John Arbon's woolen quest

Newtown House: Can you tell us how you got started in yarn and fibre?

John Arbon: Ohhhh, well, it originally started way back in the early 80’s when I studied print at the LCP (London College of Printing) and learnt about silk-screen printing on textiles. Later in life I set up a T-shirt printing company called Shirt State, printing band and festival T-shirts, etc. Got to the point where I wanted to know more about the textile I was printing rather than the actual printing. So I enrolled at DMU, or Leicester Poly as it was, and studied a degree in Textiles & Apparel and specialised in spinning and knitting. I then went on to start a Masters at Nottingham Trent University but only got as far as PGDip in Textiles & Fashion. I then went on to work in the knit industry in Leicester before quitting it all and followed a pipe dream of starting a textile business in the South West utilising alpaca fibre.

John at work

NH: We know that you, John, have been responsible for restoring the Mill's machinery, with much of it salvaged from other mills that had closed down. How many pieces of equipment have you restored to their full glory? Are there any more waiting in the wings? Do you have a favourite?

JA: Well, we have worked on about 8 -10 machines over the years to get them running — wouldn’t say full glory, more like running fine and looking a bit tatty! One day we will give them all a lick of paint and they will return to their full glory! Favourite-wise I love Butler, the sample ring spinner — it’s a thing of beauty and totally bulletproof. This machine will spin for another 50 years at least — built in 1968, which makes me older than Butler! Last machine I revamped was Piglet, our mini-skein winder. Quite proud of the way that one turned out, so it is time for me to revamp Gillian, our 120-year-old skein winder. 

NH: Tell us why it's been so important for you to ensure skills and equipment are maintained, and even revived? 

JA: The industry is becoming more and more generic with large machinery spinning large volumes of craft yarn, and consequently we tend to see the same old yarns and blends doing the circuit, albeit in different and interesting dye combinations. With our old small-volume machinery and gentle, slower production we are able to offer diversity, quality and a real love and understanding of what we produce. It is vital we pass these skills on, and the knowledge of fibre and its behaviour, so that for future generations we can continue to produce bespoke quality craft yarns.

NH: What's it like walking into the Mill each day and firing up the machines you've carefully restored?

JA: Once you’ve done it  a thousand times it becomes automatic, although there is always a bit of anxiety if a new noise suddenly occurs — a slight knocking or buzzing — but to hear those machines hum in harmony and whirl out the fantastic yarn is always special. The weirdest bit is when everything is switched off, and then there is this deafening silence!

NH: What's been the hardest thing about this, and what has been the greatest reward?

JA: Hardest thing …..too many over the years, but big ones have been putting machines together from a pile of components when you have never see the machine built — somewhat daunting. Breaking machines down and literally humping solid steel and cast down flights of stairs in old mills. Being told not to bother, and you’re wasting your time to have nothing but a few quid in the back and a dream that one day it will all work. Not much change there, then!

NH: What's the highlight of the last 20 years - if you can name one? 

JA: Getting this far without a breakdown and retaining all my fingers! Seriously, seeing like-minded people in the Mill team get involved and sharing mine and Juliet’s vision and passion but also seeing them take it to new levels beyond what we could do. Things are always growing and evolving, and we couldn’t do that without our team.

NH: What's ahead for the next 20 years?

JA: More please! More fantastic yarns, new blends, new breeds, exciting new colour combos, more patterns, new techniques creating new interesting and diverse yarns…..watch out, here we come!

Inspirations from vintage vinyl for Yarnadelic

NH: Anything else you’d like to add?

JA: I would just say this: There is nothing special about what me and Juliet have done. All it takes is the desire and will to do something you are passionate about and tried your damndest to do it well with style. To that end it would be great to see other such mills in the UK doing similar to what we have done rather than importing yarn into the UK. Let’s face it, we have a lot of sheep and a lot of yarn crafters here, plus we should be exporting unique yarns, not importing! 

Photos courtesy John Arbon Textiles

Cassandra Harada: A true thread person

Cassie in one of her own designs

Cassandra Harada is an American living in Tokyo, and it’s no stretch to say she can turn her hand to anything.

We first stumbled across Cassie on Instagram, where her profile caught our eye for its brevity and mingling of pursuits that sounded very, ah, familiar. “Knitter, Tailor, baker, Tri. 糸人です。A tiny champion for the world of handcraft, and mediocre athleticism.” (糸人です roughly translates into “I’m a thread person.”) Among the many things we adore about Cassie, this is one.

