Author Archives: Linda Marveng

Behind the Scenes: Photoshoot at Vigeland Museum

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On Monday, I had a photoshoot at the Vigeland Museum, next to the Vigeland Park in Oslo. The brick building, with a majestic ceiling height, was built in the 1920’s in a Norwegian Neo Classical style. “The museum is the result of a unique contract between Gustav Vigeland and the city of Oslo signed in 1921: The Municipality agreed to build a studio, residence and future museum for the artist and his work, and in return Vigeland donated nearly all his works, previous and future, to the city”. It was with anticipation we (read my brilliant team: Photographer Eivind Røhne; Hair & Make Up Artist Sissel Fylling; Model Emma Ross; Michael; and me) were let in by one of the curators, as the museum is closed to the public on Mondays. During the day we had the chance to observe the curators at work and they us. As much as we admired their work, they enjoyed watching the beautiful garments being photographed and wondered which fashion magazine we were from. I explained that I designed handknit and that the photos were for the patterns and for the magazine Familien. Above you see gorgeous model Em, photographed by Michael in front of one of the plaster models for a sculpture to the park. Em is wearing Eira Pullover made for knit.wear Fall/Winter 2017, soon to be released in English in my Ravelry store.

“Vigeland moved into the new building in 1924, living in the apartment on the top floor of the east wing. Here he resided and worked until his death in 1943. From the tower in this majestic red brick building he had a beautiful view towards the fields of Frogner, where his great project, the park, soon was to be reality.” We were guided into the Children’s room, were we would camp out all day. I am sure we enjoyed it as much as the children who usually visit that room! While Hair & Make up Artist Sissel was working her magic on Em, Eivind and I did a round in the museum. We picked two halls as for our shoot: Hall 9, which you see above and the Monolith Hall, which you see below. On the agenda was photographing a total of 10 garments: 4 new designs for Hillesvåg Ullvarefabrikk; 1 new design for the Norwegian magazine Familien: Nemetona; 4 returning designs from Interweave: Eira Pullover, Rørbye Cardigan, White Mountain Ruana and Andaman Top; 1 old design from my book: Tweedjakke with accessories: Duggdråpe Halser.

“The museum opened in 1947, houses almost Vigeland’s entire production; sculptures in plaster, granite, bronze, marble, works in wrought iron, thousands of drawings, woodcuts and woodcarvings. In the museum you will find the original plasters to his famous busts and monuments, in addition to the plaster models to the sculptures in the Vigeland Park.” Above you can see Eivind in action, with me standing next to him and Michael just behind him. In the end we photographed nearly all of the garments, with the two exceptions you see above, in the Monolith Hall.

The lizard in wrought iron is a model for the gates in the Vigeland Park and the most complicated of these wrought iron works Vigeland made. Their graphical presence added extra drama and was perfect for the Tweedjakke worn over Judith Bech’s wonderful skirt with a train. I was wearing the Patent Poncho, while Sissel – as you can see was cold – and wore her coat inside. To our surprise she did not cut Em’s hair this time. I had also borrowed jewellery by Kaja Gjedebo Design, as I usually do. There is no café at the museum so I had ordered catering from the nearby Eckers Cafe, with one delivery of drinks in the morning and one for lunch, so that we would not loose too much time looking for a nearby restaurant and wait for our lunch. That worked well and while we spent quite a bit of time to set up and prepare for the first garment, the remaining ones went quickly.

Michael assisted Eivind but also had the time to photograph some of the collection in the museum. Eivind had brought both extra lighting and a huge flash to make sure the lighting would be good enough. Above is the Monolith model for the park in front of the Monolith itself. “In the Monolith Hall stand several of the original plaster models to the 36 granite sculptures on the Monolith plateau, as well as the Monolith itself. This sculpture was carved in one piece (hence the name Monolith), but it was first modelled in clay, and then casted in plaster in three parts, as displayed in the museum today.”

The Vigeland Museum is a popular venue for fashion shows, but also for concerts outside in the courtyard during the summer. The photoshoot was exhausting but also extremely rewarding and wonderful at the same time! After the shoot was a wrap – thanks to a brilliant team – and we had taken farewell with the curators and the security officer, we headed for the park, as Em has not had the time previously to see it. Above you see here in  front of the Monolith in granite. Do visit both the park and the museum, when in Oslo, they are worth it. I will recapture our visit by choosing pictures from Eivind.

