Colour rarely begins where it looks like it does.
What reads as a soft blue, a pale grey, a quiet shift between tones, usually starts much earlier. In fibre. In structure. In how light sits on a surface before dye ever touches it.
Working with natural shades changes the way colour behaves. It doesn’t sit flat or predictable. It lifts in some places, dulls in others, and creates variation that can’t be fully controlled.
That unpredictability is where the palette begins.
When I put together a set, I’m not just choosing colours that “go.” I’m building relationships between tones. How one shade sharpens another. How a softer colour can hold space so something brighter doesn’t overwhelm. How contrast can be created without harshness.
The Pale Sky sets came together in that way. Not as a fixed design, but as a response to how these fibres take colour. Light, layered, slightly shifting depending on how they’re worked.
They’re intended to be used intuitively. To move between shades without strict rules. To let the yarn do some of the work.
Because the most interesting colour is rarely the one that stands alone.
It’s the one that changes depending on what sits beside it.
The Pale Sky shawl sets are now available in the shop.
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