A triathlete who has a wool business, knits gorgeous sweaters at an amazing rate, lives in Japan, is learning bespoke tailoring under Japanese masters and bakes with earnestness on the regular? I had to know more. (Full disclosure: I used to compete in long-course triathlon, promoted those triathlons and finished my journalism career editing a multisport magazine.)

I shamelessly reached out to Cassie and our friendly online connection grew into a business one. And now we are so delighted to say that we have a small import quantity of glorious Harada Wool to offer to our customers, saving you the international freight from Japan and helping spread the joy of small-batch wool to this corner of the world. 

Of course we had to put together an interview with Cassie, who was as delightful as ever.

The Grey Fox Fair Isle project

Read on, and then please do give her a follow on Instagram at @cassandra_harada and check out her website at haradawool.com. While you’re wandering the interwebs, you can also read all about her collaboration with David Evans, also known as the Grey Fox (@greyfoxblog) on Instagram, on a gorgeous Fair Isle sweater she designed and knit for him in Jamieson’s Shetland wool (@jamiesonsofshetland), then sent across the world to him in the UK. (Spoiler: Of course it fit perfectly!!) She’s also working with Brycelands, a Tokyo and Hong Kong based menswear company that is selling some of her hand knits and sharing her guidance on looking after your woolens - check out her darning and woolen washing tutorials here.

Newtown House: Tell us a little bit about your background - where you grew up, how you learned to knit and sew, how you got into multisport…!

CH: The best way to describe where I come from is to mention the name “Tom Sawyer”. I was raised in a farm town (although my family weren't farmers at the time) in west central Illinois along the Mississippi River. My mother embodies “American frontier optimism” in that if she wants something, she does it or makes it herself. I grew up watching her, especially when she did “making jobs” for extra money. I remember that my mother wanted to start sewing so we could make some things to sell. We didn't have a sewing machine but we'd borrowed one from a friend and she taught me how to sew straight lines so I could help make hair scrunchies. I have always been interested in handcraft though, starting in elementary school with beadwork and chain stitch crochet. I was always making something!   

Tri prep

On multisport: I was never a very sporty kid or interested in athletics at all, but suddenly at 34 my switch flipped, I guess? I tend to do things to the extreme. "Just a little" isn't really in my vernacular. I started running about five years ago, and Ironman seemed like a logical conclusion! I'd always admired cyclists, and swam a little as a child. I don't know what my immediate future of racing looks like as almost everything for this year has already been cancelled, but I hope I'll get to attend an event again sometime soon.   

NH: And can you give us an idea of your journey into and through the fibre world - was wool, knitting and yarn production always a part of your family life? 

CH: I started knitting my first year at university. I remember going to a craft store and picking up a $10 "Learn how to knit" kit as a way to "rebel" against my grandmother who swore crochet was the better of the two crafts. I'm not sure why that sparked my rebellion, but I've never really second-guessed my reaction. She still makes the occasional rude comment!   

When I was 19 I was walking through a handcraft fair at my university. I saw a man sitting at a spinning wheel with a pile of wool in his lap…he took the tufts of fluff and magically turned them into string. I remember being SO taken aback by that and immediately scraped together every penny I could find to buy a used wheel. I imported it from Australia, waited every day at the door in disappointment while the postman rumbled past the house. I clearly remember the joy I felt at ripping that box open and watching the wheel spin the first time...after some serious assembly of course. It's a wobbly old wheel but learning on that monstrosity made spinning later in life so very much easier. While I was doing that I also started reading books about sock knitting and producing garter stitch scarves that sometimes randomly turned into stockinette stitch scarves, or got wider and narrower at various points. It was a fun point in my career. I was in art school then, and knitting was just something I did in the hallways while I waited for class to start. I loved the way it felt to build row by row, though.   

Fast-forward a couple years and a baby, and I picked my “hobby” back up, and added an Ashford Joy. As my daughter grew up, my urge to make became more difficult to ignore and I started designing some knitwear patterns for a Chinese yarn company between parenting moments.

My parents bought a 33-acre patch of land in my hometown and they started talking about a possible pasture. They knew I loved wool, so they said “Hey, let’s get some sheep!" I was never really sold on the idea until we went and picked them up. I spent a good amount of time talking with the breeder and became very excited by what she was doing with the wool she produced. I was scared we wouldn't be able to keep the parasites away, and absolutely terrified at the prospect of losing any to disease or injury, but the breeder was pretty supportive and my parents had really done their homework. It feels natural now, and I think my parents really enjoy keeping them. It's really difficult to find good shearers, but we figure it out. When I met my friend Christie, I was taken with her mohair goats and remembered seeing English sock yarn with added mohair for strength instead of nylon. It seemed like fate. Epic Sock seemed like the perfect culmination of our friendship and our love for fibre.    

