What Is Fair Isle Knitting?

Researched and Written by Textile Historian, Dr. Jennifer Daley

 

In 2022, I was recruited to work at the Shetland Textile Museum. So, during the covid pandemic, I completely divested my life in England (which I had so enjoyed since 2003) and relocated 750 miles north to Scotland and the Shetland Islands, where I managed the day-to-day operations of the Shetland Textile Museum. 

There, I continued my longstanding textile research into the history of Shetland wool and Fair Isle knitting as well as the history of the Shetland knitting industry, handknitting techniques, and tools specific to Shetland.

I worked in Lerwick, the capital of the Shetland Islands, and then in Fair Isle, where I personally observed consistent attributes to locals’ Fair Isle knitting. These attributes set apart Fair Isle knitting in the Shetland Islands from other regional knitting styles of stranded colorwork rooted in Estonia, Latvia, Lithuania, Finland, Sweden, Norway, Faroe Islands, Iceland, and elsewhere. 

Fair Isle knitting is a classification unto itself. My definition of “authentic” Fair Isle knitting is based on my years of textile history research and practice, as well as many insightful discussions I enjoyed with native knitters in Shetland and in Fair Isle.

I define Fair Isle knitting as stranded colorwork that includes the following characteristics.

• 100% Shetland wool is used.
• There are two wool colors maximum per row.
• Designs are interpretations of historic Fair Isle patterns or arrangements.
• Motifs are often symmetrical, geometric, repetitive.
• Unused wool is carried at the back of the fabric, with short floats, often neither caught, trapped, nor woven.
• Wool colorway selection relies on the play between light and dark contrasting colors.
• To promote color blending, only one color in a row is changed at a time: either the background color or the foreground color.
  
• Hand knit Fair Isle is generally knit circularly or “in the round” to produce a seamless garment.
• Only knit stitches are utilized for colorwork, without purling.
  

These characteristics define “authentic” Fair Isle knitting; however, there are caveats. One could, for example, knit with merino wool yet still create a beautiful Fair Isle garment. The knitting technique would be Fair Isle while the textile was not of Shetland. It is important to understand the boundaries and definitions of Fair Isle knitting, yet it is equally important to allow room to express knitting creativity beyond stringent definitions.

During 2022, while I managed the day-to-day operations at the Shetland Textile Museum, I personally welcomed 3334 visitors to the museum, a large sum considering the population of Lerwick is approximately 7500. At the museum, many of the visitors were local knitters, who volunteered their time to demonstrate Fair Isle knitting techniques at the museum. So, every day I would listen and learn from museum visitors, who hailed from nearby and afar and who were selfless in sharing their knitting know-how. Then, like today, I perpetually seek new knowledge, absorb it, and then put that new knowledge into practice. I truly enjoy sharing knowledge with others. Education is a two-way street.

It was with this learning dynamic that I thrived as a textile historian and knitter during my professional tenure at the Shetland Textile Museum. Every day that I managed the museum was, in reality, another day of vibrant collaboration with Fair Isle knitters.

When the Shetland Textile Museum closed for the season, I then transferred my knitting learning environment to the small island community of Fair Isle, where I lived firstly in the homes of established Fair Isle knitwear designers, for whom I worked.

I eventually obtained my own house in Fair Isle, where I established my knitting design studio. During 2022-2023, it was my textile dream come true to be living and working in Fair Isle, the historic namesake of Fair Isle knitting.

My own interpretation of what constitutes Fair Isle knitting might differ from others’ interpretations. We all have different perspectives, all of which are valid. Knitting is an artform of which we are custodians, and therefore we must accept fluctuation in definition and execution. I have never claimed to be an expert in everything, but instead I embrace and claim the title of eager perpetual student who relentlessly pursues knitting knowledge.

The titles of my knitting pattern-books reflect my perspective. For example, the sub-title of my fisherman kep pattern-books is Fair Isle Inspired Fisherman’s Kep. The key word in the sub-title is “inspired.” My knitting designs are Fair Isle inspired, not necessarily always Fair Isle knitting by strict definition.

For decades, I have been inspired by Fair Isle knitting, and my designs mirror that. At times, I am inspired to design a knitted object that is reminiscent of a historic textile item in a museum collection. At other times, I am inspired to begin designing a knitting pattern with a traditional Fair Isle motif, but then I modernize the design with a creative twist and unconventional splash of color. I enjoy creating my own version of repetitive geometric motifs to adorn knitting patterns. 

A knitter in Fair Isle once told me, “Everyone’s Fair Isle knitting is the same. Everyone uses the same OXO combinations and diamond shapes and typical Fair Isle patterns. The only thing we individually do as so-called ‘designers’ is assemble the existing motifs with our own color choices.”

This then explains how Fair Isle knitters and pattern designers can inadvertently create garments that appear similar, but which are not technically copied. One cannot accuse a knitter of plagiarism or copyright infringement if the knitter is using design shapes and geometric layouts that have been in the public domain for centuries.

