New Design: Canola

Canola is the third of the new designs made for  Hillesvåg Ullvarefabrikk in the Spring 2019 collection, which will be launched in Norwegian at Fagstrikk/Trade Knits trade fair in April, while the English pattern will be test knitted beginning on the 15th April before its release. Canola is knitted in their divine Tinde pelt wool yarn by my expert sample knitter Kristin Nygård, aka Quiltefeen on Ravelry and Instagram. The poncho is the same shape as Donia, because I wanted a second go with a smaller cable in the lovely burgundy colour way 2104. Here is my introduction: Named after Canola the Irish deity who ruled over music magic is this poncho with sideways cables at the bottom and on the high collar. The upper part is picked up and knitted from the lower cable panel and worked in stockinette stitch with shaping for the shoulders. The short sleeves in rib hold the poncho together. You can wear it with a belt or a shawl pin to gather it at the front or loose, just as you prefer.

Michael photographed me, wearing the one size Canola on our terrace in November. The cable is the same I used in Stonethwaite made for The Borrowdale Collection for The Fibre Co.

 Canola is knitted using 3.5 mm/US 4 needles with a 21 stitches and 30 rows in stockinette stitch gauge to 10 cm/4″ square.

The body is knitted in four parts with cables on bottom part and stockinette stitch on the upper part. A long circular needle is used to accommodate the large number of stitches. The sleeves are knitted in the round in rib. The collar is knitted separately using a provisional cast-on so that the ends can be grafted together. If you prefer to have the collar loose, pick up and knit stitches around the neck and work an I-cord bind-off.

Here is a detail of the collar and also the photo closest in colour to the lovely Burgundy shade. I have one more new design to show you before you will see the fabulous photos taken at the Vigeland Museum.

I wish you all a Happy New Year and the best for 2019!                                                             “Takk for det gamle”/Thank you for the old one, as we say in Norway!


Var Pattern Released

The test knitting of Var is completed and you can see the amazing results on the Ravelry pattern page. Thank you to my test knitters for correcting and improving the pattern. Var was designed for Hillesvåg Ullvarefabrikk, knitted in the lovely Tinde Pelsullgarn/pelt wool yarn. Above you see it brilliantly photographed by Eivind Røhne, gorgeously worn by Emma Ross with makeup & hair by Sissel Fylling and jewellery by Kaja Gjedebo Design at Villa Malla in late May. Yarn kits with Norwegian pattern are available from Hillesvåg Ullvarefabrikk and selected yarn stores, while the Norwegian & English pattern is available to download from Ravelry and Loveknitting.

Pine cables play on the center of this oversized vest, named Var, Norse for beloved. The side panels – giving the vest a dropped shoulder appearance – are knitted sideways in broken rib and is divided from the cable pattern with a tuck as well as a reverse stocking stitch band. Var ends in an I-cord bind off around the shallow neck. The vest is knitted in the luscious pelt wool yarn Tinde from Hillesvåg Ullvarefabrikk.

Sizes: XS/S (M/L, XL/2XL)
Shown in size XS/S
Skill level: Experienced

Finished measurements:
Bust (with side panels): 156 (172, 188) cm/62 (68, 75)“
Length: 55 (57, 59) cm/21.75 (22.5, 23.25)”

Yarn: Hillesvåg Ullvarefabrikk, Tinde Pelsull (100% pelt wool, 260 m/284 yds, 100 g). The sample is knitted in Yellow 2119; 5 (5, 6) skeins; 1170 (1300, 1430) m/1280 (1422, 1564) yds.…

Alternative Yarns: Berroco, Ultra Alpaca Light (50% alpaca, 50% wool, 50 g, 133 m/144 yds).
Jamieson’s, Double Knitting (100% wool, 25 g, 75 m/82 yds).…
Malabrigo, Arroyo, (100% superwash merino, 100 g, 306 m/335 yds).
Or another DK/8 ply yarn.

2 sets of 3 mm/US 2.5 circular needle (80 and 100 cm/32 and 40”) for rib and tuck.
3.5 mm/US 4 circular needle (80 cm/32”).
Adjust needle size as needed to match gauge.

Notions: Stitch markers (removable), cable needle, crochet hook for provisional cast on and yarn needle.

Gauge: 21 sts and 30 rows in st st, after blocking measures 10 cm/4” square.
28-sts Pine Cable measures 10 cm/4” across.