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New Design: Nemetona

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I am thrilled to show you my new design Nemetona, knitted in the divine The Fibre Co. Cumbria, that I chose as part of my payment for designing Stonethwaite for them. Nemetona and four new designs for Hillesvåg Ullvarefabrikk, plus returned designs from Interweave, will be professionally photographed on model Emma Ross by Eivind Røhne on Monday at the Vigeland Museum in Oslo. Nemetona is Celtic for goddess of all sacred places. Like a magical cable grove is each part of this pullover: Staghorn, Roman; and double cables are framed by Honeycomb pattern. The flowing longer back with its curved hem, creates a stylish contrast to the straight front. In these photos you see me wearing size Small with 2 cm/0.75″ positive ease, photographed by Michael at our nearby boat slip this autumn. Notice the new windmills that have popped up in the background.

 This time I wanted maximum texture and decided that even the sides should have cables in the shape of Honeycomb pattern. To give the side seam extra depth, I framed the Honeycomb stitches with a twisted stitch and a purl stitch in each side. I also choose to decrease inside the double cable to shape the longer back. The sweater can easily be modified to remove the longer back, if you wish.

The Fibre Company Cumbria Worsted is made of 60% Merino Wool, 30% Brown Masham Wool, 10% Mohair on each 100 gram skein and has 218 meters/238 yards. I knitted the sample in White Heather 105 with a 20 stitches and 28 rows in stockinette stitch gauge measuring 10 cm/4″ square using 4 mm/US 6. I have graded the pullover from size XS to 2XL with bust circumferences of 84 to 126 cm/33 to 49.5″.

The sweater is knitted back and forth in pieces and then seamed. The neckband is worked in the round, double and folded down. The longer back has decreases in the double cable at the bottom. The vent edges are made with slipped stitches. Above you see a detail of the sleeve with its double cable, Roman cable dividers and Honeycomb pattern.

I plan to have the English pattern of Nemetona test knitted in my Ravelry group, set to begin 7th of January, and will release the pattern after the test knit is completed. The Norwegian pattern will be printed in the magazine Familien, the date will be confirmed later. But first you will see how it looks on Emma Ross.

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Merino Vest Wrap Pattern Released

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Merino Vest Wrap is an old design made for my knitting book, published in 2012. I wanted some new photos for it so I included the garment in the photoshoot we had at Villa Malla in May. Photographer Eivind Røhne brilliantly captured model Emma Ross, with make up & hair by Sissel Fylling and jewellery by Kaja Gjedebo Design, wearing the vest knitted in the gorgeous hand-dyed Tosh Sock yarn. The pattern has also been reviewed by my technical editor Barbara Khouri. Merino Vest Wrap is now available in English in my Ravelry Store.

Here is my introduction to the pattern: Inspired by Tinde Knits gorgeous designs by Norwegian designer Iselin Hafseld is this vest knitted sideways in Tosh Sock hand dyed yarn with Indian crosses. The vest can be used upside down for a smaller collar and a longer vest. Drape it as you please and pin it together.

Size: One size.

Finished measurements: 74 cm/29.5” wide and 112 cm/44” long.

Yarn: Madeline Tosh Sock (100% merino wool, 100 g, 361 m/395 yds). Sample is made in discontinued shade Baltic which can be replaced by Esoteric:
5 skeins; 1643 m/1797 yds
                                    https://madelinetosh.com/collections/fingering-sock

Needles: 2.5 mm/US 2 circular needle 40 cm/16” for armhole band.
3 mm/US 3 circular needle 80 cm/32”.
Adjust needle size as needed to match gauge.

Notions: Stich markers, stitch holders, cable needle and yarn needle.

Gauge: 24 sts and 36 rows in Indian cross stitch using 3 mm/US 3 needle measures 10 cm/4” square.

Notes: The vest wrap is knitted sideways in one rectangular piece with shaped armholes. To make the vest longer, add pattern repeats of 6 stitches at left side of work (end of RS row) before the border stitches.

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O-Chem Tunic in Interweave Knits Winter 2019

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I am so thrilled to have my design O-Chem Tunic in Interweave Knits Winter 2019. It was yet another design submission that was accepted by editor Meghan Babin. Yes, this is the Science Issue, hence the name O-Chem Tunic. In the intro, Meghan writes: “We’ve curated a collection of 19 designs inspired by the natural sciences and astrophysics.” My tunic is introduced as follows: “The O-Chem Tunic features a striking central panel of knotted hexagonal cables inspired by organic chemistry compounds. For visual balance with the three cables in the body, the sleeves have one main cable running down the arm, and all the cables in the sweater are framed with rope cables. The sweater sports a cozy standing collar and side vents in the rib at the bottom for a relaxed fit.” On the cover is Saturn’s Rings Pullover by Adrienne Larsen.

