After a few years of manic knitting, and designing, but not actually releasing any patterns, I feel that with 5 patterns released since December and 2 more currently scheduled for August, 2 for September, and a formal collaboration underway, I can finally say I’m back designing regularly again.

As a result, while I’ve been busy working on new designs I’m a little conscious that my recent blog posts have mainly focussed on pattern releases rather than some of the other things I usually talk about, like natural dyeing and textile history for example.

So I thought I would take the opportunity to write a little more about the design process itself.

In response a lovely comment about my Verna Cowl on Instagram, to which I replied noting what a satisfying process designing Verna was, I had started this post focussed on that one pattern, but today returning to the post I thought I’d stretch it to include other recent releases and perhaps some forthcoming patterns too.

You could call it a ‘process blog post’ rather than a ‘product blog post’.

So why was Verna so satisfying?

Verna was so fun to design because in one small accessory project it encapsulated so many of the things I really like to work into my designs.

First and foremost it is a beautifully functional cowl.

It is shaped for fit and function, both of which are really important to me. If you’re going to spend time and resources making something for yourself, it needs to work and slot into your wardrobe, it needs to be the thing you gravitate to almost unthinkingly.

Moreover however, because you are making it yourself it also needs to work as a pattern.

The Verna pattern contains an internal logic, by which I mean that it simply makes sense, it is an intuitive knit despite the different things going on.

The transitions are carefully thought through so visually it has a flow, a flow from the main rib to the pattern, to the changes in needle size and stitch count, to the final rib.

None of this is accidental, it isn’t necessarily obvious (we tend to notice things that don’t work, that jar, rather than the things that do work seamlessly). It happens, because I made it happen that way, and that’s why I love designing.

The creativity, the problem solving and the ahah! moments when it all comes together just so.

That’s why I do it and this is why I’m excited to be returning more fully to design work.

I’m certainly not in it for the having to be consistent on social media, for the heavy sell, or the having to be present, self promotional, and curated. I know this is to my detriment. I know it means that my patterns don’t reach as many knitters as I’d like. I’m trying to get little better at it but goodness me I’d rather rip out my knitting a dozen times than have to do all that.

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The Piccina Pick Up

The other things that motivates me as a designer is seeing projects made from my patterns, seeing them transformed by the hands of other knitters, and seeing the pleasure others get from them too.

I was really reminded of the thrill this with the Piccina Scarf pattern released in December last year.

This was my first release in 4 years – I still can’t believe it was that long – and I wasn’t sure whether or not to release it. In the face of my doubts a friend encouraged me not do so and, before I gave myself the chance to back out, I released it.

Goodness me knitters, I was reminded of what it was like to have people want to knit your patterns again and it was wonderful.

I felt really lifted up by everyone who commented, who liked the pattern, who cast it on, cast it off and posted their finished objects on social media and on Ravelry. It was an absolute joy.

Again Piccina was lovely to design, small, simple, quick to start and finish, and slots right into a wardrobe. It’s also perfect for precious leftovers and my own versions include one knitted with a yarn bought at Woolfest in Cumbria about 15 years ago – my first yarn festival – and another in a wool silk blend that I received in a swap. I wear them both a lot depending on which best goes with my outfit. But enough of me what have others said about this pattern?

Quick, instantly rewarding, a scrap buster and beautiful. I wanted to make it as soon as I saw it.

Super easy delightful knit. I wanted to start a second as soon as I finished the first.

Small scarf but big fun and lots of joy!

You see! I don’t think it’s just me who is warmed by these comments. As knitters we all love to see others enjoying the craft and their knits, right?

I was also thrilled when the friend who encouraged me to publish this pattern, Susan Crawford, asked if she could knit up a version and see it through their website as both pattern and in kits. This also meant that a lot more people got to see this pattern too and the pattern had second release and boost.

