe, also president of Bothe Associates, which makes custom metal parts such as surgical tool components and mining safety equipment with the same precision as the needles — recently debuted its Signature Sock Series. The new needles come with a tougher cable and no rotation of the needle stalk and cable.

I recently spoke with Cathryn about the new product:

How did the Signature Sock Series come about?

Signature has manufactured our “Convertible” circular needles in sizes from US 3 up for some time. Those needles have the ability to attach various lengths of cables in a given size.

We knew we wanted to be able to provide the many, many customers asking for the smaller US sizes 1 and 2 as well as the 2.5mm size so loved by our Canadian and European customers.

However, having been in the metal manufacturing business for 67 years (see bothe.com) the shop folks knew the challenges of using the Convertible model within the small diameter of the size 1 and 2 needles.

Because we felt like we were setting ourselves up for failure if we asked customers to screw on the tiny internal threads required we decided to make these small sizes “fixed,” that is, they don’t unscrew or rotate.

To differentiate we chose a different name, Signature Sock Series, and changed the color of the cable.

Will they only be available for socks?

These small size needles will be wonderful for any project that calls for US sizes 1 and 2 and 2.5mm. Actually, I have done a scarf using them, but any lace project or anything else would be great with our points.

Why are you only starting with size US 1?

We know that making the US Size 2 would be easier since there is more diameter in the needle shaft with which to work. However, we decided that if we could manufacture the size 1s successfully the size 2s would be easier.

What has been feedback on the needles?

Customers love being able to have our fabulous hand polished points in this small size.

Are they manufactured differently than other Signature needles?

Yes they are. Instead of a rotating, removable cable the cable is affixed permanently into the tiny needle stalk. The color of the cable is different (white) than our regular cable on the Convertible Circulars (black) for easy recognition.

Can you say if there is anything else new on the horizon for Signature?

Whenever I bring up something new I can see the look on the faces of all concerned with the manufacturing. They know that I will be the worst “customer” ever. I will proudly accept that I am demanding and unbending in what I want even when they tell me that something is impossible. I do have a few new product ideas but I can’t really reveal at this time.

Having said that there is a new area that we are giving attention: that is of adaptive products for knitters with physical challenges. As well I have another, to quote Wendy of Wendy Knits, “stealth project” in this same vein.

Pre-Rhinebeck Untangling: Ann Shayne and Kay Gardiner of Mason Dixon Knitting

This is the seventh in a series of blog posts featuring the fabulous sponsors of the 2017 Rhinebeck Trunk Show.

Ann Shayne and Kay Gardiner’s Mason Dixon Knitting was one of the first knitting blogs I heard about when I first fell down this rabbit hole several years ago. I’ve been excited to see what started out as a public correspondence between two knitting friends from different parts of the East Coast — before they even met IRL! — turn into a booming business, with daily articles from some of our industry’s stars, a shop full of patterns and exclusive yarns and goodies and an upcoming retreat in Tennessee (which sadly sold out before I could commit to going).

I’ve recently been corresponding with the pair via email and asked them to expand on how their mini knitting empire has evolved:

Tell me how Mason-Dixon Knitting got started. How did you come up with the idea of an ongoing correspondence and how has your website evolved?

We started a blog in 2003, just for kicks. We had been emailing each other constantly up until that point, so it seemed natural to just continue in that style.

Over the years, we developed a vision for a larger website for knitters, one that would be a wide-ranging online magazine and beautiful shop. Our new site launched last October, after a year of development. It has been a huge year for us, and we are so glad to see our idea become reality.

The URL is still MasonDixonKnitting.com, but the richness of content and offerings is completely different from the old blog. We feature the brightest designers, great writers, supersmart teachers, and our Mason-Dixon Knitting Field Guide series of pattern books.

We publish new stories every single day, so our readers start their day with a peek at something beautiful, profound, funny, or surprising. We’ve become a daily habit for thousands of knitters, and we treasure that connection.

The most exciting component of the new site is our online shop that features the most exquisite yarns we can find. We add new yarns constantly.