Notes: The vest is knitted in two parts, then the stitches are picked up along the side. Size M/L has a wider side panel but the same center panel as size XS/S. Size XL/2XL has a wider center panel with one extra cable repeat.


Happy Knitmas & Holidays, Merry Christmas

Christmas 2018, just like last year will be a Knitmas for me. I never get even close to the preparations I had planned to do for Christmas, before it is Tiny Little Christmas Eve. That is today 22nd of December. I have worked with Christmas patterns for the Norwegian magazine Familien since August, so my first greetings I received from the handicraft editor back then.  No wonder I loose track, really. Michael and I will be celebrating Christmas Eve with my brother and his family, as well as my mum. Our next Christmas party will on 2nd Christmas Day – 26th – and then on the 4th Christmas Day – 28th. So I will have time off relaxing in between knitting and pattern writing to my next deadlines in January and February.

At the top you see one of this year’s new addition to our view: a total of 8 windmills following the Swedish border but we can only see 4 of them from our house in Ørje. Michael has taken a lot of photos of the installation of these, just check out his Instagram account. I wish you all a Merry Christmas, Happy Knitmas and Holidays!


Ataraxia Buttons by Siri Berrefjord

Christmas is coming very soon and we have a blanket of snow covering the ground here in Ørje, so I thought showing you some bright summery colours would be good. The orange swatch (read: knitting speak for tiny sample) knitted in the gorgeous SweetGeorgia Yarns Mohair Silk DK in Pumpkin using 3.5 mm/US 4 needles and 4 mm/US 6 needles, shows off the different stitch patterns on my Ataraxia swatch as well as Siri Berrefjord’s handmade buttons. Yes, Siri is also a trained photographer in addition to being a jewellery maker and a designer, especially of redesign clothes. I sent this swatch to Siri and ordered 9 bespoke small buttons with a diameter of 18 millimeters/0.7″ to match the colour by the beginning of July. Of course, Siri took a number of stunning photos you see here too! Ataraxia was a commission for a the Pom Pom Quarterly 27 Winter 2018 issue with guest editor Norah Gaughan. I made a jacket for the modern warrior women, since the brief stated that “Our muse is a modern woman warrior with a feminine edge. Mix sweet with strong. The Victorian era is the seed of inspiration, but anachronism is welcome”.

 The button design is based on the silver brooches used for the traditional folk costume, called “bunad” in Norwegian. Each button is moulded in plastic then painted with several layers. Siri suggested to use orange at the top, then a lighter colour below and with gold with a bit of brown at the base. As always she was spot on. The luxurious SweetGeorgia Yarns Mohair Silk DK is made of  90% superwash Merino, 5% Superkid Mohair, 5% silk with 200 meters/218 yards per 100 gram with a fantastic stitch definition and lustre to it.

As always I am impressed by the composition of the photos, making sure the background matches or contrasts the object in the photograph. Working with Siri, is such a fun and successful collaboration. Take a look at these previous designs, if you need any more proof: Helka, Gyda, Icelandic Jacket and Ena.

My sample was not included of the magazine simply because the wonderful orange colour did not fit in with the other designs and a second sample had to be knitted up quickly in time for the photoshoot. The second sample for Pom Pom Quarterly 27 Winter 2018 is knitted in The Copper Corgi Fiber Studio, Jones Street Worsted – available at Etsy – made of 60% Merino wool, 30% Alpaca, 10% silk with 192 meters/210 yards per 113 gram skein in the shade Goldenrod. While you can see the  photos of me wearing the orange sample here: Ataraxia Again. I so enjoyed seeing the two different versions of my Ataraxia. Do not miss this amazing issue of Pom Pom Quarterly.

You will find a selection of Siri’s buttons available in her shop on Epla here: Siris Skattkammer and more divine photos on her website: Fredenshavn.

I will end with Felicia Lo’s ending words from the SweetGeorgia Yarns Podcast: Enjoy colour!