For example, many Fair Isle knitting patterns include an 8-point “star” (or Norwegian “rose”). Historically, as sailing and fishing were nomadic pursuits, sailors and fishermen from Norway would have stopped ashore the Shetland Islands, a distance of only 200 miles. Knitting was integral to their wardrobe as wool is naturally water resistant and wind resistant, which are desired characteristics for seafaring occupations. 

The Norwegian sailors and fishermen of yore would have worn their Norwegian style knitting on Shetland shores. This cultural interaction may have stimulated textile curiosity and prompted Shetlanders to culturally appropriate the Norwegian style of stranded colorwork knitting, including the Norwegian “rose.”

There is no evidence to be able to document which direction the star motif moved: north, south, east, or west. However, we do know the stars landed in multiple places. 

Historically, Shetland was a busy seaport, bustling with international sailors and fishermen. Shetland is situated strategically amidst the trade routes and fishing grounds of the Atlantic Ocean and North Sea. Consequently, sailors and fishermen from the Baltic states and Scandinavia inevitably would have passed through Shetland at some point, and ashore Shetland the nautical visitors’ clothing and textiles would have been observed by local Shetlanders. This is a simple way in which dress design is disseminated.

Then and today, there is a churn of designs. One design concept leads to another. We knitwear designers are not copying each other. Instead, we are generating our knitting designs with the inspiration and support of building blocks of stranded colorwork knitting motifs and designs, both indigenous and alien. We knitwear designers sit upon the shoulders of giants who came before us and who paved the knitting way that we enjoy today.

Another knitter in Fair Isle further explained to me how most Fair Isle knitting appears similar. The knitter showed me a copy of the book, The Complete Book of Traditional Fair Isle Knitting (Sheila McGregor, BT Batsford, London, 1981). Inside the knitter’s tattered and well-worn book, a few knitting motifs were specially identified with a pen. These few motifs, the knitter explained, were the only “true” Fair Isle motifs and the only motifs or patterns that “should” be used.

I asked why, and who decided that? The knitter explained to me that one family, who lived in Fair Isle long ago, used only these specially identified motifs in their own Fair Isle knitting during the twentieth century. So, I was told, the twentieth century esthetic preference of one family of Fair Islanders became the knitting norm for Fair Isle knitting.

This twentieth century esthetic preference, with its abbreviated design palette, was the only acceptable foundation for “authentic” Fair Isle knitting, according to Fair Islanders who attempted to create a well-defined and branded style of knitting.

When I lived in Fair Isle during 2022-2023, there were 44 people living on the island, five of whom were children. So, it is understandable that a remote island community, struggling with isolation, meager economics, and food scarcity, would want to hold tightly to anything marketable that could potentially generate income. Fair Isle knitting is one way in which Fair Islanders might possibly benefit financially from their locale and history. Fair Isle knitting, as narrowly defined by Fair Islanders, could be marketed.

In the island of Fair Isle, knitting was historically (and is still today) inherently a product for commercial purposes. Knitting is one of the few ventures that brings hard currency onto the island of Fair Isle. In 1980, Fair Islanders came together to establish Fair Isle Crafts Ltd, a knitting cooperative. The aim was to work together to produce Fair Isle knitwear of consistent colors, patterns, and styles. Fair Isle Crafts Ltd knitwear was produced with mechanical knitting machines, which enabled fast and easy manufacture.

Exclusively machine knitting was required and relied upon as hand knitting was too laborious and expensive to market for commercial purposes. Additionally, new members to the cooperative often did not know how to hand knit Fair Isle garments expertly. Becoming an expert hand knitter requires years of developmental practice when instead the basics of machine knitting can be taught in a matter of days.

In 2011, the knitting cooperative closed due to members’ disagreement regarding participation, business strategy, and vision. During its 40 years in business, though, the cooperative trained willing Fair Islanders in the trade of machine knitting. The money made by (and distributed among) the cooperative members was appreciated as there were then (and still are) so very few options on the island of Fair Isle for income generation. During the 40 years of knitting cooperative activity, members of Fair Isle Crafts Ltd steadily knit uniform patterns that adhered to the rigid definitions of Fair Isle knitting, as set forth originally by one family in the twentieth century.

When I lived in Fair Isle during 2022-2023, there were no born-and-bred Fair Islanders who knit exclusively for work or business. Instead, the knitwear designers and entrepreneurs living in the island of Fair Isle were born in England, France, Holland, United States, and Venezuela. This mix-match of knitting origins contributed to a depth of Fair Isle knitting that could not otherwise be realized when relying solely on a narrow historic version of Fair Isle knitting. I value diversity and inclusion, and so I naturally embrace creative liberty in Fair Isle design. All our knitting voices are valid.

