Large-amplitude, synchronous waving of terrestrial grasses has been termed 'honami,' (Japanese: HO = cereal; NAMI = wave) and has been shown to dramatically alter aerodynamical conditions within and above the grass canopy. We suggest that 'monami' (mo = aquatic plant) is important in coastal hydrodynamics and has major implications for larval settlement and recruitment.
A huge, heartfelt thanks to everyone who chipped in suggestions for the new cardigan design—there were so many awesome possibilities, and they were ALL better than the ideas I'd come up with myself. At the last moment I was blown away by Natalie's contribution: "Monami" adapts the idea of a current (like my inspiration, Kim Hargreaves's "Breeze") but transfers it into a different medium, water rather than air. As she points out, this plays nicely with things I've been thinking about throughout the Influence Series: it's not just about the current itself, but about that current's effects on objects around it (which may, according to the excerpt above, be to attract and further other growth). The water element goes nicely with the nautical feel of the cardigan's cables, and I also get a dorky little thrill out of the way "monami," though derived from the Japanese, is so similar to the French phrase "mon ami": my friend, my love. AWWWWW!
As for the cardigan itself, I'm quite pleased with the final result. The fit, while not exactly the same as my Breeze, is just the kind of relaxed, easy-to-throw-on yet flattering style that I know will get a ton of wear. (In fact, our June and July here in Portland have been so chilly up until yesterday, that I was quite glad for the sweater during our photo shoot down at the Eastside Esplanade wharf.) Photos by David, as always.
I think the textures here are my favorite thing about wearing the finished product. As much as the combination of garter stitch, chunky cables, and a ribbed, turnover collar gobbles up yarn at an indecent rate, it really is worth it when I get to wear the cushy, smooshy end product. I'm wondering how I never managed to fall in love with garter stitch before now. Maybe it was too obvious; I'm forever going in search of a complicated solution to a simple problem.
As usual, Jodi of Green Ray Productions was a great help in finding the perfect buttons. I can't explain the story behind these Viking-looking chips being navigated by what appear to be cherubs (?) holding a paddle with a giant goat's head (??), and if any of YOU can I will be very impressed. But I do love the way they extend the textural and nautical themes while contrasting enough with the rest of the sweater to hold their own visually.
I posted last time that I was disappointed at having to make my sleeves skinner than I would have liked. I was actually pretty bummed about it for a little while there, but with a little bit of wear they've relaxed substantially, and I like them better now—especially the way the transition from ribbing to cables becomes more pronounced when there's actually an arm inside the sleeve. This photo is a good shot of both the main cable and my simplified, smaller sleeve-friendly version; you can see some of the shared motifs pretty well.
Overall, a happy, practical end to an interesting thought experiment. I liked spending some time digging into how the process of influence works (at least for me), and what kinds of considerations come into play during that process. I never stressed about modifying elements of Hargreaves's pattern so that it would be "different enough," but the combination of a different yarn, different dyeing method, and different cable motif led of their own accord to some pretty significant differences. To recap, I started on the left...
...and ended up on the right. Pretty cool! I think the influence is visible, but not overtly apparent if you didn't know the story behind the sweater.
Multi-sized pattern almost ready for test-knitters; I'm hoping to release this sometime in September, for some satisfying autumn or winter knitting.