That’s why we are such supporters of Indie Untangled–we want to celebrate independent yarnmakers any way that we can–by telling their stories, collaborating with them to create special editions, and teaching knitters why these yarns are so important.

What would you say are the most important traits that each of you bring to your business?

Curiosity and enthusiasm are continuously bubbling up, and we think that’s the core of Mason-Dixon Knitting.

We never get tired of knitting. No matter how much knitting we do for MDK, or for our series of books (Mason-Dixon Knitting Field Guides), we remain extremely susceptible to casting on the next great thing we see, just for fun. We are endlessly curious about what people in the knitting community are doing, whether they’re designing or making yarn or tending sheep. Important fact in all this: we both type very fast.

Was it strange to start such a partnership without meeting each other (before Ravelry made that kind of thing slightly more “normal” for knitters)?

Starting a blog was such a lark, and so casual, that it didn’t seem like a big deal. At one point Kay got it in her head that this “Ann from Nashville” might actually be the author Ann Patchett (who lives in Nashville).

When we got a book deal in 2004, we made haste to meet in person!

Mason Dixon Knitting Field Guides.

How did each of you get into designing?

We love and respect the work of knitwear designers so much and have only rarely designed sweaters ourselves. There is so much expertise and nuance in a sweater design!

But early on, we wanted to knit open-ended projects like blankets, or fun little palate cleansers like dishcloths or other home items. When we went looking for patterns for those items, we didn’t see exactly what we had in mind, so we invented our own patterns. Kay still occasionally gets a blanket idea stuck in her brain and can’t rest until she knits it and writes it up. It’s a fun puzzle! And even more fun when knitters take an idea we’ve had and run with it. We love going to visit our patterns on Ravelry and seeing what knitters have done with them.

How did you come up with the idea for your Knitting Getaway next June?

In 2015, we went together to Shakerag Workshops, an annual two-week craft workshop in Sewanee, Tennessee, which is a wonderful place not far from Nashville. The entire time, we kept thinking, “We have to make this happen for knitters!” It’s very special to spend time in the company of other knitters, relaxing, learning, knitting, walking, swimming, and then to have delicious meals appear all by themselves: that’s heaven!

The only bummer is that we have such limited space. Fingers crossed that everyone will behave and we can host another Knitting Getaway.

Ann Weaver’s Sommerfeld Shawl.

When and how did you each learn to knit?

Kay learned as a Camp Fire Girl, made one thing (acrylic slippers!) and didn’t think about knitting again until she was in her thirties, when she picked up the needles and remembered how to knit. Ann was starting out on her career in book publishing, and took a night class in knitting. We both got the bug real bad from the start. In the early 2000s, we each found our way to the Rowan website’s chat board, where we met so many amazing knitters and characters, and each other.

Tell me about one of your most memorable FOs.

Kay: It’s not an FO yet, but I’m nearing the finish line on a giant Kaffe Fassett intarsia cardigan that I’m making from a vintage 1980s kit. It is by far the most difficult knitting I’ve attempted. Just weaving in the ends is going to merit a Lifetime Achievement Award. One of Ann’s most memorable projects is a pullover she made out of at least eight different cream-colored yarns that she had collected, in her own pattern of randomly twisting cables. It shouldn’t work at all, but it’s beautiful!

What are you most excited to check out at the Indie Untangled trunk show?

OK, here’s a confession: when we go to Indie Untangled, we are shopping for ourselves, but also for the MDK Shop. We can think of nothing more exciting to offer our readers than the beautiful yarns that hand-dyers are making these days. It’s a golden age of yarn, and we feel very lucky that we get to travel to Rhinebeck and see so many rare yarns in person.

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Pre-Rhinebeck podcast from The Knot House

This is the sixth in a series of blog posts featuring the fabulous sponsors of the 2017 Rhinebeck Trunk Show.

Earlier this year, Cathy Baucom and Heather Tinney, the owners of The Knot House, a fabulous LYS in Frederick, Maryland, launched a knitting podcast. They broadcast from their shop, which features yarn from several dyers, including many who post on Indie Untangled. I asked them to do a little preview of the trunk show:

Pre-Rhinebeck Untangling: Kitterly

From left to right: Kitterly co-founders Elizabeth Rowen and and Mari Bower.