New Design: Corra

I am thrilled to show you another new design, I have made for Hillesvåg Ullvarefabrikk. This is the second of four new designs for them in the Spring 2019 collection, which will be launched in Norwegian at Fagstrikk/Trade Knits trade fair in April, while the English pattern will be test knitted beginning on the 18th March before its release. Corra is knitted in their divine Tinde pelt wool yarn in the blue turquoise colour 2129 – that Siret used for her Sirona – by my expert sample knitter Kristin Nygård, aka Quiltefeen on Ravelry and Instagram. Here is my introduction to Corra: Named after the Prophecy Goddess is this elaborate cabled pullover with slightly fitted waist. Two large cable panels are divided by a small cable that ends in a Henley neck, framed with an I-cord. Unlike the body the sleeves only have two small cables surrounded by stockinette stitch, so all the focus is on the body. Corra is knitted in pieces and seamed.

The stunning cable pattern is made by Polish designer Dorota Kowalczyk, aka Devorgilla on Ravelry. She also made the cable I used for the popular Prescott Pullover, and has a cable collection that is astonishing. The cable I chose was to wide to have on the sleeves so I chose a small back and front cable instead. I find the Henley neck flattering and decided I wanted a small cable in between the two pattern repeats on body. So that it could end in the v-neck at the front.

I am wearing size Small and photographed on our front terrace by Michael. The pattern is graded from size XS to 2XL with a bust circumference of 86 to 126 cm/33.75 to 49.5″. In the photo above, I was indicating to Michael how much to include in the photo. He did miss a small bit at either end. But never mind. The pullover is worked back and forth in separate pieces and seamed. The front has 2 pattern repeats before the v-neck part of the Henley neck begins, then 2,5 when the round neck begins, while the back has 3 pattern repeats.

Corra is knitted using 3.5 mm/US 4 with a 21 stitches and 30 rows in stockinette stitch gauge. You will find more details on my project page on Ravelry. I have two more designs for Hillesvåg to show you.


Visit at Hillesvåg Ullvarefabrikk

Yes, I have finally been to visit Hillesvåg Ullvarefabrikk at Hjelmås, outside of Bergen. Just to clarify, it is not that I have not been invited before, but because it is far from where I live, on the west coast of Norway. My collaboration with Hillesvåg goes back to 2012, when they sponsored yarn for my Norwegian book and to the sixth collection of designs I am currently working on, which they make yarn kits for. At the end of November I flew from Oslo to Bergen to hold a presentation at The Norwegian Knitting Industry Museum and used the opportunity to visit Hillesvåg Ullvarefabrikk. I traveled by ferry from Bergen to Knarvik Kai/Quay where CEO Øyvind Myhr met me and drove to the near by factory on the north side of the Osterfjorden. The entrance trough the shop is to the right of this picture. Hillesvåg is a family business from 1898, now run by the 4th generation and one of the few factories left in Norway that produces yarn from Norwegian wool.

Hillesvåg is an Économusée, that uses traditional craft techniques and uses old machinery to make their yarn and tops. Watch this video that introduces the factory and you will see that their oldest working machine is from 1835. They do have some spare parts to these machines, but if they do not, they have to make it from scratch. See this newspaper article from the Norwegian newspaper Aftenposten.

The ferry only took 20 minutes to Knarvik and it was less than 10 minutes to drive the last part. The view towards the fjord is equally enticing. I had worked intensely to be able to bring the 4 new designs for the sixth collection to them, instead of sending them. So revealing the new designs and seeing how they looked on me was first on the agenda, after I had met Øyvind’s wife Anette Toft, who deals with customer & designer relations, and in-house designer Berit Løkken. It was fun for me to see their reaction, so I thoroughly enjoyed this delivery in person.

Next on the agenda was Øyvind taking me on a tour of the factory. We started downstairs in the basement. Here is Øyvind standing next to washed white Norwegian wool. The washing is done in the UK, and it comes back in large bags and expands whey they are opened.

The pelsull/pelt wool is a lot greyer but also silkier in its apperance than the white wool.  Øyvind is very happy that they did start producing the pelt wool yarn in the spring of 2012. It comes from the Pelt Sheep which is a mixed breed of the Old Norwegian Short Tail Landrace the Blue/Grey kind and the Gotland sheep. Pelt wool is of medium staple and it is a woolen yarn with no distinctive creep, but it does have a good lock. These days, they make 3 thicknesses. Above you see him holding onto the pelt wool fleece which is naturally light grey and gives the dyed colours a weathered look on a dark fibre base.

