This is week 4 of the pattern highlights from my upcoming book. If you like what you’re reading about, please join my preorder mailing list. To read more about why I’m doing this (and why you should join the list), you can visit the Month 5 blog post.
Waterford Crossing is worked in Plucky Knitter Oxford, a heavy fingering merino and cashmere blend. Huge thanks to Charles Parker for knitting this one for me.
I’m a big fan of cables and cable-like motifs. I also love working in multiple colors, as you may have noticed in my previous book and standalone patterns. While I have not done many designs in multi-color double-knitting for this book, I thought it would be a good idea to cover one or two things I hadn’t really done in Extreme Double-Knitting. While the multi-color patterns in that book are, by and large, in the round, I have since honed my techniques for working flat multi-color double-knitting. The body of the work remains much the same as, say, the Struktur hat, but because you are working flat, you’re going to be seeing both sides as you work, which means a slightly different way of following the chart. In addition, you will need to process the edges differently to make sure that all strands are linked into the edge. These are techniques that are covered to some degree in my standalone patterns 52 Pickup and Parallax v3.0, but having them in a book gives me more room to really cover them in-depth. I’m also covering a row-end cast-on and a partial-row bind-off, although those are not specifically multi-color techniques. There are a couple of other little tweaks to the pattern as well, but I’ll leave those as surprises.
I already told the Plucky Knitter story, and this is done in another of their yarns (and despite the similar fiber blend, this one looks and feels completely different). Instead, let me explain about the colors. These 3 colors are not, at first glance, particularly compatible. Perhaps they’re even a little jarring, or would be if they were any brighter. I wasn’t sure when I picked them up why I thought they worked so well together — but every time I looked at them I thought about Kristin Nicholas, who taught me that “chartreuse goes with everything!”. So this piece became a homage to Kristin Nicholas, and that’s all the justification these colors need.
This pattern was originally called “Knots & Crossings” — but that didn’t make much sense since there’s no knots & crosses pattern involved. There are Celtic-style knots and colorwork crossovers all over the place — but the wordplay just wasn’t as deep as I generally prefer. So I cast about for a new name. I thought about the pattern and the knots and realized what was unique about them. Celtic cables in knitting don’t often change direction in the middle of a row, but the adapted Viking patterns do, as evidenced by Elsebeth Lavold. Since part of the pattern’s name was already “Crossing” I started researching Viking crossings and found out that Vikings actually founded the first city in Ireland, named Waterford. It’s a fact that Scandinavian crafts influenced Irish folk art, but I am not a historian and I can’t be sure that the cable motifs so prevalent in Irish illustration were an evolution of this early infusion of Viking aesthetics. But I’ll take some poetic license and acknowledge the similarity between some of the art of the two cultures with this pattern’s new name, “Waterford Crossing”.
This pattern will be available in my upcoming book “Double Or Nothing”. To be informed when the preorder period begins, please join my preorder mailing list. Thanks!