This is the fifth in a series of blog posts featuring the fabulous sponsors of the 2017 Rhinebeck Trunk Show.

I often like to get creative by pairing yarns and patterns, and putting colors together, but sometimes it can be much easier to leave it to the professionals: the dyers, designers and the folks at Kitterly. The Los Angeles company, launched by Elizabeth Rowen and Mari Bower in 2015, works with several indie businesses to put together knitting and crochet kits. Indie Untangled regulars they work with include the designers Casapinka and Anne Hanson and dyers Spun Right Round and The Uncommon Thread.

I spoke to Liz and Mari to learn more about their operation:

How and when did Kitterly get started?

Mari was a customer of Liz’s store in Los Angeles, Knit Culture Studio. We came together in 2015 to combine Mari’s background in digital media, tech and ecommerce, and Liz’s experience in the fiber community as owner of Knit Culture Studio and create Kitterly as you see it today. We launched in January 2015, and we have been building our community of amazing designers, dyers and makers, one kit a time!

How do you decide on which designs to offer kits for?

We like to create a broad mix of styles and skill levels to ensure that we have a perfect selection for our customers to find their next perfect project. We are always coming the Ravelry design charts to find what’s new, but we also find that there is an amazing catalog of perennial favorites to choose from. You will find anything from Andrea Mowry’s latest Fade, to gorgeous classics like Melanie Berg’s Ashburn shawl.

It’s been really fun to find something that may have been designed in a yarn that is just no longer available, and revisit it in a new fiber.

Casapinka Koi Pond Kit

How do you pair up the yarn, including colors, and patterns?

We spend a lot of time researching designs to ensure that we can either offer it in the original yarn (down to the colors if we can), or find the perfect substitute. When we launch a collection with a designer or dyer, there was a considerable amount of time spent on pulling it together to ensure we have the right mix of new, classic and skill level. Once we settle on the collection, we then collectively will select color palettes that we review and even vote on at times. It’s a really fun process, and everyone gets involved!

Can you talk about any new dyers or designers you’re planning to work with?

Yes! We’re super excited to be adding Anthony Casalena, Carol Feller, Miriam Felton, Asa Tricosa, Christopher Salas, Berangere Cailliau/lilofil, Hanna Maciejewska/Hada Knits, Yellow Cosmo, Lesley Anne Robinson/Knit Graffiti and Bristol Ivy to name a “few”!

New dyers coming on board are Stolen Stitches (Carol Feller’s yarn), YarnLove, Hue Loco, Spun Right Round and we hope to begin working with Uschtitia in early 2018.

We’re always on the hunt for new dyers and designers!

ANKESTRICK Walk Along Kit

When and how did both of you learn to knit?

Liz: my grandmother taught me to knit, crochet and sew when I was 7.

Mari: I learned around 10 years ago, when my mother-in-law gave me a cute knitting kit set for Christmas. I taught myself how to crochet when I was around 8, since my mom couldn’t figure out how to show me since I’m left handed.

Do either of you enjoy any other crafts in addition to knitting?

Liz: crochet, sewing, quilting, rubber stamping and card making, needlepoint, embroidery. Unfortunately since starting Kitterly I’ve only had time to knit and crochet but I have a fabulous collection of rubber stamps waiting for me!

Mari: I’m a serial crafter! I’ve been sewing since I was a small child, and I love to make pretty much anything! I love to cook and bake, and I can my own jam/pickles every summer. I also design jewelry (wire wrapping, beading, even some silversmithing), and I have been known to do some serious home DIY (I installed my own hardwood floors in a previous house). I’ve even done some welding, thanks to high school metal shop!

Tell me about each of your most memorable FOs.

Liz: My spiderweb lace shawl in Jade Sapphire Lacey Lamb — but I’m afraid to wear it. But my two favorites are Andrea Mowry’s FYFHaha and Casapinka’s Sari not Sari!