The yarn has a mohair, silky feel with a halo, lustre and bounce. Despite its halo, it has a great stitch definition and depth to it. The pelt yarn also blooms and softens when you block it. These days, they make 3 thicknesses; the DK weight first named Norsk Pelsull/Norwegian Pelt Wool – now called Tinde – the thicker Bulky weight called Blåne and the newer 4 ply/Fingering weight called Sølje launched in May 2016.

We walked from the basement, where the fleece is kept; air is blown into it and it is dyed up to the next floor. Here is a close up photo of one of the old machine from 1890, that is used for carding for felting.

It was utterly fascinating to see all these old machines still in use. They made less noise than you would anticipate.

The spinning process was my favorite to watch. I was so impressed that this worker could spot where the yarn needed splicing and doing it with such speed and ease.

Øyvind’s brother Arild is in charge of developing the colours and the dying. He is also the one that has to fix the machines when the stop. They use two different methods that both give the same result. Here is a close up of the one where the hanks are slowly turned around to ensure even colouring, while the other method keep the hanks static but raises the water platform.

After the hanks have been dyed, they are dried over night, maximum 12 hours to avoid the yarn drying out, upstairs at the loft, the so-called drying loft. Here are skeins of Tinde and Ask.

Here are hanks ready for labelling and their final twist or before they are made into cones.

The machine that transfer the hanks onto cones. I was lucky to meet a number of the 20 employees at the factory and saw them doing their job. The order department was busy working on filling Ysolda’s order (to Scotland) – box number 8 – and a large order to Trollenwolweb (to the Netherlands), as well as numerous other orders both to stores and direct to customers.

After Øyvind had shown me around, I wanted him and Anette to help me make a video of me knitting for the Fruity Knitting Podcast. We talked through where we should record it and choose their beautiful Sense Room, where they hold their knitting café, in the end. Anette was in charge of recording, while Øyvind gave me a signal when there was 10 seconds left so that I could look up and smile. But just like knitters in my workshops do make mistakes just because I am looking at them, so did I when I was filmed. I had to redo those rows on my swatch. Anette also made a second video using her mobile, close up of my fingers, as requested by Andrea, presenter of the Fruity Knitting Podcast. You can see the footage in the Podcast here.

Then we had lunch, Øyvind, Anette, Berit and I, in their conference room and not in their canteen which has a view of the fjord. I told them what I have been working on and so did they. I was also asked if I wanted to make another collection for them and I was delighted to accept. Hence after lunch I wanted to have a closer look at their shop, choose some hanks that had to come home with me for swatching for the seventh collection. I also had a second walk about before my return to Bergen. Above is the entrance to the factory, straight into the shop, with the pelt wool displayed: Sølje on the right, then Blåne and Tinde to the left. This is just a small corner of the shop, that had all their other yarns, yarn kits, knitwear, books, knitting notions, and gifts. Then it was time for me to leave to go back to Bergen, pick up my suitcase and head to the airport. Øyvind took me to the bus stop, since the ferry only runs at rush hour, and gave me instructions where to change buses to make sure I came back into the city center. I made it and also managed to get to the airport in time. I had an amazing day at Hillesvåg Ullvarefabrikk, thank you Øyvind, Anette, Berit and to everyone I met! If you do have the chance and are visiting Bergen, do not miss it!


Fruity Knitting Podcast Episode 67

I listen to and watch a number of podcast when I knit, especially close to a deadline when I tend to set aside hours of knitting to finish off the design. Fruity Knitting is one of my favourite shows, due to their in-depth interviews always with pictures and videos, hence I was so chuffed when I received a message on Ravelry from Andrea asking if I would be on the show. I certainly would, and had only a vague idea of the amount of preparation I had to do as well as technical set-up I had to overcome. However, I did leave the technical side of it to Michael, who filmed our first session on Skype, when we went through the answers I had prepared to Andrea’s questions. Our internet connection is not the best here in Ørje, so we had to do a second brief technical trial, this time from Michael’s office upstairs, instead of my studio downstairs. In the end, the final Skype session was done in our living room (in front of the fire place) with an extra cable to our router, with newly bought second-hand tailor busts in the background. Michael filmed this session too and sent the files from our very slow uploading internet connection to Andrea, so they would have the footage as a backup to the Skype recording. Andrea, the pro in all this, was ever so calm and asked a number of part questions each time I came to a halt – panicking if I had remembered to say all I had planned and desperately trying to appear calm. Andrea did a brilliant editing job, hence I appear a lot more cohesive than I thought I sounded.