NH: What brought you to Japan? And can you tell us how Harada Wool got started? 

CH: I moved to Japan six months after I graduated university because as an art major I remember my professors saying, “You cannot make art without life experience to draw on.” I had always wanted to travel, so I took the opportunity to go the moment I was offered a job at a Tokyo language school.  It was easy work and I had all the time in the world to explore, and grow up.  

 On how I decided to make Cormo yarn: About a decade into my knitting career I came across a yarn called “Elsa Wool”. I ordered a couple of hanks because I'd heard it was good. When it came in the mail I immediately thought, ”What is this magic????” and started reading and researching a little more about the Cormo sheep breed. Elsa has been raising and working in Cormo since the ‘70s, but she is one of the only large-scale producers I know of. As it turns out, half the magic was in the spinning (at Blackberry Ridge Woolen Mill).  

When my dad asked me what kind of sheep I might like to have on the farm in Illinois I immediately shouted that he MUST find some Cormos, and it seemed to me the only breed worth raising, as the yarn is quite rare. We figured out pretty quickly why that is, and we're still smoothing out lots of bumps in the road as we produce yearly.  

NH: Tailoring is another love of yours - what prompted your interest? Can you tell us a bit about what that study is like? What are your favourite garments to make?

CH: Tailoring is another opportunity to work with wool. Wool cloth is similar to yarn in lots of ways. Woolen-spun cloth, worsted-spun cloth, you can feel the life of the animals it came from in different ways. I love doing iron work and building beautiful garments out of all of my favourite sheep breeds.

“Tailored garments are like superhero capes,” says Cassie

The other thing that really draws me to tailoring is that tailored garments are like superhero capes. When a man or a woman puts on a well-tailored suit they are automatically more confident. There's nothing better than seeing a person smile when they look in the mirror after they've just put on their new suit. I love being part of that! I also love making clothes for other immigrants here that can't find clothes to fit them in the regular shops. There's absolutely nothing better than taking away the stigma of size and making a person feel whole when they slide on trousers that actually fit them. Every person deserves that. Helping people feel good about themselves is what makes all of the ugly parts of life worth it.   

NH: What's the woolly life like in Tokyo? For us at a distance, it looks like Tokyo’s climate has plenty of heat but also proper winter ... this suggests you can keep the knitting going year round, from wooly wools to linen and cotton. What trends do you see in knitting and knitwear design in Tokyo?

CH: Knitting in Japan is great! The heat is usually relegated to the month of August so knitting year-round is certainly a possibility! (I knit year-round anyway!). In Japan I see mostly oversized sweaters and simple boxy shapes. They don't look great on me, but If I see a stitch pattern I like I can usually modify it into a shape that suits me. My first couple of years as a shop owner, Ravelry exploded and knitting in English became very trendy. I think most Japanese knitters can now read the basics of English patterns without too much stress. Those linens and cottons that you speak of though, I know nothing of those! (wink, wink!)

NH: You've also got substantial experience in translating Japanese knitting and crochet designs and books into English. What are some fundamental differences in how knitting and crochet patterns are presented in Japanese charts that Western knitters could benefit from understanding? 

CH: In 2015 or so I met Gayle Roehm. She's the real master on this topic but I'll give this a go. Japanese knitting and crochet patterns are mostly visual.  As a veteran craftsperson whose hands understand what to do, I really appreciate this but I know many people prefer written patterns.   I love big charts and schematics rather than being glued to long strings of text. I think that might be because at 38, my eyes are starting to go! My favourite thing about Japanese charts is how simple they are. Even more difficult patterning is simplified down to keep fields of reverse stockinette or stockinette clean so the areas that need visual attention are obvious. When you're knitting a Japanese pattern, look for the two or three keys scattered around a schematic that will tell you what sort of field you're working on (if you're making cables or lace) so you can just get on with the actual ornamental bits.  

NH: Tell us about your favourite uses for a skein or two of Harada Wool. What are the highlight properties of this special yarn for you?

CH: Cormo is soft. I think it makes good anything really, but especially socks, shawls, and lightweight sweaters. Last year I knitted "Poplar" by Ayano Tanaka in Harada Wool, and it turned out beautifully. I like that this yarn is sock weight as you can knit it densely for a more utilitarian garment but because of the mohair halo, you can also knit it at a bit lower gauge and get a light fabric great for sweaters.   