Knitters can choose to rely on established Fair Isle motifs and patterns and traditional color combinations without alteration. Or, new Fair Isle inspired designs and shapes can be created, with an untraditionally bright or modern color palette. The craft of Fair Isle knitting is vast, with so much design potential. I encourage knitters to explore the design and colorway possibilities.

There are indeed definitions and guidelines for “authentic” Fair Isle knitting, but there is considerable room for interpretation. After all, we know not exactly how or when Fair Isle knitting originated. We only have oral histories, partial research, theories, and myths upon which to rely. 

The conception of Fair Isle knitting patterns is not fully documented. There are several origin theories, though. In 1588, there was a devastating shipwreck in Fair Isle waters amidst the rocky cliffs and coastline. Shipwrecked sailors from the Spanish Armada ship, El Gran Grifon, allegedly brought ashore stranded colorwork knitwear from their native Spain, which (legends suggest) influenced and inspired local knitters in Fair Isle.

Legends suggest that Fair Islanders culturally appropriated the Spanish style of stranded colorwork knitting.

Even before the 1588 shipwreck on the island of Fair Isle, there were other instances of textile crafts and stranded colorwork knitting that included geometric designs, which could have initiated the spark of (or greatly influenced existing) Fair Isle knitting. 

For example, many of today’s Fair Isle knitting motifs can be found in the designs of Islamic Egypt. In the academic book, Embroideries and Samplers from Islamic Egypt (Marianne Ellis, Oxford University Press, 2001), the author highlights the textile collection at the Ashmolean Museum in Oxford, England that was donated in 1941 by the British Egyptologist, Percy Newberry (1869-1949). 

The Newberry Collection of Islamic Embroideries at the Ashmolean includes approximately 2300 ancient textiles (many of which are fragments) that were acquired in Egypt by Newberry and his wife, Essie Winifred Johnston (1878-1953).

A textile fragment (as seen here) is featured on the front cover of Ellis’ book. The fragment includes an 8-point “star” (or Norwegian “rose”) from Islamic Egypt, dated circa 1250-1517. Does this then potentially mean that Scandinavia culturally appropriated the 8-point “star” (or Norwegian “rose”) from Egypt? Then, Shetland culturally appropriated the motif from Norway?

We cannot fully know the truth of this (or any) design pathway as sailors and fishermen and others would have created a flowing movement throughout the globe of designs and design inspiration. 

Ancient pieces of Fair Isle knitting are unearthed or discovered with neither informational tags, signatures, nor makers’ marks. There is a paucity of ancient Fair Isle knitted items and a lack of archeological evidence in a way that identifies the knitwear by their origin. We only know the final resting place. The journey of the knitted piece may have begun in Fair Isle or Lerwick or Estonia or elsewhere. When studying Fair Isle knitting, we must take into account survival bias. We must be careful if or when conflating twentieth century practices with those practices of our ancestors. 

Today, Shetlanders often can be heard lamenting the fact that knitters outside the Shetland Islands are designing garments and publishing knitwear patterns that are influenced by Fair Isle heritage knitting traditions.

According to the Shetlanders who have directly written and spoken to me, many believe that I do not have the right to knit my own original colorful colorwork knitting patterns. Fair Isle knitting, they say, is the sole domain of knitters who actually live in the Shetland Islands. By my knitting colorful colorwork, they say, I am diluting the livelihood of a bonafide Fair Isle knitter who actually lives in the Shetland Islands. 

I was once a bonafide Fair Isle knitter who was a permanent resident in the Shetland Islands and a British citizen to whom the government allocated a house on the island of Fair Isle. I could have remained living in my house in Fair Isle permanently, as was my legal right, and as was my dream, but ultimately I was forced off the island. 

Unlike the closed fist of some Shetlanders who demand that Fair Isle knitting can only be taught from “the source” and preferably from a true born-and-bred Shetlander, I instead offer an open hand to anyone who wants to talk, knit, share, laugh, and learn together. If you knock on my front door, I will invite you inside for a cup of tea, conversation, and knitting. I am welcoming.

If I am holding a candle that burns brightly, and I light your candle, my flame is not diminished. Our two flames can burn equally bright. That is the power of sharing, support, and kindness.

When I lived in the Shetland Islands, the vast majority of people, who I met, were truly kind, friendly, caring, honest, generous, helpful, supportive, empathetic, innovative, and quite frankly all the attributes that one wants and hopes another human will possess. But unfortunately, so too in the Shetland Islands did I encounter cruel people with loud voices, who spoiled my otherwise prime Shetland experience.

Perhaps, the 1588 shipwreck of the Spanish Armada ship, and the ancient geometric designs of Islamic Egypt, and the sixteenth century creative trade in knitwear ignited a brand of stranded colorwork that today we call Fair Isle knitting. Whatever the basis of the initial spark of Fair Isle style stranded colorwork, we are fortunate to have today a splendid textile craft that is beautiful and useful and open to all.

 

Copyright © Jennifer Daley, 2025
Jennifer Daley is hereby identified as the author of this work. All rights reserved.