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Twist Collective Blog

Design Process: Kinsol Trestle Men’s Vest

luise O'Neill

Luise O’Neill made her debut in Twist Collective with Kinsol Trestle, a subtly textured men's vest. This post originally appeared on her blog.

Kinsol Trestle Front View
Image copyright Mårten Ivert

Inspiration: The Kinsol Trestle

While doing some vacation research online, I came across this absolutely awe-inspiring structure which became the inspiration for my design — the Kinsol Trestle men’s vest.



The Kinsol Trestle is a wooden railway trestle, built in 1911 – 1920, located in the Cowichan Valley, Vancouver Island, BC, Canada. At 44m (145 feet) high and 188m (614 feet) long, it is the longest trestles in the British Commonwealth and one of the highest in the world.




Abandoned in 1980, preservation efforts have been underway to include this historic treasure as part of the Canada Trails system so it can be used by runners, hikers, cyclists and equestrians. There are many more pics and stories on their website.



The Yarn





Briggs & Little Regal is a slightly rustic wool — you’ll find wee bits of vegetable matter that tell you the wool has not been overly processed. It provides beautiful stitch definition for this design. I chose the slightly heathered medium grey to reflect the colour of the aged wood of the trestle.


The Details

1. the knit-on edging – rather unique, I think. It creates knit stitches that meet the fabric at an angle, and






2. the V-neck.





Plus – there are cables and subtle textured stitches incorporated into the body design to reflect the wonderful structure that was its inspiration.

The vest is knit in the round to the underarms, so the only seaming is at the shoulders.

All the World's a Stage . . .

We're feeling a little theatrical this issue.  You'll see why when you look through it a little over a week from now.

If Twist Collective were indeed a theatre company, each issue would be a performance. Leading up to opening night, we rehearse and refine, make abundant artistic and practical choices, and ready the cast for the moment the curtain draws back on that first evening.

So here, while you consider the program, is the curtain for this fall's issue. Let it tell you what it will for what lies ahead.


Design Process: Chartres


by Fiona Ellis

I know everybody is excited to see the Fall issue (me included) but summer isn’t over yet you know! We just heard that Elann is having a sale on Reynolds' Cool Cotton so now is the perfect time to make my design from last year's Summer issue of Twist Collective, Chartres. If you get going now you will have it done for Summer’s last hurray and will be able to wear it under a jacket when Fall does arrive.



This got me thinking about when I had originally designed Chartres. I spend quite a bit of time musing over that elusive thing we call creativity, and I post here often about the whole process including where I find my inspiration. I was more than a little surprised and amused when the swatch for Chartres almost fell off my needles without my thinking too hard about it. I was working on it as a carry around project and along with my knitting I always have a book with me. I was reading “Pillars of the Earth” by Ken Follett, which is a millstone of a book and not ready good carry-around material but I just couldn’t put it down.



So one afternoon as I worked on the swatch I decided that it needed to have a focal point. As I believe most of us would rather draw attention to our faces rather than our hips I created a gentle movement of the vertical lines towards a converging point at the neckline.




I was especially pleased with how it looked but something about it looked very familiar. I picked up the book later and there it was right on the cover - I had created a cathedral window tracery without even being aware I was doing it. So of course the design was named Chartres after the famous cathedral in France.



Fall Colors

Julia here. Sorry I've been out  touch; it's been busy as we get ready for fall in two weeks.

As is our custom, we've been dropping hints about the fall issue as the time approaches for the site launch. Here's a new one. This is a look at part of our process I don't think we've shared before, how we think of our different "stories" in terms of color.  After we pick from the submissions, Kate gets out the sample books to assign yarn to patterns, and she thinks long and hard about how to let colors work together to make coherent collections for each of the photo shoots.  I don't know if you've ever noticed that color hangs together for each story or not, but at least you know that we think of it that way. I don't know how she does it, but I always admire the end result. I think this issue has particularly delicious palettes.


What else can you tell from this little abstraction? Count the blocks. Hm: Four stories. About 30 patterns. The biggest issue we've done so far. Really.

I think you're going to like it. 

Happy 4th / Happy Sunday

Having 3 nationalities in our household usually means we don't really celebrate any national holiday, but I figured today's a great excuse to put up pretty pictures in red, white and blue! So happy 4th of July if you're in the US, or happy Sunday if not. I had fun doing this, so maybe I'll make it a tradition, holiday or not...

July Collage

Yes, I veered into the pink and orange a tad, but it looks red overall, no?

In case one of these doesn't look familiar to you, here are the projects:
Row 1: Sylvi, Novak, Dietrich, Vaganova, Audrey in Unst, Mitaines & Moufles
Row 2: Farinelli, Broderie, Blossom, Bright Star, Luminen, Gytha
Row 3: Damask, Little Liza Jane, Rebecca, Ashbury, Tiveden, Skara Brae
Row 4: Amaranth, Bijou, Pisara, Roo, Sally Rand, Vaila
Row 5: Rococo, Snowflurries, Willow-withe, Sabbatical, Jadis, Peyton
Row 6: Paula, Lesley, Cecchetti, Kerouac, Poplar & Elm, Timpani