NH: You and I have talked a lot about our shared love of sheepy wools, in particular Shetland wools that are so perfect for colourwork and long-wearing garments. What draws you to these yarns, and do you have a favourite style of knitting or design approach for these yarns?

CH: I've been asked my “why” a lot lately. I'm not sure what draws me to the sheepier wools, aside from the fact that I get really bored with “soft”. I also love the fact that the sheep understand the climate much better than we do. Because hardwools are mostly from more humid places, their wool is great for wicking and keeping dry. I often feel a bit soggy in a soft wool sweater during rainy season, but hard wool is like a rain coat. It's a great layer of protection! Ultimately my favourite thing to knit in Shetland is traditional drop-sleeve fairisle. Perhaps I'm boring but I tend to stick to the basics!  

NH: What has kept you going through the pandemic? 

CH: This is a great question. I've been thinking about this a lot lately and I'd have to say that I am at a large crossroads in my life that happens to coincide with this horrible world pandemic. I'm trying to make smart decisions that will keep my life interesting. Peeking around the next corner and wondering where I'll be in five years if I keep working really hard is probably what has carried me through. We haven't had a ton of serious “lockdown” though, so It's been easier to muddle through than in other countries. I'd say most of what keeps me going though is focusing on gratitude. I have so very much to be grateful for!

NH: We're guessing that it has been very challenging to keep Harada Wool going from a distance during the pandemic. If you're willing to share some of those, I think people could benefit from hearing about the challenges so they can get an idea of what the last year or so has been like for so many yarn producers. 

CH: Hmm, it's such a low-volume business, but I'd say the thing that keeps it going well is keeping the story alive. I'm so lucky to have a large following of lovely people who are interested in small-batch, quality products. Also, I've been lucky enough to befriend some really talented designers that help me sell the yarn with their beautiful work.   

NH: Here's a question that might be difficult for one of the busiest, most creative people we know: What's next for you? 

CH: Goodness, I have so much lined up for the next year. I'm selling some of my knit work in a really gorgeous menswear store that has branches in both Tokyo and Hong Kong.   

Since our yarn was delayed this year due to the pandemic, we've decided to make cloth with our next shearing! I'm very excited about that!

In the in-between I'll keep tailoring and knitting as much I can!

All photos courtesy Cassandra Harada

Cassie and wooly friend

Biches & Bûches: Family, creativity, and beauty

We are thrilled to stock the lovely, lovely wool from the mother and daughter team of Biches & Bûches. From an atelier in Burgundy, Astrid Troland and her daughters, Caroline and Louise, weave a magic spell of colour and pattern that has captivated many knitters. The yarn is spun in Scottish mills before coming back to France for sale. Their wide colour range means Biches & Bûches is perfect for colourwork - and it’s at home in delicate shawls, or knit up into hats, cowls, mittens or jerseys. The range goes from fingerweight lambswool to a bulkier, Aran weight, with blends of lambswool and silk and lambswool and cashmere also on offer.

We caught up with Astrid recently to hear more about how she got started on her Biches & Bûches journey and what might be next.

Please tell us how you got started knitting, and about the work you were doing before you started Biches & Bûches? Where did you get the idea for Biches & Bûches, and how challenging was it to start a yarn company? Where did you find the link to your Scottish mill?

As for many of us, it was my grandmother who taught me to knit. And to count. Those were the two most important things to know for a girl, in her opinion. I knit every day from when I was about five or six years old, and I was lucky to live in Denmark because school days are very short, so we had the whole afternoon off and could spend time doing sports, a lot of different activities and I would of course also be knitting a lot. I have always preferred knitting in wool and other natural qualities with a lot of beautiful colours.

As for my education and working situation, I am a trained translator and I have had my own translation company for more than 20 years. For some time in the beginning, I worked in the south of France, but I soon realised that working away from home was difficult with two little girls so I decided to have my office in our apartment so I could take care of Louise and Caroline and still have a job. I was very lucky that this was possible. I actually still work as a translator, and I still enjoy it.

The beginning of Biches & Bûches was long underway. It was back in 2012 that I started to think about and knit some designs and began writing patterns. Then I re-knit the designs and adjusted them so they were easier for others to knit. It is a different approach when you make a design just for yourself or if it is going to be published and understood by others, in different sizes, so I had to train myself to think about knitting in a whole new way.

Slowly the idea of selling yarn and patterns took form, but it was only several years later that it really became a company. It was a big step to evolve from having a project I loved to start showing what I did to the world. So many ends had to come together to be able to sell my design ideas. It was very exciting, and it was absolutely fundamental to work with Caroline on this. She is young and has a different and more artistic background than I have, so she sees things differently.

