FO Sightings: Skiff hats of the #fringeandfriendsknitalong

FO Sightings: Skiff hats of the #fringeandfriendsknitalong

While the #fringeandfriendsknitalong has been open to any fisherman-cabled object of a knitter’s choosing, there are clearly way more Amanda cardigans being knitted than anything else, followed by Ondawa and Bellows, it seems. But in the accessory department, the clear favorite has been Jared Flood’s Skiff, published just as the knitalong was kicking off. And of course they came together way faster than the sweaters. I wanted to take a minute to pay them tribute:

+ WorthingGirl on Ravelry, knitted in Fibre Company Acadia

+ lmscott from Ravelry / @lianneknits on Instagram, knitted in Brooklyn Tweed Shelter

+ waldorfmanufaktur / @waldorfmanufaktur, knitted in Fibre Company Organik

+ DanaRae19 from Ravelry, knitted in Berroco Ultra Alpaca (she’s also completed a White Pine cardigan; so good)

+ @recklessglue, knitted in … unknown

+ QuiltedTortoise / @thequiltedtortoise, knitted in Plucky Knitter Primo Worsted

+ tumblingblocks / @tumblingblocks, knitted in Madelinetosh Tosh DK

+ @kimberley.buergel, knitted in Camellia Fiber Company Merino Aran

And now I want to knit this hat! Huge apologies if I missed any finished Skiff pics in rounding these up.

Also, @fancyjaime is the first of our Panel to finish her Amanda — the knitting, at least. She posted a pic from LAX, unblocked and no buttons yet, and I can’t wait to see it all finished up.

I promise next week we’ll talk about seaming.


PREVIOUSLY in #fringeandfriendsknitalong: Amanda neck shaping: Kate reworks the crewneck
PREVIOUSLY in FO Sightings: Junko’s patchwork shawl

Our Tools, Ourselves: Tif Fussell (dottie angel)

In Our Tools, Ourselves, we get to know fiber artisans of all walks, ages, styles and skill levels, by way of their tools. For more on the series, read the introduction.

Our Tools, Ourselves: Tif Fussell (dottie angel)

Among the many people I’m looking forward to seeing in Seattle this week is Tif Fussell, better known as dottie angel, who is utterly unique and one of the funniest people I’ve met in the craft world. She’s also responsible for my using the British expression “pants” as often as possible in conversation lately, as in “I realize I have been most pants at actually answering what you ask and could in fact have a very good career as a politician ..​. .” You can find her on her blog, Instagram and Facebook, and be sure to take a peek at her crochet patterns on Ravelry. Thanks for doing this, Tif!

. . .

Do you knit, crochet, weave, spin, dye, sew … ?

I am crafter who likes to sew, hand embroider, appliqué, crochet and dabble in knitting, being particularly fond of working with recycled and vintage fabrics alongside of yarn. I cannot recall a time when I did not make something with my hands. If I am not making with my hands, I get quite ‘not nice’ to know. I am a self-taught crafter — my limitations therefore created my style of patching and piecing things together in a pleasing way to me, and in turn became the crafting style of dottie angel. From there I have evolved into applying this method towards a multitude of makes. I tend to be much happier making things up as I go along rather than following a pattern, for if I do end up following a pattern, chances are quite high I will go off the path or, at the very least, add a bit of bling to the end result. I am also rather fond of rectangles and squares when it comes to yarny matters. They truly can become something quite glorious when all is said and done.

Our Tools, Ourselves: Tif Fussell (dottie angel)

Tell us about your tool preferences and peccadilloes.

I love wood or vintage tools; I love the look, the feel, and the history which comes with them. However, nine times out of ten I do not find they work so well for me, and I end up using tools which do the job brilliantly but, to my eye, look quite pants compared to handmade or vintage tools. Oh but saying that, I do have a lovely pair of scissors which I found at Tolt Yarn and Wool and another, larger size on a pottle in Portland. They are beautiful and I blinged them quite happily with some frayed fabric on the handles, just so they knew how much I loved them.

How do you store or organize your tools? Or do you?

I have a drawer of shame when it comes to knitting needles and hooks. I tell myself it is okay because the drawer belongs to a fabby midcentury cupboard but alas, they are scattered in there willy nilly, and now that I have circular needles too it is getting out of control. I wish this were not the case but it is. However, I am delighted to report I am more organized with my sewing notions, preferring to use old vintage colanders, cook pots and baskets to keep things where they should be. Everything has its place; it’s just that some places are sadly more messy than others.

