Beautiful mittens are these, all of which demand competence with colorwork, up to seven colors in some cases (some of her color choices are pure genius, some are alarming). The pattern charts are derived from many sources (a lot of geometric designs from weaving), mostly Turkish, but include a couple of Fair Isle charts, too. Except for two children's patterns and one for a man's hand, the mittens are all the same size: they seem all meant to fit Ms Zilboorg herself. The mittens knit up to 25 stitches across the back and the palm each, with a border around the edge of either 2 or 3 stitches. The total circumference of the hand is therefore about 54 stitches (give or take a few, depending on the pattern), at a tension (gauge) of 6 to 6 ˝ stitches to the inch. Most have a large flared gauntlet that can be pulled over the cuff of the wearer's coat or jacket.
They are knitted from tip to cuff, not in the other direction. This is opposite to the mitten design that most Western knitters are familiar with, and instructions for the cast on technique are extensive, detailed, and are both illustrated and photographed. Ms Zilboorg prefers a peasant thumb with no gore (which she ingeniously calculates to fool the eye into disappearing by using the same patterning as the hand itself; she calls it an "invisible thumb"), but also includes some designs with a thumb gusset attached at the side of the mitten, instead.
The biggest drawback to this book's approach is its unswerving adherence to one basic mitten design structure. An unvarying knitting gauge is unhelpful for those who prefer yarns of different weights, or for a mitten wearer whose hand is a very different size (especially bigger). Many traditional Latvian mittens, for example are knitted with a circumference of at least 88 stitches, which would produce a small potholder with Ms Zilboorg's gauge. She advises simply changing yarn weight and needle size to produce a larger or smaller mitten. (Marcia Lewandowski's FOLK MITTENS, by comparison, presents an equally varied selection of mittens, but in many yarn weights and gauges and construction plans.)
Ms Zilboorg is, by cheerful admission, an "opinionated knitter" in the tradition of the late Elizabeth Zimmermann, to whom she tips her cap in warm tribute. Although she frequently invites the reader to modify the patterns to suit him- or herself, this does presume both the ability and the willingness to spend the time to do so. She presents her opinions with the certainty of conviction and experience, but can adopt a gently patronizing tone that some readers have found lightly offensive: "...mittens should be made in wool. People who are allergic to wool should do without knitted mittens." For heaven's sake, one can knit mittens in any fibre one pleases. And one chooses to glove one's hand for many reasons, not solely to trek through Arctic tundra.
As noted in other reviews, the book suffers dearly from lacking an index. Instructions and techniques are copious and detailed; no one should be without them! But when she refers to a technique in the text that accompanies a specific mitten, without a photographic memory the reference will not be easily found. This forced me simply to read the book from cover to cover one afternoon, and create my own index on a sheet of paper.
As an avid knitter who almost always modifies a pattern, I found this book to be right up my alley. Given my preferred knitting tension and the yarns available to me, there is not a pattern here that I have not needed to adjust, sometimes greatly. I did, however, buy this book expecting to do just that: fuss and tweak. Those who prefer mitten patterns already worked out in several sizes will be frustrated. This is a book mostly for at least a confident intermediate, although I know some exuberantly gung-ho novices who have had great success through a combination of enthusiasm, a cool head, and a good sense of humor. Beginners beware: the learning curve is steep.