Caroline had just finished her studies to become a photographer when we spent a whole summer constructing the idea behind and the website for Biches & Bûches. Caroline is doing the writing, communication and the photos (except for the Instastories, where I mostly show my daily mood).

For the yarn, I was sure that I wanted many colours. The original idea was to have some Norwegian wool, but it wasn’t possible so when I found our Le Petit Lambswool, I thought that it would be perfect for colourwork and my design ideas. It is a natural yarn, very easy to work with, and the quality of the yarn is very high. I’m still very happy with my choice and today, we have four yarn qualities: Le Petit Lambswool, Le Gros Lambswool, Le Cashmere & Lambswool, and Le Silk & Lambswool.

When did you move to France, and what motivated you to make that change? 

Since I was a little girl, I have always been fascinated by France and everything French. When I was 18, I lived with a family in France for a year and I just loved the atmosphere, the way they lived and — shortly, I loved everything about it. I kept going back to this family whenever it was possible, and one summer on my way back to Copenhagen, Denmark, to continue my studies after a summer holiday break, I met my future husband, who is also Danish and who was working in France. It was an easy decision to make the move to Lyon.

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Caroline wears a Biches & Bûches colourwork jumper.

How do you spend your days at the atelier?

I still work as a translator, so I often begin my days with my translation work, just to wake up. Although these past months, I work more and more with Biches & Bûches. There are so many things to do, like taking photos, packing orders, working on new designs, planning the yarn production — the time just flies away when I’m with Biches & Bûches. And when I get tired, I sit down and knit — that’s my quiet moment of the day. At the atelier, we have a garden and we enjoy seeing the nature change, the birds growing up and other small and not so small animals around us. Life is very quiet here, and a good place to grow new ideas.

What inspires you? And which do you enjoy the most - knitting, choosing colours, or designing? 

I think that everything can be an inspiration — a colour, a colour combination, the wool, the garden — it’s actually just a feeling inside you that you try to express through your work, so I feel that it’s a part of yourself that you show. It’s very personal, in fact.

I love thinking about colours, trying out new colour combinations. I like to see how colours that I’m sure will fit perfectly together just don’t match well once they are knit. It has always amazed me that you cannot tell in advance what colours will work together in a certain stitch pattern and combination. That’s a fascinating thing about knitting.

I’m someone who doesn’t really like to do things the same way twice, so when it comes to knitting, this is reflected in new ideas all the time. With the endless possibilities, I’d like to try out as many as I can — and this means many new designs.

And I do love to knit. I knit a lot…

What is ahead for Biches & Bûches? 

We have a design (Afterparty) that was published in Laine Magazine issue 6 at the end of September and some new designs that we will launch in the coming months. 

We now work with many lovely yarn shops around the world (like yours in New Zealand) and that’s a very special way of connecting with new parts of the world and get to know some of all the lovely knitters that live far from us.

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And then we have different events: For example in September, we participated in Fanø Knit Festival in Denmark; in October we had an event in Paris called Tricot Market with a small group of knitting and yarn friends; and in November we will be at the big CSF - Création et Savoir-Faire show in Paris. So it’s a busy fall season.

How important is it for you to be able to involve your daughters in this work? 

Our little family has always had the highest priority, perhaps because we live so far from where we grew up. We are very close, so it has been a great experience as a family with this project and of course, Biches & Bûches wouldn’t exist as it is if I were alone. To me, family is key.
But, on the other hand, I want Louise and Caroline to pursue their dreams and find what inspires them and to go their own ways. So, over time, the structure of Biches & Bûches evolves according to the current situation and I think that’s great, because we need new inspiration all the time and trying out new things. They are both adults now — Louise is 30 and Caroline is 26.

Finally, can you tell us about a favourite meal, or share a recipe?

I would like to share one of Louise's recipes when we are in for a special treat. (It’s a tartine.)

Photos: Biches & Bûches

Karen Templer: Going behind The Fringe Association

Karen Templer

Karen Templer came to knitting as a fully fledged adult, but the craft grabbed her straightaway and has quickly turned into far more than a pastime. If you subscribe to our newsletter, or follow us on Instagram, you’ll know we often refer to Karen’s beautiful website, Fringe Association, for all manner of reasons - because she champions, lives and breathes slow fashion, because she regularly hosts exiting make-alongs that include sewing, knitting and crochet, because she is incredibly generous about everything she’s learned along the way, and because she has a wonderful magpie eye that gathers and takes notice of beauty everywhere. And that’s not to start on the range of wonderful tools she offers in her online shop, Fringe Supply Co - a range that includes the cult-status Fringe Field Bag for taking your needlework outside with you. (Check out the latest edition of the Field Bag, a collaboration with print artist Jen Hewett, if you're curious.)