Our Tools, Ourselves: Tif Fussell (dottie angel)

How do you store or organize your works-in-progress?

My yarny works-in-progress live in an enamel bowl which is easy to pick up and take to stitch circle at Tolt Yarn and Wool if need be, or live by the fireplace ready for when we have a few moments to spend quality time together. It also pleases me greatly should I glance upon my bowl during the day. My fabric works-in-progress are laid out in my ‘atelier of sorts’ where I can pottle past and ponder en route to doing domestics or procrastinating. Quite often I have to return to the scene when I am working on fabric creations to discover it was not a crime after all which was being committed, but something rather peachy.

Are there any particularly prized possessions amongst your tools?

Without a doubt, that would be Miss Ethel, my trusty sewing machine. She is a workhorse with no bells or whistles, she knows how to get the job done and she does it well. Without her steady influence I would be lost. In a fire, she would be the one I would grab alongside of my recently embroidered mittens, of which I am smitten. You could point out my mittens are not tools as such but I must include them, for Miss Ethel and my mittens are equally highly prized by me.

Our Tools, Ourselves: Tif Fussell (dottie angel)

Do you lend your tools?

I have never lent a tool and now I am wondering why this is? I wonder if I give off the vibe of “do not ask Tif, for she would never lend”. I have my granny in my ear from when I was a small being saying “never a lender nor a borrower be” and perhaps all these years I have carried that invisibly about my person, thus no one has asked to borrow a tool of mine, thus I have not lent. When my clan of 4 were small and compact, living in England at the time meant we did an awful lot of rainy day crafting, which required lots of pairs of scissors. I would make sure my fabric scissors were clearly marked with a fabric tag for fear they would be used on paper by a little one. Was it Shakespeare or some ancient bod who wrote “hell have no fury like a woman scorned noting her fabric scissors have been used on paper”? Alas I fear I give off a ‘not a lender’ vibe which I will add to the top of my new year’s resolutions, to rectify promptly.

What is your favorite place to knit/crochet/whatever?

If I am knitting then it takes all my concentration (sometimes with tongue sticking out), therefore I must knit solo — unless it is squares, then I can relax a bit. If I am crocheting, I am much more social and carefree. If I sew with Miss Ethel (my trusty sewing machine), once again I fly solo for I am in my happy place, just her and me doing what we do best. If I am hand embroidering, I am happy to be in company but again, I am muchly happy to be on my own. It would appear I like to craft alone, at home, for crafting is my therapy. I put the world to rights in my head and I cannot do that unless I am alone. Perhaps it is a fall back to the days when our home was filled with noise and small beings and I would retreat to my crafting for quiet at the end of the day. However can I just say, whatever or whenever I am crafting at home, my constant canine companions are always close by, they are terribly good at listening without judgment, not talking back and admiring my creations however dodgy they may be turning out to be.

What effect do the seasons have on you?

I am a lover of the seasons, having only ever lived where seasons come and go. I go into full-on nesting mode which involves many a cunning plan to knit or crochet when the chilly days appear. And when the sun becomes my friend again, I find it most tricky to give yarn any consideration. Fabric on the other hand is a year round creativity for me, not in the least affected by the seasons. Therefore it would be true to say, yarn can fall out of favor, whereas fabric is always in favor with me.

Do you have a dark secret, guilty pleasure or odd quirk, where your fiber pursuits are concerned?

Can it be a confession? For I must confess, as I have carried it inside for donkeys years: My trusty crochet hook is just not a handsome chappy yet he does a fine job at stopping the old aches and pains in my joints. However, I am ashamed to admit, his non-aesthetic ways do not please when it comes to taking photos, and I will lay out my natty bit of crocheted goodness and heartlessly toss him aside for a ‘staged’ bamboo hook for the photo opportune moment. Yes I am a rotter of the worse kind, and just confessing this sin has me weighed down even more in guilt for my Mr Hook and not feeling in the least bit lighter, as I had hoped.

Our Tools, Ourselves: Tif Fussell (dottie angel)

What are you working on right now?