@ Harper Point Photography / Interweave

The tunic is knitted in the lovely soft Tahki Yarns Alden made of 50% merino wool, 25% alpaca, 25% acrylic with 229 meters/250 yards on each skein in 06 wine colour, using 3.75 mm/US 5. The yarn is distributed by Tahki Stacy Charles. As usual I have knitted the tunic in parts and seamed them together for the ultimate fit. The standing collar is knitted with an interfacing which is folded down.

@ Harper Point Photography / Interweave

The pullover shown measures 94 cm/37″ (the third size) and is modelled with 7.5 cm/3″ of positive ease. I have graded the tunic to these underarm circumferences:  86.5 (87.5, 94, 104, 114, 124.5) cm/32 (34½, 37, 41, 45, 49)”. I enjoy the college setting and Tina Gill’s superb photostyling. You can also study the beautiful hair & makeup by Janie Rocek in the close-ups below.

@ Harper Point Photography / Interweave

I found the gorgeous cables in Norah Gaughan’s inspiring Knitted Cable Sourcebook. I placed three at the center of the front and the back for balance and one on the sleeve. I decided to frame them using a basic cable and continue the cables up on the collar but use reverse stockinette stitch instead of stockinette stitch as on the body. Finally, I want to thank the team at Interweave and Harper Point Photography for making my design look so fantastic!

@ Harper Point Photography / Interweave

The Interweave Knits Winter 2019 issue is available in a digital edition or print edition. In Norway you can buy the print issue at larger Narvesen stores or order it at your local one. I will show you the photos Michael took of me wearing this design, but if you do not want to wait, you can have a look here: O-Chem Tunic.

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Making Things App

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Several months back, I was approached by Making Things App on Instagram and asked if I wanted to be a designer on a new app, where knitters will pay a monthly subscription fee to be able to access my patterns digitally. I was impressed by the list of acknowledged designers that had already signed up, in addition to Vogue Knitting. Founder Meghan Elizabeth sent me more information by e-mail. We also set up time for a video interview, where I could ask any questions I might have. The app has been through beta testing with 500 knitters and their response was overwhelmingly positive. Each suggestion they had, was implemented, just as I could always ask them any questions I might have.

In short Making Things App is like Netflix for knitters and it has been given the nickname Knitflix, where you pay a monthly fee, USD 11.99 and have access to about 1500 patterns – currently – from 130 designers, digitally. It is a cloud based platform. As a knitter, you have access to digital tools such as counters, row highlighters, chart grids, editable notes and live pattern support. You can not download any patterns, but need to work each pattern on a tablet computer or mobile phone. You will be able to access your pattern and notes offline too when the when the native app is finished. So far Making Things is a web app, that only works online. A number of features as still in the works like group chats for Knit-A-longs, workshops and more.

As a designer, I will receive a fee for each knitter who subscribe through my page and each time one of my patterns are in use. Hence I will have a chance to increase my income, and if I could spend even more of my time designing, that would be wonderful. Making Things also plans to make an analytic dashboard for designers where I will be able to see which of my patterns that are in use, hence provide useful statistics for me. In addition, they are working on providing technical editing and photoshoot aid to designers. They have made a number of videos already, available on Instagram, from their visits to designers and behind the scenes at photoshoots.

I believe this is a good offer for knitters who work from their tablet and work more than one pattern a month. The Making Things App will appeal to the younger knitters, who are more techno-savvy, I think. I am certain that Making Things App will not take over Ravelry’s role, since Ravelry is so much more, but I believe that they both can co-exist in our knitting world. I will continue to sell my patterns on Ravelry and on other platforms like: Loveknitting, Annie’s Publishing, Deep South Fibers, Create2thrive, in addition to Making Things app. I am grateful to everyone who follow me and to everyone who buys my patterns, regardless of which platform you prefer to use.

For more information, read the review by designer Olive Knits, and watch the interview of Meghan Elizabeth on the Truly Myrtle podcast, it begins 26.48 minutes in.

Follow Making Things on Instagram for their latest news. You can sign up on Making Things app here.