Clarissa Dalloway

The first pattern of this year was Lucrezia, the first instalment of an ongoing collaboration with Susan Crawford Vintage based on the novel Mrs Dalloway by Virginia Woolf.

This was followed up by my third release the year the Clarissa named for the titular character.

If you’ve been here a while you may remember that I attended Susan’s retreat in West Sussex last year and it was there that we hatched the plan for a collection of socks based on the novel. I’ve spoken about the book at length in various places including on the blog and in the patterns, and I’ve loved having the opportunity to return to the book repeatedly to delete into each character as I’ve designed their socks.

With Clarissa I gave myself quite a task of working with a larger central motif and maintaining the visual effect of the socks and the proportions between central and side motifs over 4 sizes. I also decided that I wanted the pattern to continue down through the toe rather than simply stopping at a random point in the pattern design. This and the 4 sizes meant I effectively designed 4 toes. While from a design point of view, this problem solving element keeps me motivated.

What it also means for the knitter is that they can wear the socks with open toed shoes and lose none of the visual effect, and if wearing them at a summer gathering, perhaps a garden party, they can sit and slip off their shoes and you still have the most beautiful socks. They could be in the gardens of Bourton, Clarissa Dalloway’s childhood home in the summers of her youth which she recalls as populated with friends and relations gathered on the veranda watching young men jostle for attention and notice, and young women for that matter. A time of carefree elegance and youthful innocence.

It is in this type of attention to detail, and basking in the narrative of the novel, that I’m finding my inspiration for this collection and enjoying it so very much.

The next socks in this collection are due for release in September, continuing through to the end of the year.

Looking Back and Moving Forward

The three patterns I’ve discussed above are what I’d call new patterns. Patterns that have moved from idea to publication in a matter of months. My most recent release however, and my next 2 are both patterns that have been designed for quite some time and that again, I had all sorts of doubts about releasing.

The first iteration of my Giro cowl, released earlier this month, was worked on over 3 years ago. 2 more sizes followed along with a wider discussion of modification for the perfect fit…

I doubted releasing it because it is so apparently simple and nice I’d worked out the formulas and ratios for the relationship between width and height to get a great fit across all 3 sizes and to add the snood option into the largest size, I have to admit, my interest waned. That said, again this cowl in its different sizes gets a lot of wear depending on what I’m doing, i.e. what function it needs to fulfil. So in the end I decided to release it, and anyway, who doesn’t need a project that just involves stocking stitch in the round when there’s no room in one’s head for anything more challenging.

My forthcoming release has been in the design process quite a bit longer than Giro and I think the oldest pattern I have to be released this year was first designed 13 years ago. The style went out of favour for a while, but seems to be coming back around, so I’ll be releasing this one too.

One of the blocks to publishing has been modelling and photography. In the past I’ve had support with this and with collaborations, not having to do this myself is such a relief. However, I’m also more accepting of using mannequins for pattern photography and while there are all sorts of limitations to the storytelling you can achieve with this approach, I’m pretty resigned to this being something I can actually achieve on my own. We often hear versions of not letting perfection be the enemy of the good, or indeed done, and I’m trying to embrace this with the pattern photography at least. When it comes to the actual pattern I’m afraid I’m much more stubborn!

I hope you’ve enjoyed this discussion of the design process and plans for the future. I’ve actually enjoyed taking the time to both reflect and think forward. I’m pleased to think of older designs that I was once so excited about and committed to getting their moment. With each new release I can feel a weight lifting from my shoulders.

It also means I feel I can embrace new ideas without feeling pulled back and this is a truly wonderful feeling. I guess I’m releasing myself from the designers equivalent of the overwhelm and guilt of too many ‘WIPS’. Moreover, getting back into the swing of releasing patterns means I feel I can also own the label ‘designer’, and that feels good again.

Until next time, I hope your knitting is bringing you as much joy, or that perhaps the planning of your autumn knitting is.

All the best,

Tess xxx

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