Like so many makers, I have a fair few things I should be working on or deadlines looming yet I have mastered the fine art of procrastination, resulting in many hours spent making and doing what pleases me, rather than what is of priority. I have tried in more recent times to pull up my crafty knee socks and get a better balance, thus I work on the must-dos, and give myself a pat on the back with a day off pottling about my crafty space without agenda. Recently my bonce (head) has been filled with notions of:

1. embroidered knitted mittens and fingerless friends
2. macramé oversized, cascading down the wall, made with leftover threads and yarn
3. vintage hmong strings of happy
4. doilified dream catchers with beards
5. 1930s knitted neck warmers
6. oversized pom poms made from a variety of leftover yarns
7. making another set of knitted sleeves proving to myself second sleeve syndrome does not have to be for life
8. plump roundie crocheted cushions made from the gigantic yarn cone I bought back from my travels to Marrakech earlier in the year
9. adding to my granny trousseau. I am not yet to be a granny but I am planning for the future as my knitting of small garments is slow going. I will make it a lending library of sorts for my clan, to love and to use and then to return for the next small being in line
10. publishing my dottie angel frock pattern in the late spring of next year

Yes, that is what my head is filled with, day and night, some of which I am working on, some of which is in the pipeline for a rainy procrastinating sort of day to come along, and all bar one are personal, hence proving my knee socks have not been pulled up after all and my ability to become a professional crafter is still a long way away.

Our Tools, Ourselves: Tif Fussell (dottie angel)

PREVIOUSLY in Our Tools, Ourselves: Jen Beeman (Grainline Studio)


Photos © Tif Fussell


On Seattle and Shetland

On Seattle and Shetland

I’m on a plane to Seattle today — tending to some very important FSCo holiday business, being a guest at Tolt’s Stitch Night (Thurs 6-8, are you coming?) and seeing a pack of my favorite knitters, some of whom are also in town for Tolt’s anniversary celebration this weekend. I’m sad that I have to board a plane on Saturday at the same time Gudrun Johnston is giving a talk at Tolt about the history of Shetland knitting. If you have to choose between going to Tolt when I’m there and when Gudrun’s there, you should totally choose Gudrun! She’s signing her new pattern collection, The Shetland Trader Book 2, in the morning and then the talk is from 1-3. For those of us who are going to miss all that, at least there’s the book, which she was kind enough to send me, and which is lovely. It was shot by Kathy Cadigan (whose photography skills, coincidentally, are the chief purpose of my trip) at the end of that Grand Shetland Adventure I wailed about missing out on a few months back.

The book contains nine patterns: four pullovers, a cardigan, a tank, a hat (two variations), a stole and a cowl, and it’s heavily Shetland inspired — from the yarns to the stitch patterns. But as Gudrun explains in the Foreword, it was also very specifically influenced by Belmont House, where the photos were taken. The house is on Unst, as far north as the Shetland Isles go, and the restored 18th-century estate lent its color palette to the garments as well as the photos. So there’s a lovely symbiosis about it all. My favorite patterns are the ones pictured above: Northdale colorwork pullover, Snarravoe twisted-rib and lace pullover, Hermaness Hats, and the Sandwick striped cowl for being so unexpected. You can see them all (and get the book for yourself) at Ravelry.


One quick note: DG will still be here packing the Fringe Supply Co. orders while I’m away, but today is Veterans Day, so there’s no mailman to hand off today’s orders to till tomorrow.

Holiday knitting cheat sheet: Warm hands, warm hearts

Holiday knitting cheat sheet: Warm hands, warm heart

Given that fingerless gloves have always been my favorite thing to knit, it’s funny that we’ve talked about hats for the whole family and cowls all around, but I’ve never done a holiday knitting rundown of which mitts to knit for whom. Well, here it is!

1. the girly girl: Rhea Wrist Warmers by Kari-Helen Rane — pretty lace on the back of the hand, ribbing everywhere else

2. the tomboy: Stadium Mitts by yours truly — what can I say? so simple and versatile (free pattern)

3. the traditionalist: Leaves Fingerless Gloves by Valentina Georgieva — easy cables-and-lace chart in aran weight (free pattern)

4. the english major: Brooke Mitts by Michele Rose Orne — simple colorwork that won’t slow you down

5. the sophisticate: Fure by Olga Buraya-Kefelian — yep, still have these long, luscious beauties on my mind

6. the dude: Man Hands by Shireen Nadir — slightly more dudely than the average unisex mitts

7. the art student:Gradient Mitts by Krista McCurdy — ombré is irresistible (see also Purl Bee’s Colorblock Hand Warmers, longer, fingering, gussetless, free)

8. the unknown recipient: 70-Yard Mitts by Hannah Fettig — lightning fast, stash-busting and, depending on color, suitable for anyone

Like always, that last one is also a great idea to just knit to have on hand … for that Oops! moment.