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Ataraxia in Pom Pom Quarterly Winter 2018

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I was beyond excited when I received an e-mail from Meghan Fernandes, co-founder of Pom Pom Quarterly, commissioning me to make a submission for the Winter 2018 issue with guest editor Norah Gaughan. Norah is the famous cable expert, who I had the pleasure of meeting at Strik Bornholm in Denmark back in 2014.  The timing was also right for me to submit to Pom Pom Quarterly, founded by two of my former Loop colleagues: Meghan Fernandes and Lydia Gluck. I am so honoured to be part of this impressive issue with my Ataraxia together with eight other acknowledged designers: Caitlin Hunter, Joji Locatelli, Véronik Avery, Andrea Rangel, Cirilia Rose, Xandy Peters, Boadicea Binnerts and Honor Adams. On the cover is Norah’s amazing Nightingale, knitted in Quince and Co. Lark using 4.5 mm/US 7 and 3.75 mm/US 5 needles.

@ Laura Morsman

The impressive submission brief said: “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”. So I made a jacket for the modern warrior women: Shield maiden Lagertha wears a strong, fitted jacket with peplum, adorned with cables, honeycomb pattern and moss stitch. Her bravery has been marked by the I-cord top shoulder adornment and close crew neck. Her stature is emphasised with a tuck joining the peplum to the body, a twisted stitch encompassing the honeycomb pattern and two staghorn cables following the spine at the back.

@ Laura Morsman

Pom Pom writes: “When we asked Norah Gaughan to guest edit this issue, nothing could have prepared us for the beauty and drama of the results. Combining her vision of though Victoriana with our trademark colourful and playful approach, we have worked to flip the Victorian visual trope of a delicate woman surrounded by flowers into one of strength and resilience…” The dramatic flower arrangements are by Bricolage Curated Floral and the photos by Laura Morsman.

@ Laura Morsman

The sample is knitted in the stunning 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 using 4 mm/US 6 and 3.5 mm/US 4 needles. The model  has a 86 cm/34″ bust, stands 165 cm/5.5″ tall and is wearing a size 2 with 97 cm/38.25″ bust. The cardigan is available in 5 sizes with a finished bust measurement of 91 to 132.5 cm/35.75 to 52.25″.

@ Laura Morsman

Ataraxia is knitted flat, in pieces from bottom up, and seamed. The asymmetric lower body has extra width in each side that will be bound off before the tuck is made. Waist shaping is worked at the sides and the shoulders are shaped using short-rows. The collar is picked up and completed using an i-cord cast-off. The dramatic photo above is also used to list the weapons – the issue 27 yarns.

@ Laura Morsman

Norah writes in her guest editor note: “Linda Marveng added a peplum detail to her lushly cabled cardigan, Ataraxia. While the introduction to the pattern reads: Descended from a grand but penniless family and compelled to marry an absolute brute, Caroline Norton’s heart-rending experiences of spousal abuse and divorce led her to drive parliamentary reforms that established basic legal rights for women. Caroline spoke frankly and widely about subjects normally discussed only in whispers. The inroads she represented the first signs of a sea-change around the legal position of women.”

@ Laura Morsman

“Ataraxia is named after one of Caroline’s poems and we hope it gives you a perfect sense of calm, sheltering you from whatever storms you bravely weather. The long jacket’s fitted shape is achieved through a careful arrangement of vertical texture panels and i-cord highlights. Finished with a tucked, asymmetrical peplum, Ataraxia is full of clever ideas. Linda designed this with a mythical shield-maiden in mind, and Caroline Norton reminds us of the everyday heroines battling among us.”

@ Laura Morsman

The gorgeous sample photographed is not the one I knitted in SweetGeorgia Yarns Mohair Silk DK in Pumpkin, as you will see on Ravelry (and soon here on my blog) when you see the photos Michael took of me wearing it. 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. Do not miss this issue of Pom Pom Quarterly.

Above is the impressive back cover of the magazine. The Ravelry previews of the magazine is up, and pre-order copies are due to be landing on doorsteps from 12th November. Both a print plus a digital issue will become available soon, for more details visit pompommag.com.

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Strikkehelgen in Stavanger 2018

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Last weekend I was back in Stavanger for the Knitting Weekend, organised by Strikk og Drikk/Knit and Drink! The autumn weather could not have been any better, crisp with hardly a cloud on the sky. Just as last year I had asked if I could stay with my friend Mary-Ann Astrup so that we could catch up. Her house in the city centre is also better than any of the hotels, in my opinion. Two of my four workshops were overbooked, but I was given the best conference room at the Clarion Hotel Stavanger, the Board Room on the 14th floor with a magnificent view, and comfortable leather chairs. During the weekend I met knitters I knew but also new knitters.