One of Karen’s initiatives is the #Summer of Basics, in which she encourages makers to think about stocking their wardrobe with three basic pieces over the three (Northern Hemisphere) summer months of June, July and August. Here in the Antipodes, though, we see no reason why we can’t hop on this delightful bandwagon. It may be winter, but there are still basics that are required! Jumpers, merino tops, trousers, warm skirts, socks, beanies - the list goes on and on. (Here's: more about the SoB.) Here's what's happened on our own #SummerofBasicsAntipodesStyle,

This is a long way of saying we’ve been long-distance fans of Karen for a long time, so we were thrilled when she said yes to a wee interview. Enjoy.

How did you come to start Fringe Association? What was the journey that brought you to opening up the shop, and starting the website?

I learned to knit in October 2011, when I was living in Berkeley and working the tech world in San Francisco. I was taught by friends while we were visiting Nashville, and thought they were the only people I knew who knitted. So I started the blog, which came to be known as Fringe Association, two months later, and it was a way to keep in touch with them and document this incredible new addiction and hopefully make some knitting friends. I pretty quickly started brainstorming (read: fantasising) about the yarn store of my dreams, which didn’t seem to exist in the real world, and in the course of all that imagining came the idea for the webshop, Fringe Supply Co, which launched as an online pop-up shop for the holidays in 2012.

How has your thinking evolved over the last five-plus years you've been in business?

In too many ways to begin to articulate! My thinking evolves every single day — about what I’m doing and why, what kind of business I want Fringe to be, what kinds of clothes I want to make for myself. Blogging and owning a small business are both a nonstop growth experience.

Do you think people are growing in their understanding of slow fashion, and the need to consider how their clothes are made, and to consider making their own? Are you starting to see evidence of a shift?

Absolutely, yes. When I first started knitting, which got me interested in sewing again (not having done so for a few years), there was definitely a conversation happening among a lot of really thoughtful, tuned-in people, but you had to sort of pick up on it and tune in yourself. Maybe it’s just because of the community I’ve embedded myself in, but now I feel like it would be very difficult to be a DIY clothes-maker, on the Internet in any way, and not be exposed to the issues and concerns at hand.

And beyond the DIY community, there are so many more brands (or sub-brands) being formed around slow fashion and sustainability, discussions happening in magazines and on public radio, and so on. I get catalogs in my mailbox now from sustainable-fashion companies, and that was not happening even five years ago. I’ve even read articles about the demise of high-street fashion brands wherein the journalist will cite a rise in consumer awareness and demand for transparency as among the many reasons a fast-fashion brand might be struggling. It’s definitely gaining so much traction and being amplified all over the place.

What surprises you about your business, and about the kind of responses you get to your work on the website?

I remember seeing Kellie Pickler, former American Idol runner-up at the time, guest-hosting on The View one day (several years ago) and when she came out onto the stage and the crowd cheered, she mused out loud, mostly to herself, “Crazy to think people find ya interesting.” And I think of that a lot. It’s pretty amazing to have people show up every day wondering what you’re thinking about or making or selling. I take it really, really seriously, especially with the shop. I never want to sell anyone anything they don’t find beautiful or useful, or that’s disappointing in any way, so I am incredibly choosy and have extremely high standards, because it’s a pretty astonishing thing to have people have that kind of trust in you.

Like many of your regular readers, I was riveted by the discussion of gansey sweaters [link: https://fringeassociation.com/2018/04/17/what-i-know-about-gansey-origins-with-deb-gillanders/] on the blog recently - why do you think stories like that strike such a chord with people? 

I just think we’re all so disconnected from everything — we’ve collectively lost our sense of history and origins, and we outsource everything. We live in a world where we don’t know where our food comes from, how our clothes are made, how to fix anything for ourselves (be it engine trouble or a hole in a sock). When you knit, you’re not only taking back the making of your sweaters or whatever, knowing at least where these things come from, you also kind of can’t help but be aware of the fact that you’re participating in this incredibly long tradition, this thing that has been passed along from one knitter to another for centuries, being improved upon and reimagined all along the way. And then when you find out there’s also this whole other level of history to it — that types of sweaters or mittens or stitch patterns or techniques aren’t random; they come from specific people and places and have evolved or been lost in whatever ways — it just adds a whole extra level of fascination and connection to what you’re doing. A sweater you’ve seen all your life and never thought anything about suddenly has all these layers of history and meaning.