Mari: My Om Shawl by Andrea Mowry. I fell in love with the pattern and had to make it! It was quite the endeavor, as it’s a rather large piece, but it turned out magnificent. Thankfully Fall weather is coming soon, so I can show it off!

Pre-Rhinebeck Untangling: Knitting Outside the Box with Bristol Ivy

This is the fourth in a series of blog posts featuring the fabulous sponsors of the 2017 Rhinebeck Trunk Show.

Pom Pom Quarterly is one of my favorite knitting magazines, if not my very favorite. Aside from publishing four magazines a year, the team there also partners with some very talented designers to publish pattern books. The latest is Bristol Ivy’s Knitting Outside the Box, which just became available to preorder this week. If you’re going to Rhinebeck, you can also preorder it to pick up from the Merritt Bookstore booth.

The book originates from Bristol’s Knitting Outside the Box workshops and provides an insight into her design process as well as 15 garment and accessory patterns using plenty of hand-dyed yarns. I asked Bristol to tell me a bit more about it.

What inspires the designs in Knitting Outside the Box?

The designs in Knitting Outside the Box were all inspired by wanting to push boundaries. With each, I wanted to explore certain techniques and see what that method of manipulating stitches could do to create a garment that made knitters think about knitting in a new way. Whether that was starting from a different direction, combining techniques to get the result I wanted, or asking a simple “what if?” s I wanted to make sure that the way the garments worked would open new doors of exploration and thought. I also wanted to make sure that they did this while maintaining wearability and knitting interest. I hoped the garments would feel like things that I would want to knit, AND want to wear!

What makes this book different from other pattern collections?

I spend a lot of time in the book going into not just the “how” of the knitting patterns, but the “why.” Why have I chosen to use this stitch pattern? Why did I use this increase rate here, and a different one there? I talk through the process of how I use what technique where, and I hope by doing so I give other knitters the license to experiment and play with the structure of their knitting.

Which special techniques did you use and why?

The book is divided into three different sections, one of which explores exercises to help you jump-start your creativity, one of which goes through a series of ways to manipulate your fabric to get the end result that you want, and one that talks you through the design process from start to finish. Within this, I concentrated on three big areas of manipulating your fabric: increases and decreases, short rows, and stitch patterns that can change your gauge. I think each of these has so many possibilities for restructuring how we think about knitted fabric, and I really wanted to highlight them. That way, we can see how even these simple techniques that we know and have used for our entire knitting careers can make something entirely new.

Do you have any tips for knitters who are intimidated by certain techniques?

Just go for it! I think one of the best things about knitting is that it can be undone and you can start again. There’s no risk factor—at the end of the day, if what you tried didn’t work, you still have the same materials you started with, PLUS a wealth of new knowledge on what works and what doesn’t. So there’s no risk at all in trying something new, or trying something that you thought would be intimidating. Give it a go!

Why did you chose the dyers and producers that you did?

I am lucky enough to know some amazingly talented yarn dyers and producers, and it was a definite struggle narrowing down the list to just the ones used in the book! (I have my fingers crossed that someday I’ll write another book just so I can use the yarns I didn’t get to use in this one.) We had a very specific color palette that we were working with, and that dictated a bit whose yarn would work for the book. I also wanted a healthy mix of nationalities represented, since the audience for PomPom is so international. And I also chose yarn that I was just plain excited about working with! I love every garment in this book to bits and a good portion of that is that they’re all knit in AMAZING yarn.

Do you have a favorite pattern from the collection and, if so, why is it your favorite?

It changes daily! The Lillemor Shawl, the Pina Cardigan and the Arbus Pullover are always high on the list, but there’s also the Wislawa Cowl, the Carr Shawl, the Yayoi Pullover, the Mailou Mitts… it took me a long time to put together the list of designs for this book because I wanted to make sure none of them felt like throwaways or filler. I wanted each one to be significant in and of itself, and to feel true and authentic to how I feel about fabric and design. And I also wanted them to feel like something I would want to wear and never take off! My only hope is that other people will feel the same. 🙂