Speaking of gifts, if you’re not inclined to knit for the whole family (or you’re crafting your own wish list!), know that I’ve got lots of amazing goodies coming to Fringe Supply Co. in the coming weeks. I put one super fun gift item up over the weekend, just because I couldn’t resist: Shabd’s Magic Jar Dye Kit.


PREVIOUSLY in Holiday knitting cheat sheets: Cowls all around


And now for something completely different

Santa knits his own stockings

It feels like I’ve posted a stream of novels this week, so I’m keeping today’s contribution to 10 words: we made funny Christmas cards; full story in the shop!

Have a magnificent weekend, everyone!


Amanda neck shaping, part 2: Kate reworks the crewneck

Amanda neck shaping, part 2: Kate reworks the crewneck

As promised in neck shaping part 1 yesterday, I’m talking to panelist Kate Gagnon Osborn (aka @kelbournewoolens) today about the mods she’s made to her Amanda, which are extensive and stunning, including how and why she reshaped the neck — and how you can too, if you’re so inclined.

. . .

Dearest Kate, you’ve made a few changes to your Amanda. Tell us about them.

I went off the rails a little bit with this pattern. I agreed (was honored, really), to participate in this knitalong as a panel member, as it provided me with the opportunity to knit a sweater for me — something I have not done since, well, I really don’t know when — and I loved the idea of an open-ended yet educational knitalong. My intention from the start was to treat it as my “mindless project” — to follow the pattern as written, not worry too much about it, and end up with a sweater. With the added bonus of not having to write, size, edit, and publish a pattern at the end of it all.

And I knit the sleeves as written. Almost. I cast on a few less stitches for the cuff, as I was worried they flared as written. But that was it. No other mods. And then I jumped into the back, and had every intention of knitting it as written, too. But I find odd numbers to be exceedingly pleasing, so I tweaked it a bit to give myself three diamond cables. Which meant that the patterning was wider than the raglan would allow (a really lovely design element in the sweater as written — if you look at the raglan shaping on the fronts and back in relation to the diamond panels, they all work together beautifully) so set-in sleeves it was. Then came the fronts. I was really enamored of the braid, so I added a few of those, and went on my merry way. After the armhole shaping to match the back, I got to the neckline. At this point, I felt like a rogue panel member high on wool fumes — I had modified so much, I needed to work the neck as written. But you had mentioned you thought the neck was a little floppy and too high. A perfect opportunity for more mods, yes? So modify I did!

I should state that this is a matter of personal opinion; there’s nothing empirically *wrong* with the neck as written. But if you agree with me, what do you think is the issue?

The pattern has you work 2 yoke setup rows + 1 raglan decrease row + 34 (36, 36, 38) additional raglan rows (decreasing every other row), for a total of 37 (39, 39, 41) rows — or 5.5 (5.75, 5.75, 6)” — before the neck shaping begins. You then work the remaining raglan decreases and neck shaping over 12 rows, or 1.75″, for a total raglan depth of 7.25 (7.5, 7.5, 7.75)” After the yoke is complete, a 1.25″ neckband is worked, leaving a mere .5″ (1.75 minus 1.25) between the top of your front neck and shoulder height.

This is very classic, but one of the issues I have with raglans (primarily top-down) is that many do not account for the necessary difference in front and back neck height (depth). Without the space between the neck ribbing and your physical body, the fabric has no where to go if not secured (buttoned) at the highest point, and will naturally flop out when worn.

What did you do differently with your neck shaping?

My back armhole depth is 8″, plus I worked .75″ of short-row shaping at the shoulder, for a total of 8.75″ length at the neck edge, measured from where the armhole shaping begins. I wanted about 3.25″ difference between the top of my shoulder and the top of my front neck after working the 1.25″ ribbing, so that meant I needed to begin my neck shaping 3.25″ + 1.25″ = 4.5″ before my armhole is complete. Since I knew my depth already from working the back, subtracting my neck shaping depth from my armhole depth at the neck edge, I got 8.75″ – 4.5″ = 4.25″. Meaning I needed to begin my neck shaping after working 4.25″ up from the start of my armhole.