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One of Karen's many brilliant tricks is to document her seasonal wardrobes, both as a way to spot gaps that might need filling and to pull together new looks for the months ahead.

Some people might look at your website and wonder, why is it important for people to chronicle their own journeys on the slow fashion road, and in such detail? And why does it resonate with people? (I know the answer I'd give if asked, but I'm curious to hear yours.)

I’d actually love hear your answer! I enjoy documenting things — whether it’s how I shaped a raglan or how my thinking about my closet was shaped — and I enjoy reading how other people document what they do. I learn from other people’s triumphs and mistakes and points of view, and I hope people can take something away from mine. I don’t always know what I think (or what I think I think) until I’ve written it down and had it challenged by someone else. It’s all part of the growth experience!

How do you keep yourself motivated and organised - you have the same 24 hours as all of us, but you do seem to accomplish quite a lot in your days and weeks!

Oh, gosh. I have at least two full-time jobs, right?, and the only way I know to do them is to do them — to just keep going! People ask me all the time how I manage to write a blog post every weekday and my answer is that if I didn’t do it every day — like showering and eating and breathing — I wouldn’t be able to do it at all. It just has to be part of my routine. And I know it does seem like I get a lot done, and I do — by necessity — but what I see from where I sit is all of the things that don’t get done every day, because every single to-do list is inherently insurmountable. But that’s just the nature of owning a small business. You have to be willing to show up every day knowing your to-do list is going to beat you, but that you’ll be back again tomorrow giving it your all! I mean, you basically have to be a crazy person — a highly organised crazy person — which I apparently am.

What would people be surprised to know about you?

That I know anything about Kellie Pickler or The View? I don’t know — I’m a polymath and a reasonably complex individual, but on the Internet I think I might appear to be just some lady who is obsessed with clothes. In real life, I’ll talk to you about books, current events, religion, gardening, pop culture. Would people be surprised to know I’m more interesting than I appear? lol

What's your absolute favourite garment in your closet? And what are you most looking forward to making next?

Generally my favourite thing in my closet is whatever I finished most recently, so right at this moment it is the Elizabeth Suzann half-finished sample-sale jacket I just turned into the best vest imaginable. And what I’m most looking forward to is whatever is in the pipeline that is the most challenging, or makes me the most nervous. For Summer of Basics this year, I think I’m going to make a pair of proper pyjamas — you know, with the piping and everything? Maybe even in a slippery fabric! And I’m pretty nervous and excited about all of that.

Thanks, Karen - we really appreciated your generosity and can't wait to see how your #SummerofBasics projects turn out! All photos by Karen Templer.

A notebook like Karen's can be invaluable if you're wanting to document, and plan, your wardrobe.

What Nell knits

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Nell Ziroli - wise counsel, fibre whisperer

Nell Ziroli is a knitwear designer, knitting instructor, and all-around knitting inspiration.

If you follow Mason-Dixon Knitting, you’ll see that she frequently pops up there with a wonderful, beautifully finished garment or an inspired take on a design that has captured a lot of attention.

See, for example, the variant she made on Kate Davies’ wildly popular Carbeth jumper. Nell continued the ribbing from the cuffs up the arm, and the result of this simple change (which is complex to execute - ask how I know) made for a lovely variant on an instant classic pattern. In Mason-Dixon’s Lounge, where knitters gather virtually to talk turkey about patterns, design, and any challenges (oh, there are always plenty of those), Nell works tirelessly to provide tips and support.

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Nell's Carbeth - a genius modification

A lifelong knitter, Nell lives in American state of Virginia, where she shares a house with her youngest daughter. When she’s not working on her own projects, she finishes other people’s (I like to imagine her as a knitterly version of a country doctor), and regularly takes on an even trickier challenge - fixing treasured (but possibly over-loved) knitted dolls. 

You can find her patterns including the elegant Roger cardigan (an example of which is here) and her latest summer stripy design in linen (Liminal) and lots more on Ravelry and on her website.

Tell us a bit about yourself: family, work, where you live, and the things you like to do when you’re not at work.

Well, I’ve been knitting for over 50 years.

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Details matter to Nell - like the Liberty fabric pocket she sewed into this Roger cardigan.

