Just in time for the winter! I made another vest for myself. This time I tried two ideas: smooth transitions of colors and patterns and to do away with traditional steeking and ribbing. Colorwork patterns from the traditional Komi textiles.
I love the diagonal patterns of the Komi textiles. They are easy to combine together: one pattern flows into another creating visually intricate fabric.
Also, gradient and contrasting colors add liveliness.
My vest looks complicated, but with a few design tricks it is not complicated at all. I jotted down here a few ideas for you, my fellow knitting artists, to use in your projects.
The Komi people live in the Russian North. Alas, the Komi textile art is not well-known beyond the Russian borders. I will dedicate my future blogs to the fascinating story of their colorwork knitting tradition, meanwhile, I recommend Charlene Schurch’s Mostly Mittens: Traditional Knitting Patterns from Russia’s Komi People to explore the fascinating geometry of the Komi folk art.
Materials and tools
I do not buy “sweater quantities”. The experiments with yarns of different weights and textures procured somewhere as odd lots at bargain prices are far more interesting. It is also a good thing for Mother Earth.
For this vest I used light gray Katia merino/silk (doubled), a set of Katia Ombre (blues), sock-weight red wool with a lost label from Savers, leftovers of recycled angora yarn (oranges and yellows) and good old Cascade 220 for the hem borders.
Because I combined thicker and softer yarn with thinner and firmer yarns, I was able to use larger needles (#7). Such combination did not make my vest bulky or shapeless.
if you decide to repeat the experiment with mixing yarns, Katia merino/silk (now discontinued) can be replaced by the yarn produced under the label Drops. Drops offers more interesting range of colors.
As to Katial Ombre, it can be replaced by any other label that produces gradient yarns in Sports or sock weight.
The goal was to design a true single-piece garment without ribbing and without steeking (steeking is not suitable for soft yarns. The delicate yarns do not “stick” well like famouse Shetland wool. The cut edges will droop miserably).
The vest is knit on round needles bottom up. From the arm holes it is continued in flat knitting up to the shoulder seams.
The true design challenge was to get rid of ribbing round arm holes and neckline. Here is my solution: at the tip of the neckline and round the armholes I created 6 stitches out of 3. Those 6 stitches are knit in reversible style: knitting with gray yarn, purling with periwinkle yarn. The reduction of the stitches under the arm and around the neckline was with the 4th stitch from the edge, if you are looking at the right side of the fabric. That stitch was always of the same color: it creates a nice line round the openings.
When the vest was complete, I ran a string through the tube formed by reversible knitting to prevent excessive stretching.
Another small, but important technical trick: I inserted a short row near the shoulder seam to accommodate shoulder slope.
Here is how the edges of the vest look from the wrong side:
Pithy “how-to” instructions
I publish here only the technical drawing and the color chart of the vest.
Note that I’m of a very generous size, so adjust the stitch and row counts according to your size.
If you decide to use the color chart below, remember the important task of centering the repeats of Bereginya pattern ( a stylized female figure ) along the hem. Bereginya means Mother-Protector in old Slavic languages.
Alice Starmore wrote the best instructions on centering and adjusting the border patterns in her books Fair Isle Knitting and Charts for Color Knitting. I recommend highly these two books if you are into stranded-color knitting.
By the way: the diagonal patterns of the Komi textiles are great for decreasing or increasing to fit a desirable size.
Thank you for reading. I hope, you got a creative idea or two!