Sea urchin hat

Well, I got my wish for another cold snap so I could wear the felted rose hat, which is growing on me, despite the fuzziness. So I thought I’d have a go at another hat, as they’re so quick to knit.

This time I went for a pattern by Scottish designer Ysolda Teague, based on a sea urchin’s shell (left). I’d bought a few balls of Gedifra Baldini Colori in the sale at John Lewis because I loved the colours, but wasn’t sure what to do with them. The yarn is a bulky bouclé with very thick slubs (55% acrylic, 45% wool). The recommended needle size is 9mm, but after knitting a tension square (I do learn from my mistakes!) I used the 7mm needles listed in the pattern.

The pattern introduced two techniques that I hadn’t used before. The first was provisional casting on using waste yarn. This is undone at the end and the ‘live’ stitches are grafted on to the last row, resulting in a seamless appearance. I followed the method recommended in the pattern, which uses a crochet hook, and it worked very successfully.

The other new challenge was wrapping. The hat is knitted sideways in garter stitch as a series of wedges, so the length of the rows needs to decrease to shape the wedges. When you knit a shorter row and turn, leaving the remaining stitches on the needle, you have to wrap the yarn around the stitch where you turn to avoid large holes appearing.

Ysolda doesn’t include instructions for how to wrap in the pattern, but I found a clear explanation here, with diagrams. It’s not as complicated as it sounds, and it’s an interesting and effective way of shaping. The final result is shown below.

knitted hat

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Felted rose hat

The alpaca hat I knitted previously was a little big, mainly because I didn’t knit a proper tension swatch before starting (tsk! tsk!).

So I thought I’d use it as a guinea pig to try felting in the washing machine. I stuffed it into one leg of a pair of old tights, and put it in the machine with a normal washload (mixed coloured, 40C).

The result? The hat didn’t shrink as much as I expected – it’s only marginally smaller than the original. The alpaca (from Toft) has gone quite fuzzy, but you can still see the texture of the stitches, but the rose, knitted in Rowan Cashsoft DK (57% extra fine merino, 33% acrylic microfibre, 10% cashmere) looks entirely untouched. The green leaf, in Debbie Bliss Donegal Luxury Tweed Aran (85% wool, 15% angora), looks slightly felted but is nowhere near as fuzzy as the alpaca.

Felted alpaca hat
The alpaca felted much more than the rose and the leaf

After the experiment, I  picked up Gina Wilde’s inspiring book, Shibori Knits: The Art of Exquisite Felted Knits, in which the author cautions against using all-wool fibres for felting, as they tend to get very fuzzy. “Fuzziness may be your personal aesthetic,” she writes, “but it is not the aesthetic for which these [shibori] designs are written. The fuzzy yarns hide the subtleties shibori provides.”

Even though this wasn’t a shibori knit, her point about fuzziness is well taken. For nuno, it’s obviously easier to felt all-wool fibres and yarns – you can get subtlety in the texture by adding small amounts of non-wool fabrics and yarns, and through shrinkage. But for knitted items, it’s better to use yarns that aren’t all wool, mohair or alpaca if you want to avoid fuzz.