That is quite a bit lower than the Amanda pattern begins its shaping. Amanda has you bind off (or set aside, rather) 10 stitches, then bind off 3 stitches at the beginning of the next 10 rows (i.e. 5 times on each side of the neck). So it’s sort of terraced. Do you have a preferred tactic for shaping a crewneck?

I recommend binding off about 1-2 inches of stitches at the neck edge, then I decrease at the neck edge every row a few times, then every other row a few times, then work straight to the end. Since I’m working set-in sleeves, not a raglan, I don’t have to worry about “eating up” all of my stitches at the end of the shaping. This makes things a little easier when messing around with the neck stitches, so I usually decrease until I like the curve, then knit straight up to the end. (It is basically like working a deeper, more pronounced set-in sleeve armhole, but at the neck!)

So for those who are knitting a seamless raglan yoke as written, but wanting to lower the front neckline, would it work to just knit the neck shaping as written but start it a couple of inches sooner?

Short answer: yes.

Long answer: yes, but the shaping as written is designed to eat all the neck stitches over those few rows, so you may have shallow, wide shaping, then a long bit of working straight. It’s all a matter of personal preference.

And for the more intrepid among us who might want to give the front neck a curve more like yours, what would you advise?

As I mentioned, it is a little harder to figure out the neck shaping when it comes to raglans, because you need to eat up all of the neck + raglan stitches in order to have a smooth neckline shape, and the specific numbers directly relate to which raglan row you decided to begin your shaping on. (This is another reason why many raglans do not have neck shaping – the front is just left straight across to mimic the back, and the flat fronts, sleeves, and flat back create a nice oval shape.)

In order to sort out a deeper neck and the corresponding numbers, you need to work some basic arithmetic to figure out your shaping:

I’ll use the second size as an example. Say you want your neckline to begin 4.5″ from the tops of the shoulders, and you’re working a raglan depth of 7.5″ as written, you need to begin your neck shaping at 7.5″ – 4.5″ = 3″ after the armhole join. At a gauge of 7 rows/inch, that’s 21 rows from the join till you start shaping. So you would work the 2 yoke set-up rows, the raglan decrease row, and then 9 more decrease rows (decrease rows being every other row).

Still using size 2 for our example, we know from the pattern that each front has 43 stitches at the join. Over those first 21 rows, 1 stitch on each front is decreased in the set-up row, then 1 additional stitch on each front 10 times at the raglan for a total of 11 stitches decreased. So at the start of your neck shaping, you would have 43 – 11 = 32 stitches total on each front. If you read through the rest of the pattern, it calls for a total of 51 rows in the yoke (2 yoke setup, 37 raglan shaping, 12 neck shaping), of which you’ve worked 21 so far. So you have 30 rows to go, half of which (15) are raglan decrease rows.

With 32 stitches left and 15 of them going to raglan decreases, you have 17 stitches to use for neck shaping over your 30 remaining rows. I would divide them into thirds: 5 + 6 + 6. Bind off 5 stitches, then decrease 1 stitch every row 6 times, then every other row 6 times, working all of the neck shaping over 19 rows. For the last 10 rows, work only the raglan decreases.

. . .

Kate, you’re awesome.

One last thing I want to stress about neck shaping is that it’s largely a matter of personal preference and personal body shape. Amanda (or any sweater) might be perfect for you as written, or it might take some tweaking and retrying. Same goes for Kate’s scenario, above. Props to @wendlandcd for trying this one as written, finding it lacking for her body shape, and being undaunted about ripping back and trying a v-neck instead. This is the beauty of knitting! It’s not like sewing, where once you’ve cut the fabric, your options are limited. With knitting, you can always rip and adjust — especially when it’s only a few inches of knitting, like a neck or yoke. When you put so much into a sweater, take the time to get it just right. For you.