Currently I live in coastal Virginia, and I have three beautiful daughters and two grandsons. My youngest daughter Haley and I still share a home. She is quite helpful with this work - she tests some of my patterns and has taught me all I know about photography. My middle daughter, Melissa, and her darling boys also live in Virginia, but still too many hours away. My oldest daughter, Christi, is way, way out on the West Coast. They’re all wonderful women who I’m very proud of.  

Walking is one of my favourite things to do - I love to keep an eye on what’s growing, who’s living in the trees, and I’m on the lookout for quirky architectural things.  

Tell us a little about your knitting - when did you learn, who taught you, favourite projects. What draws you to knitting? Why do you think it's important to keep practicing these skills? 

My mother taught me to knit when I was eight or so. Somehow, with all of the moves we made, she managed to save two of my early knitting projects - a cover for my Girl Scout “Sit-Upon”, made with Red Heart “Mexicana,” and a funky little drawstring bag.  

Actually my family is/was very creative. My grandfather was an architect, both grandmothers had various crafts going, and my dad built delicate balsa and tissue paper airplanes that he would fly. So I’ve always been surrounded by makers.

In the ’70’s I had a pair of Levi’s cargo pants, which I fully embroidered, that I wish I’d kept - or at least documented. They were amazing.

I can’t imagine not knitting. And this is a great time to be a knitter! There are so many temptations; choices in yarn and designs and not to mention technique! 

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Wrapped in Cables, an elegant scarf pattern

Do you do other work apart from NellKnits?

Yes, I do! I have a part-time office job that is not at all related to knitting (however, knitting does occur there when it’s not busy). There’s also remote work for Mason-Dixon Knitting, moderating a few of their project forums and answering direct knitting questions.

I work at my local yarn shop, Baa Baa Sheep, one day a week, and teach there a few times a week, too. I also do finishing, assembling, blocking and loving on other people’s work through the shop (and through the mail).

Also, people send me Blabla knit animals to repair. Life is always interesting.

What does the online world / social media bring to this creative party? Do you think it has helped to spark people's interests in what's possible? 

I love the connection of social media, the backstories, trials and triumphs and sometimes intimate views of people that you admire (hey, they’re just like me!) and I think that it may cause people to take a closer look at what is beautiful and interesting immediately around them.  

To be creative is such a strong desire and need for so many people, and although it may sometimes seem that there is a bombardment of ideas and projects, social media allows you to view many examples of a similar design or concept, which may allow you to make the best choice of how to proceed with it.

Is there a possible downside in seeing too much "perfection" in people's feeds?

(Over) curation - it’s preciously inspiring, yet frequently an impossible goal.

Do you have a favourite knitting pattern? (One of yours or someone else's!) 

That’s a tricky question. I think I’ll have to say that the amazing Baby Surprise Jacket is an architectural marvel to knit. Elizabeth Zimmerman would have been an incredible person to have spent some time with.

As a longtime teacher of knitting, what are some common traps you see people fall into? Common mistakes? What's one thing people could do to really lift their game? (As in, pockets! Or good finishing skills!) 

The biggest trap is that students often think that they should get all of this now, and quickly. Keep it simple and pay attention to the details. I love little things that click and I appreciate symmetry.

Finally, a note: When Nell generously agreed to answer our questions, we also asked her to share a recipe and to suggest other people who might be keen to share their stories with us. It’s a “recipe” (very bad pun) we’re hoping to make a regular feature here at Newtown House, so if you know someone you think would fit the bill, let us know at hello@newtownhouse.co.nz. 

Betsy’s Scones

I love to cook - meals are generally simple with minimal ingredients. However, I love these in every variation.

You will need:

2 cups (280g) flour

2 tsp baking powder

1/4 tsp baking soda

1 to 3 Tbsp sugar, brown or white, depending on your preference and your additions

pinch of salt

5 Tbsp (70g) butter, cold

3/4 cup (170ml) buttermilk

Instructions: Stir dry ingredients together. Dry add-ins can be stirred in here. Cut or grate in butter.

Stir in buttermilk. Wet add-ins can be stirred into the buttermilk. Turn onto a floured surface. (I just plop it onto the baking sheet.)

Pat into a circle, and cut into sixths or eighths. Or top with seasoned fruit, fold in half and pat again; cut into six wedges.

Bake at 425 degrees F (220 degrees Celsius) for 12 - 15 minutes.

A few add-in ideas :

• Lemon zest + blueberries

• Sliced peaches with a few drops of almond extract

• Grated or diced apples + cinnamon

• Nuts

• Cheese + smoked paprika or cayenne

• Orange zest + pistachios

Photos: Nell Ziroli