One of my test knitters Tone Cecilie, who was teaching Cable Knitting for Beginners, while I was teaching Cable Knitting Masterclass, had her workshop in between my Finishing and Masterclass. In the dark photo above you see her clearing the table, and you get an idea of the view we had with the table seating 20 people.

Here is a view from one of the many windows towards the harbour.

Here is the next in the series.

I am sure you want to see more from the Knitting Weekend, so here is the small knitting café area, next to the Market Hall at the basement of the hotel. On Saturday, between my workshops I held a one hour knitting clinic. I answered questions on my own designs but also on general knitting issues, like how to count the number of decreases you have made.

Inside the Market Hall there were another knitting café area and on the stage, there are some of Sidsel Høivik’s designs exhibited. I briefly spoke to Sidsel and also to Nancy Marchant on Friday evening, after my first workshop before I headed back to Mary-Ann’s house.

I was intrigued to see these hand-dyed yarn with a tweed effect from Spøtegarn and check out the cutest assistant ever, below. After the second workshop and the knitting clinic I had two hours before the next workshop, so I had time for a quick look as well as lunch.

There were so many temptations and so much lovely yarn on offer. I only bought and issue of the Laine magazine and was very pleased with myself. As usual there was a knitting party on Saturday night, but I knew I would need charging after my hectic day and in preparation for my last workshop followed by a talk.

My first workshop was on Friday night, on Tucks. I covered how I make them with two circular needles held together and how you can make different variations (see my video – and start at around 7 minutes, 45 seconds in on YouTube). Here is Gry Knudsen wearing her Yellow Gold Pullover. It is in three colours, because she did not have enough of one for the whole pullover in her stash. I love this trendy stripy version of it. The program for the knitting weekend was filled to the brim and on offer were these activities: Beer tasting for knitters, trip to Sandnes Garn (yarn producer), late night knitting, knitting bingo, living audio book – knit & listen and knitting cinema. Here is a link to the program: strikkogdrikk.org/strikkehelg-2018/program. It was impossible as a knitter to get bored here! I had a fabulous time in Stavanger.

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Postcard from Røros

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Visiting Røros felt like travelling back in time to a different century and yet, people were living in nearly all of these old wooden houses dating back to the 17th century. Røros mining town was founded in 1644, built entirely of wood (one of the oldest towns of wooden buildings in Europe) and that makes it unique. Due to its authentic wooden buildings and unique character of an early mining town, Røros was added to the UNESCO World Heritage List in 1980.  There are about 2000 wooden houses in Røros today, most of them are still habitable but have been through rigorous refurbishment. Røros is known for its old copper mines; exploited for nearly 333 years until 1977. The slag heaps are distinct landmarks just as the church.

There are only two main streets and both are parallel to each other. Michael is standing in front of the Røros Museum taking this photo of me.

All the wooden buildings are either one or two floors high. All the signage for the shops were in old fashioned style and in a size that fitted the building. Among the shops on the main streets there are very few chains present. I only spotted one, and that was Jernia, a hardware store. There are only about 5 000 people who live in Røros today, but the number of tourists are over whelming at times.

Michael has taken most of these photos, but here is one I have taken of Michael walking down towards the museum with the slag heaps at the back of the photo.

The Røros Museum is to the right. We were on our way up to the slag heap.

Røros is also know for its cultural calendar, and several people we spoke to had fond memories of the play that take place on top of the slag heap at sunset during the summer, With the darkness comes a star light sky adding magic to the scene.

I was fascinated by this charming building with its signage. While walking around in Røros it dawned on me that several children television series made for the Norwegian television was set here and not at a made up stage set.

These are some of the oldest houses that are not in use today. While there were people living in the yellow house and across the street. Flying in to Røros we also noticed a mixture of houses, farms and a large number of cottages on the outskirts of the mining town.

Here is the entrance to one of the many coffee shops. Each one seemed to offer its own style and menu.

Each side street seemed to offer an equally charming view.

Røros Church does look small from a distance, but it does have 3 floors and not only a tall bell tower with a 50 meter tall spire. The church called ‘Bergstadens Ziir’ meaning ‘Mining Town Adornment’, is paid for by the Røros copper work. The church is actually the 5th largest church in Norway since it had 1600 seats when it was inaugurated. The church was built in the period 1780-1784 and restored in 2008-2010. It is made in stonework but has a wooden roof and interior. You do pay a small fee to enter, but I enjoyed walking around there and not only seeing the inside during a Christmas Carol concert on television. Take a look inside with a 360 degrees view of the Røros Church and see Røros from the air here: YouTube.