PREVIOUSLY in #fringeandfriendsknitalong: Amanda neck shaping, part 1: Karen plots a shawl collar

Amanda neck shaping, part 1: Karen plots a shawl collar

Amanda neck shaping, part 1: Karen ponders a shawl collar

When I’d been knitting for about three months, I signed up for a full weekend of classes at Stitches West, ranging from one-hour workshops on fixing mistakes, knitting backwards and continental knitting, to a half-day class on Tunisian crochet and a full-day class on the top-down sweater method. I’m pretty sure it was the fixing mistakes teacher I’m remembering having opened up the floor to questions at the end. Someone asked, “What do you think it’s really important to get good at?” Which was an interesting question, I thought. And the teacher responded, “Neck shaping.” Which seemed completely out of left field to me, being a total newb in a room full of newbs. I couldn’t imagine why I would ever need to know how to do that myself, and had no clue how one would go about learning it. OMG. Of course, I wound up inadvertently learning the basics of it in that top-down sweater class, and I’ve drawn on that ever since. I’m comfortable calculating the rate of increase on a top-down sweater, based on whether I want a crewneck or V-neck or whatever, and can turn that around for a bottom-up. Which is about to come in handy.

I mentioned back in our Meet the Panel post that I was concerned about the neck shaping on Amanda. There is only one photo of the sweater in the book (!) and the model’s hair is obscuring the neckline, but it still gave me pause. I looked at the project photos on Ravelry and it does seem to be a case where the neck doesn’t sit quite right on some people, with the tops of the button bands wanting to flap forward and outward. It’s because the neck shape is high, wide and shallow — almost like high boatneck. Buttoned all the way up, it sits the way a high boatneck would. But split open into a cardigan, those high fronts have nothing to anchor them.

We’ll get into more detail about this tomorrow, in part 2. But meanwhile, I’m here to tell you that it won’t be an issue for me after all, as I’ve decided to make my Amanda into a shawl-collar cardigan instead! Reader Callie C asked in the comments recently whether it would be “easy” to make this alteration — specifically, to give Amanda a Bellows collar — noting that she has not knitted a cardigan before. Easy is in the eye of the beholder, but I responded as follows:

I wouldn’t say it would be “easy” but it could certainly be done. The biggest trick is you’d have to change the neck shaping. If you look at the shape of the main fabric on Bellows, it’s a v-neck shape, with the fronts gradually sloping away from each other. You’d have to create that curved edge in order to do a Bellows-style band. For a shawl collar like that, you pick up stitches all the way up one front, around the neck, and back down the other front, and work your ribbing outward from there, and the shawl-collar part itself is created with short rows.

Given that they’re both worsted-weight sweaters, I would buy the Bellows pattern and compare the row gauges (its, Amanda’s, yours) to see if you could just use the neck-shaping numbers from Bellows and then work the collar from that pattern, too. But even if it’s not a perfect 1:1, you could see how Bellows is done and then apply that same thinking to Amanda.

… I should note that you’d be applying that shape to a raglan yoke (Amanda is raglan; Bellows is set-in sleeves), so it wouldn’t be worked exactly the same way as the Bellows fronts. …

Once she got me started, I couldn’t stop thinking about how great a shawl collar would be. Of course, no two shawl collars are alike: There are deep-V, narrow, professorial types, and high-V, super-round Peter Pan-ish types. I’m doing this despite the fact that the other two sweaters I currently have in progress — Channel and Slade (the poor thing) — are both shawl collars, but they’ll all be quite different. I think the shaping on Bellows is pretty perfect, but bought the pattern and the gauge is drastically different than mine/Amanda’s. I hadn’t realized it’s two strands of Shelter (worsted) held together and knitted at bulky gauge. Still useful for seeing the rate of the slant and where it begins and ends. (And I imagine I’ll be knitting Bellows one day anyway — especially knowing it’s bulky!) So I’m on the hunt for other patterns with good shawl shaping and a more similar row gauge — e.g. The Shepherd Cardigan! — but I’ll probably wind up just winging it, and redoing if need be. (Why row gauge, you ask? Because to make this mod, we need to concern ourselves with how many rows are worked within the yoke section, and figure out how many decreases to distribute at what rate amongst those rows. Plus picking up stitches along the selvage is about how many stitches you’ll pick up into the ends of how many rows.)

It’ll be awhile before I get to the neck shaping — I still have half my sleeves plus my back to do — but once I get to it, assuming it works out, I promise to share my notes.

Tomorrow I’m talking to Kate about her many mods, how they led to her set-in sleeve alteration, and what she suggests for tweaking Amanda’s neck shape.


PREVIOUSLY in #fringeandfriendsknitalong: WIP of the Week, week 6