Andrea suggested I make a short tutorial video of my slip stitch crochet seam and that was another job for Michael. She also wanted two videos of me knitting, and we did try to record one outside at the beach in Ørje on a sunny but cold day. But the footage was too dark and my hands looked nearly blue, so that did not work at all. Luckily, I was going to Bergen, on the west coast, to visit Hillesvåg Ullvarefabrikk as well as holding a presentation, so I sent them an e-mail to ask if they could help take a the videos of me knitting.

They obliged and I could pick where I wanted to sit after Øyvind had showed me around at the factory (read: more in the next blogpost). We did talk about doing it among the old machinery but they were ever so noisy and the lighting was not the best, so we ended up where they have their knit nights with plenty of natural light. Anette filmed me and Øyvind signalled when I needed to look up. We did have fun making this footage! You cannot belive all the knitting mistakes I did in the stitch pattern on my swatch.

I sent over a number of photos relating to my answers and Andrea picked some of the ones I have on my blog as well. In addition I suggested a discount of 30% on all my individual patterns at Ravelry to her patrons, who support the podcast. I love the introduction Andrea gave me: “Linda Marveng’s designs are very distinctive and sophisticated. She uses dynamic silhouettes with lots of texture and very intricate and beautiful cables as well as a fair bit of lace. Linda lived and worked in London for a long time and that’s where she received most of her training in teaching knitting workshops and then later in designing knitwear. I think you can see this mix of British and Scandinavian design reflected in her work…” Continues on the Fruity Knitting Website.

Thank you so much for having me on your podcast, Fruity Knitting! I am overwhelmed with all the positive feedback I have received! Do watch the episode if you have not done so already, and enjoy following the podcast.


Bergen – The Norwegian Knitting Industry Museum

I was so delighted when I was invited to give a presentation at Norsk Trikotasjemuseum/The Norwegian Knitting Industry Museum at their knit night on Tuesday 28th. November, since it took me to Bergen on the west coast and close to Hillesvåg Ullvarefabrikk, which I had the opportunity to visit for the first time. Bergen, the second largest city in Norway, is known as the Gateway to the Fjords of Norway and a UNESCO World Heritage City – yes, it is stunning! The Norwegian Knitting Industry Museum is located at Salhus, while Hillesvåg Ullvarefabrikk is at Hjelmås, both about 20 minutes outside of Bergen.  This first post is about Bergen and the Knitting Industry Museum, while the second one is about Hillesvåg Ullvarefabrikk – a Econo Musee – with their more than 100 year old machinery still in use.

Above are the views from my loft room at the Klosterhagen Hotel at Nordnes, in a lovely and quiet part of the city.

I arrived on a sunny day and Bergen is known for its heavy rain, so I had to take the opportunity to take the Fløibanen, the only funicular railway (read: incline railway) in Norway, that whisks visitors to the top of Fløyen, one of the seven mountains encircling Bergen, 320 meters above sea level. The ride is best described best by Matt Hickman: “Despite the relatively short 8-minute trip to the top, with three local stops on the way, this is one funicular ride many visitors wish would last forever. The views from the railway’s two panorama-windowed, glass-ceilinged cars, Rødhette (the red one) and Blåmann (the blue one), simply defy description. And once you reach the top, you may never want to come down”.

The view from the top of Mount Fløy late in the afternoon with the strong sunlight making dark shadows. This is just the view in one direction, it was impressive in the other directions too. There were a number of paths to go hiking and a large restaurant that is only open at weekends.

Bryggen, the old wharf, which you see in the background is the main attraction in Bergen. “In 1360, the German Hanseatic League set up one of its import and export offices at Bryggen, dominating trade for almost 400 years”. It is on the UNESCO World Heritage List. I went down to the new wharf to check out the ferries to Knarvik, which I took on Wednesday morning, when I went to Hillesvåg Ullvarefabrikk. Managing Director Øyvind Myhr met me at Knarvik harbour and drove me the last bit to the factory. There are a large number of ferries going from Bergen, so I had to make sure I knew where it departed from. Luckily it was a short walk from my hotel.

This is the late afternoon view from my room.

