EDITOR’S NOTE: This month Jess highlights one of the most fundamental reasons a knitter might knit a swatch — as the basis for a coming design!
—Karen

I’ve been working on a design for awhile. As I figure out the specifics, it’s kinda secret – okay, it’s totally secret. But while I can’t tell you what exactly it will become, I do want to share a big part of that development process with you, which begins with (you guessed it) a swatch. Actually, a lot of swatches.

THE PROCESS

When I come up with a knitted garment idea, it’s usually a conflation of several sources – inspiration I see on Pinterest and Instagram, as well as objects I see in the world. Sometimes, these might be actual garments or fabrics that spark an idea of how those elements could be executed differently. Other times, I find architectural elements, pattern and nature to be just as informative. I’ll collect a bunch of photos on my phone, in Pinterest, in my head – a vision board would be ideal for this – and then start sketching.

In designing this piece, I have a vision of the kind of fabric I want to create and work with. Imagine a woven fabric, smooth but a little nubbly. The fabric is stiff enough to provide some structure, but still retains a soft drape that will relax against the body. The yarn will be cream-colored (I’m clearly on a neutrals kick) and crisp to show some stitch definition. The right yarn also won’t have too much sheen, instead veering to a matte finish. To achieve that kind of look and weight, I imagined I would need a fingering or sport-weight yarn executed in some kind of slip-stitch pattern. I took a look in my stash to find some likely yarn contenders.

Now, to be clear, I’m not a professional knitwear designer. I don’t make a living from designing knitting patterns, and to date, I’ve only published one, the Beach Tank. So my creative process and approach are completely my own and informed by my knitting experience, conversations with established knitwear designers, and some math and common sense. They don’t reflect any “right” or “wrong” way to design a knitting pattern. I’m relatively new to this, so if you design your own knitting patterns (professionally or otherwise) I’d love to hear what your own process looks like in the comments!

THE CONTENDERS

TN Textile Mill: OUR yarn
I began swatching with the truly gorgeous OUR yarn, a mulberry silk noil yarn from Allison of TN Textile Mill (formerly Shutters & Shuttles). I fell in love with the texture and palette of this sport-weight yarn when I first spotted it on Instagram, and couldn’t get it out of my head. Over the summer, I ordered a few skeins to have on hand, and once this design began to come together, I reached for it immediately.

This might sound overly poetic, but this yarn feels organic and alive in your hands when you’re knitting with it. I feel that way sometimes about some wool yarns I’ve come across (the Hudson Valley Fibers yarn from my Rhinebeck post checks the box), but other cotton, silk or plant-based yarns I’ve worked with don’t always have that quality. I think it’s a combination of color, texture and some unpredictability in knitting that reminds you that you’re working with a product of a living, breathing organism. And those silky nubs!

When developing a stitch pattern that mimicked the look and feel of a woven fabric, I turned to the woven transverse herringbone stitch pattern of my previous Churro post, as well as the chevron pattern of Michele Wang’s Abbott (which I finished knitting earlier last year) for inspiration. I wanted to try a slip-stitch that I hoped, in scale, would look unrecognizable as a knitted fabric. On size US2 needles, I cast on an even number of stitches and worked the following:

Row 1 (RS): *Knit 1, Slip 1 stitch purlwise with yarn held in front; repeat to end
Row 2 (WS): Purl
Row 3: *Slip 1 stitch purlwise with yarn held in front, Knit 1; repeat to end
Row 4: Repeat Row 2

The result, unfortunately, was a no-go. The yarn didn’t have the density and structure I’m after, and the stitch pattern looks like a bunch of dash marks across a field of stockinette. With my next attempt, I would try a yarn with a little more elasticity, so it would form a tighter fabric more easily. I would also try slipping stitches on every row, not just on the right side.

. . .

Shibui: Staccato
Next up was another yarn I had in my stash, Shibui’s fingering-weight merino-silk blend, Staccato. Unlike the subtle sheen of the silk noil in OUR yarn, the silk in Staccato shimmers a little more brightly, likely a result of its tight, worsted-spun quality. When I held it together with Wool and the Gang’s Shiny Happy Cotton for my all-white beach tank, that shimmer was a perfect complement to the matte look of the cotton. Time to try it on its own.

On size US2 needles, I cast on an even number of stitches and worked the following:

Row 1 (RS): *Knit 1, Slip 1 stitch purlwise with yarn held in front; repeat to end
Row 2 (WS): *Purl 1, Slip 1 stitch purlwise with yarn held in back; repeat to end

I was pretty thrilled with the result, which got much closer to the woven look I wanted. But then I had this idea – what if I were to create a knit fabric on the bias? I think that concept bubbled up from some of my adventures in sewing earlier last year, specifically A Verb for Keeping Warm’s Tendril Dress, which is sewn on the bias. I haven’t sewn this dress yet, but I remember conversations with my grandmother about this pattern and the ripple effect that a bias drape could lend a garment. Sounded intriguing. Here’s what I did:

Cast on 2 stitches on size US2 needles.

Row 1 (RS): Increase 1 stitch by knitting front and back (KFB), Knit 1 (3 stitches on needle)
Row 2 (WS): Purl 1, Slip 1 stitch purlwise with yarn held in back, Purl 1
Row 3: K1, KFB, K1, KFB, K1 (5 stitches on needle)
Row 4: *Slip 1 stitch purlwise with yarn held in back, Purl 1; repeat from * once; P1
Row 5: K1, KFB, Slip 1 stitch purlwise with yarn held in front, K1, Slip 1 stitch purlwise with yarn held in front, KFB, K1 (7 sts on needle)
Row 6: *P1, Slip 1 stitch purlwise with yarn held in back; repeat from * until 1 stitch remains; P1

It looks pretty messy, but here’s the gist – I increased 1 stitch at the beginning and end of each row on the right side, and alternated slipped stitches on the right and wrong sides to create a hatched, or woven look. Once the swatch became as large as I wanted, I began decreasing at the start and end of each right side row with K2tog or SSK, instead of increasing with KFB. Ta-da! A square swatch, knit on the bias.

There is still some tweaking to do, particularly on the edging. (Do I try a garter stitch edge? Or maybe finish the edges with rolled stockinette? Jury is still out.) But I feel like I’m really close to what I originally envisioned. The other plus was that the wrong side (lower photo) is just as beautiful as the right side (upper photo) – looks like a pebbly seed stitch knit on the diagonal. But I still wasn’t sold on the yarn. The Staccato has the fullness and stitch definition I was dreaming of, but the fabric didn’t look as matte as I hoped. I did some research and bought a skein of one more yarn to try.

. . .

Purl Soho: Linen Quill
Karen has gushed about Purl Soho’s Linen Quill before (here, here, oh, and also here), and I’m proudly adding my name to the Linen Quill Fan Club^TM. This fingering-weight blend of highland wool, alpaca and linen is remarkable. It has the elasticity of wool, the softness and halo of the alpaca, and the structure and subtle wiry quality of the additional linen. I loved knitting with it, and love the final swatch even more.

For this swatch, I followed the general slipped-stitch bias pattern above, but played around with the edging throughout, so you’ll see some irregularity on the edges in the photo. I also opted for Oatmeal Gray colorway, which on Purl Soho’s website looks like a scuffed-up cream (in the best sense), but actually is more of a true, light heather gray than a cream. For my final swatch, I’ll likely pick up a skein of Linen Quill in Heirloom White and give it a try. The only downside of this yarn is that it doesn’t have the same linear definition that the Staccato has, so I’m still undecided between the two. Do you all have a favorite?

At this rate, the pattern will be available in 2020… stay tuned!
—Jess Schreibstein

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