Røros has harsh winters, with a lot of snow. Even as a child I was fascinated by the photos of the houses surround by heavy white snow. We did not have time to explore all the hiking possibilities in the area, but could see some of the tracks from the hotel. We were advised to visit next time during the winter to see even more spectacular views. It was a trip to remember. Røros is worth a visit!

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Strikkeweekend at Røros

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Røros, is one of the places in Norway, I have wanted to visit for quite a long time, so I was very excited when Marit Larsen founder of Explore Travel asked if I would be interested in holding workshops and talks at a Knitting Weekend with the Norwegian magazine ‘Hjemmet’ at Røros in October. Indeed, I was. Røros is is one of the oldest towns of wooden buildings in Europe, founded in 1644. Due to its authentic wooden buildings and unique character of an early mining town, Røros was added to the UNESCO World Heritage List in 1980. Of course, Michael wanted to come too and that was ideal since he could my technical support, in addition to photographer and roadie. I wanted to travel the quickest route and that was by plane; a very small Dash-8-100 with only 39 seats operated by Widerøe; a wind-up plane according to Michael. It did feel like flying in slow motion and the propeller located at each wing was ever so noisy. The airport is in walking distance to the city center, but Marit did pick us up from the arrival hall, where there were no baggage belts at all.

My first talk on Friday evening was a presentation of my knitting career to all 110 attendees at Bergstadens Hotel. The top photo is the cosy reception area, which turned into a knitting café during our stay. Those that could not find a seat, conveniently choose the bar next door. Michael and I went for a quick walk after dinner, but on our return, I checked out what the women had on their needles, while I was wearing my Ena. There were a few of my designs around, I was ever so pleased to see!

After my talk, I answered questions while the knitters could take a closer look on a selection of my designs, I had brought. For the occassion I had prepared two new talks and got to test; ‘Digital Knitting’ on Saturday evening and the last ‘The Knitting Clinic’ on Sunday afternoon. Some knitters had traveled far, from the north; Bodø and from the south; Tjøme. Most had arrived by the knitting train; one scheduled from Oslo and one from Trondheim, while the remaining ones had driven.

The breakfast was fantastic, not only where there locally made food but everything you could desire. Above is just one of several buffets. Included in our stay was a full board, so we ate extremely well while we were there.

My program was holding two workshops on Saturday and one on Sunday. The first one was cable knitting for beginners, the second one a cable knitting masterclass and the last one was a perfect fit workshop. Yes, I am wearing my Embrae. These two photos are from my final workshop and taken by Vigdis Winge, the handcraft editor at Hjemmet. You can see her sipping coffee in the second photo from the top. Vigdis organised a quiz during the first dinner on Friday night and each person at the winning table, received a generous selection of magazines.

I am demonstrating my favourite way of joining seams; using a crochet hook and slip stitches. There were a couple of spaces available on my first workshop, but the other two were fully booked. The spaces on the Knitting Weekend were all taken, and there was a waiting list. Back at Røros airport, we discovered that the security gate was a combined check in desk as well. When all the 39 passengers where there, some had to stand next to the self-help ice cream counter with a honesty box on top. The flight was an adventure in itself. I met so many nice knitters and had a fabulous weekend! Both Michael and I took a lot of photos, so I will make a second post with photos from Røros.

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Vaga Knitted by Nivine

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I know you have seen several versions of Vaga already, but it was such a thrill to see so many gorgeous versions appear on Ravelry during the test knitting, so I have to show you a few more. Meet Nivine, who lives in Georgia in the US. She made size Medium in one of her favourite colours – described as sunset on her profil page – Pollen in the gorgeous hand dyed Hedgehog Fibres Merino DK using 4.5 mm/US 7 needles. Nivine added another repeat to the pattern on the body to make it a bit longer. I love the colour and fit on her. This is what she writes on her project page: “Love, love this so well written pattern and the fit is perfect!”.

This is the stunning front of Nivine’s Vaga. Thank you so much for test knitting for me!

Here is my introduction to Vaga: Named after the Celtic Goddess of the River Wye is this pullover with cables that runs over the body and sleeves. A saddle shoulder allows the swing cable to continue to the neck with its twisted rib ending. The pullover is slightly shaped for the waist and knitted in the gorgeous The Fibre Co. Cumbria Worsted.

The English pattern is available on Ravelry and Loveknitting, while the Norwegian pattern has been published in the special magazine called “Høststrikk” published by Familien, on sale now.

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