The Norwegian Knitting Industry Museum is located by the fjord, but there were no ferries going there, only a bus. I was fortunate enough to be able to take a taxi (read: the museum covered the cost) with my heavy suitcase filled with samples. Inside the old factory in a large open room with high ceilings and a view towards the fjord, is where I held my presentation. Unfortunately, I did not have time to join a tour of the museum, but you can see it on Kristy Glass Knits’ podcast here: YouTube.

 The museum is the former textile mill Salhus Tricotagefabrik (1859–1989), that mainly produced underwear. Today, they produce a small quantity of yarn and machine knitted garments for sale in their beautiful shop. This museum is also the venue for the Bergen Strikkefestival/Knitting Festival.

Yes, the shop was open during the knit night. Bring what you want to purchase to the coffee and cake till was the order of the evening. But most of the knitters attending seemed to be regulars and was at the museum frequently. I cannot blame them. It is such a lovely venue!

It was really the perfect gift shop with yarn, knitting magazines, books, knitted goods and some toys. As you can probably see from this photos it is a popular venue for photoshoots.

Present at my presentation was Berit who works at Hillesvåg and she had brought the samples from the factory in addition to yarn kits and brochures. I was very pleased to meet Berit again and I also spoke to a number of knitters present. I had a lovely evening. Thank you to The Norwegian Knitting Industry Museum!


New Design: Aibell

The time has come to reveal my new designs, made in collaboration with Hillesvåg Ullvarefabrikk, in their divine pelt wool yarn Tinde and Sølje. The Norwegian pattern and yarn kit will be launched at Fagstrikk Messa/Knits Trade Fair in April 2019. First out is my second dress design (with a cowl) this time knitted in the thicker Tinde in Natural Grey. Aibell – Named after the Celtic Goddess of Munster who had a magical harp in her possession is this ballon shaped dress where the shaping is done by the cables. The a-line created by the cables is mirrored on the body. The fronthas Right cables beginning at hip one at a time, while the back has Left cables. A cowl make a high cabled collar or a belt. Wear it loose hanging down, slightly pulled up or as a tunic with the rib turned.

The sample is knitted by my turbo sample knitter, Grete Jenssen, who did a brilliant job as always. The cables shape the upper part and are introduced one by one. I wanted the a-line  to cross the body, so the back and front are not identical. I had planned to insert elastic into the bottom of the rib, but found out that I did not need to, thanks to the lovely bouncy yarn.

We have had few sunny days lately, but found a day without rain to photograph these garments on our front terrace. Michael worked quickly to photograph me in minus 5 degrees celsius/23 degrees Fahrenheit. I discovered after trying it on that you can easily wear it with the bottom rib pulled up a litte or all the way up and turned as a tunic with trousers. Due to the cold, I am wearing trousers under the dress in all these photos. Above you see the rib pulled slightly up.

The dress is knitted in pieces and seamed. The cables shape the dress, by adding one cable at a time. Add elastic to the bottom if you prefer to wear it higher up. Adjust the length in the stocking stitch area, depending on how you prefer to wear it. The cowl can easily be adjusted to your preferred circumference by adding cable repeats or purl stitches.

With the rib at the waist and folded in, making the bottom part double. Perfect for the cold weather here. I am wearing the dress in size Small, with a 92 cm/36.25″ bust circumference, but grading it from XS to 2XL. The finished bust circumference is from 86 to 122 cm/33.75 to 48″. The cowl is one size but can easily be adjusted to your preferred length. In fact, Hair & Makeup Artist Sissel Fylling suggested to wear the cowl as a belt and that worked well on the model Em. While I would need a slightly longer cowl – it is knitted sideways – to make it fit around my waist.

Here is the tunic style from the back, without the cowl. The dress is knitted using 3 mm/US 3 needle for the rib and 3.5 mm/US 4 for the rest. The gauge is 21 stitches and 30 rows in stocking stitch measures 10 cm/4″ square.

I did consider giving the dress a Henley neck but in the end I made a crew neck, with square corners.

This was the clear favourite according to my team at the photoshoot, hence I have decided to have this dress test knit first out of the four new Hillesvåg designs. The last photo shows the cable introduction in detail. The English pattern will be test knitted in my Ravelry group before its release, beginning 11th February. You can find more pattern details on the project page on Ravelry: Aibell. I look forward to showing you the other three new designs and how this dress looked on the gorgeous model Em.