The Knitter - UK (2020-08)

Shetland Hearts Chart

25 20 15 10 5

1

3

5

7

9

11

2

4

6

8

10

12

some of the old dyes persisted or were
replicated with their new, chemical
cousins, but early aniline dyes are often
more fugitive than natural dyes applied
by a skilled and experienced home dyer.
Later Fair Isle knitting became more
sophisticated in its use of colour;
background colours might alter, behind
a large motif, so that several colours of
shades of one background colour might
be used. Only two colours were used
in a round, though, so this was simple
stranded knitting, not complex intarsia.
This particular jumper is transitioning
to a more elaborated style, where the
background colours to some motifs vary,
and several of the peeries have a band of
red and a band of blue, as background.
The motif order on the sleeves replicates
that on the body. A faux seam stitch in
yellow or cream is worked up both sides;
again, just like on a one-colour gansey.
Motifs here are lozenges with crosses
or squares inside; fir trees, hearts, and
squares. In some Fair Isles, the familiar
‘OXO’ patterns are these same lozenges
alternating with crosses. The square
peeries echo some of the lozenges which
have squares inside; the fir trees and
SW hearts are more figurative, and the bold

EA
TER

PH

OT
OG

RA
PH
©
SH

ETL

AN
D^ M

US
EU
M^ &

AR

CH

IVE

S.^ K

NIT

TIN

G^ B

ELT

ILL

US
TRA

TIO

N^ ©

DA

VID

HU

NT

diamond peeries echo the squares,

as well. Background colours are largely

blues and red. Foreground motifs are

cream and subtle yellow. At least two

shades of blue have been used.

Shaping is minimal and, just like on

ganseys, there is a shoulder flap; these

were often on the right shoulder, because

onboard a vessel, or on the quays, items

would often be carried over the left

shoulder (by a right-handed person).

There is no ribbed welt or neckband,

making the design cleaner and

modernistic; the whole piece is an

uninterrupted canvas for the knitter’s

design. Later, visible repairs were carried

out pretty brutally in a non-matching

green; just pragmatic battlefield repairs

to the most worn areas.

Material matters

The islands’ sheep produce some of the

finest wool from any native British breed,

and have the widest range of natural

colours (at least 11); including moorit

(brown), mioget (lightest brown) and

emsket (dusty blue/grey). The cream here

could be from undyed Shetland wool.

This yarn would have been spun on

a small, upright spinning wheel, as was

13

Shetland Lozenge

15 10 5

1

3

5

7

9

11

2

4

6

8

10

12

We have charted out two of the main motifs: the heart, and the lozenge with a cross inside

Right: This Fair Isle

sweater, knitted

using naturally dyed

Shetland wool,

dates from 1913

Below: Shetland

knitters typically

worked in the round,

using a knitting belt

typical on the islands. These wheels had

a small footprint in a croft, but spun

phenomenal mileage. A woman’s first job

on marriage was to spin the linen she and

family members would be laid out in.

Spinning wool was a much easier task,

and many islanders would have spun

rather than bought commercial yarn.

And whilst handspun was uncommon by

1913 on the mainland, in the Highlands

and Islands it was still comparatively

commonplace. Spinning would be a task

for evenings, traditionally, as it was

believed wool spun more easily when

the sheep were asleep!

Post 1850, knitting yarn for most of the

UK market was made commercially - the

famous Patons of Alloa firm was founded

in 1813, and its colourful yarns were

sought after and emulated by other

commercial spinners. Shetland had a

tradition of handspinning, and some

handspinners’ work would have been

home-dyed using gathered materials or

commercial home dyes, at later dates.

The fact this jumper was still naturally

dyed as late as 1913 suggests that someone

in the household was well acquainted

with natural dyes or had learned from an

older family member. These dyes are not

easily made; blues are fermented with

bran and urine - and the depth of colour

made by repeated dipping and airing.

Black or black/blue was notoriously

difficult to achieve. And madder requires

a very specific temperature and pH - the

slightest deviation results in failure,

as the madder reds shift to brown. This

jumper’s spinner and dyer (possibly the

same person) was highly skilled.

• To view more Fair Isle garments in
  the Shetland Museum collection, visit
  https://photos.shetlandmuseumand
  archives.org.uk

Knitting history

The Knitter 39 Issue 154