Wednesday, 28 November 2018

A Light as Air Scarf

I have just finished a lacy scarf that I started earlier this month - a very quick knit.   The yarn is brushed alpaca and silk, very soft and fluffy, and it's knitted on 6.5mm needles, so it grows fast.




(As in the post I wrote shortly after I started knitting, the photo looks hopelessly out of focus, but it isn't - the yarn is just very very fluffy.) 

The pattern is called Light as Air - designed by my friend Steph as a free pattern for this yarn (see her Etsy shop - Steph's Crafty Bits).  It's a very simple stitch pattern - two rows, and one of them is all purl.  All the decreases are left-leaning, so the fabric is slightly biassed, which is why the ends aren't square, but that doesn't matter in a scarf.  Steph designed it as a shorter narrower scarf, to be threaded through a knitted loop in the same yarn, that would take just one skein.  I've used two skeins, and the scarf is about 28cm. (11 ins.) wide and about 170cm. (67in.) long. It will be very warm and cosy to wear.



Now back to my Rosedale socks - I have finished the first, but I will have to remind myself all over again how to do Judy's Magic Cast On.

Saturday, 17 November 2018

October 1942


Two friends who visited recently, and know I like old magazines, brought me a Woman and Home magazine from 1942 - a very welcome gift.  The cover is very worn and coming apart down the spine, but the contents are in much better condition, and a fascinating glimpse of war-time conditions.  Woman and Home was, and still is, a monthly magazine.  It was launched in 1926, and had incorporated Good Needlework magazine from 1940 or 1941.

The cover shows three things that you could make from instructions inside. There is one knitting pattern, for a high-necked ribbed cardigan (also described as a 'button-up jumper') that you could wear on its own or over a blouse.



 Inside, there is an illustration of the tiny V-shaped pocket, which "will hold a small handkerchief to match the blouse". (Only for show and not for use, I hope.)



Clothes rationing had been in force for over a year by that stage of the war, so a cardigan was a useful garment, especially if you could wear it buttoned up and treat it as a jumper.  There is also advice in the magazine on unravelling old knitted garments to re-knit the wool into something else.  And all oddments of wool could be carefully saved - the magazine gave instructions for crocheting collars and necklets, including the African-inspired one shown on the cover, out of rug wool (not rationed, I believe) and brightly-coloured oddments of knitting wool.  There are dress-making features, too - again covering making old garments into new.

It seems that paper for non-essential uses was getting scarcer (although magazines like Woman and Home had not yet been much reduced from their pre-war size) and shops were not providing paper bags for purchases.  (This of course pre-dates by a long way the current concerns over single-use plastic packaging - many things like fruit and veg were sold loose, and only wrapped up in paper or put into a paper bag when you bought them.)   So to deal with this you could make a shopping bag with a wipeable lining to hold everything.



As well as the needlework features, there is quite a lot of fiction - two serials and a complete story.  One of the serials is by Pearl S. Buck, an American novelist who had been awarded the Nobel Prize for Literature in 1938.  The magazine doesn't mention that, though it does say that she wrote The Good Earth, a novel set in China which is her best known book. The Woman and Home serial is called Answer to Life!, listed as a 1941 novella in a list of her works.  Its main character is a young woman who wants to train as a surgeon, a very difficult thing in those days.  Her mother is a doctor, and apparently the main bread-winner for the family, as her husband has been damaged mentally in some unspecified way by his experience in the previous war.  There are two young men who also appear in the first episode -  I imagined that in future episodes the young woman would fall for the wrong one and then eventually realise that the other is a better choice.  But I was completely wrong - after some digging around, I found an article about the novella here.  She does marry the wrong man, and the marriage breaks down, and having given up her training to marry and have children, she goes back to her ambition to be a surgeon.  Not the usual women's magazine romance at all.

I'm fascinated by the ads in the magazine, too.  There are a few that advertise knitting wools, and two of those feature pattern leaflets - like the pattern in the magazine, they are for high-necked cardigans.



Both the Golden Eagle and Femina ads stress 'coupon economy'  - I think this refers to the fact that your clothing coupons went further if you knitted your clothes instead of buying them ready-made.  But apart from rationing, knitting wool was hard to find even if you had the coupons to spare, as the Femina ad says: "Intensified war production means a shortage of many things, including Femina wools  but they are always worth waiting for."


The Copley's ad goes even further in acknowledging that wool was scarce: it has one of a series of "Couplets of Knitwise Notions",
Cut out the front, crop waist and sleeves, of winter-time's thick sweater;
bind firmly — this bolero makes your best frock even better.
(Though I can't help thinking that you would be sorry next winter when you didn't have your thick sweater any more.)

But it does go on to say that you might be lucky and be able to buy some new Copley's wool: "You're a good knitter (and a good sort) if you put Comforts first, put brains into "remakes," and put wrapping paper in your shopping bag —  ready for some "Excelsior" or some other Copley line and a Copley leaflet when your woolshop has a supply."

There are ads for some products that are still around - Weetabix, Bovril, Knight's Castile soap.  And Ryvita, which surprised me - I thought it was a much later import from Sweden.


But as I discovered here, it was imported from Sweden long before the war (from 1925) and was made in Britain from 1936.

There were a couple of public information notices, too, one from the Ministry of Food, encouraging women to collect wild produce from the countryside - elderberries, crab apples, rowan berries, rose hips, haws, mushrooms and blackberries.  I was a bit surprised that the section on mushrooms does not give any advice on identifying safe fungi, or warn that some fungi are deadly.  Perhaps people were more aware in those days - but then you'd think that  they wouldn't need the ad in the first place.

 
So the magazine had plenty of valuable content for 9d.  A good read, and useful things to make.

Thursday, 15 November 2018

Grey



I don't often write about what I'm knitting, until it's finished (in case it all turns out badly).  But I thought I would show you two things I am working on just now. 

At the top is a nearly finished sock for me. The yarn is a sock yarn (blue-faced Leicester and nylon) from Countess Ablaze in Manchester, colour Grey Skies in Manchester.  The pattern is a modified version of the Rosedale socks, from Cable Knits by Ann Kingstone.  The main change to her pattern is at the top - I have not done the complex rose-like cable that Ann designed, and I prefer a ribbed top to a picot edge.  Another change  you can't see in this photo: I have used the heel from Ann's On the Other Foot socks because they have a gusset and fit me very well.  And finally, I (unintentionally) worked some of the cables in the opposite direction to what the pattern specified, but I've decided not to worry about that. 

I have stopped work on the socks, temporarily, to start on a Christmas present for my sister.  (She knows all about it, so I don't need to be secretive.)  It is a scarf in a really luscious brushed alpaca and silk yarn.  The photo above looks completely out of  focus, but it isn't - the yarn is just very very fluffy.  It was dyed by my friend Steph (stephscraftybits on Etsy) in a beautiful mottled grey colourway that she calls Smoke.  The yarn came with a free pattern for a lacy scarf.   It's growing fast (on 6.5mm. needles) and is amazingly soft.

I'll show both socks and scarf again when they are finished. 

Thursday, 8 November 2018

A New Match

It's very exciting (as I think I've said before) when we identify the pattern that was used to make an item in the Knitting & Crochet Guild collection.  I talked in a recent post about how important it is to have a story to tell about an item of knitting or crochet - the pattern it was made from (if there was one) is a crucial piece of its story.

The 1950s jumper below is one of many items in the collection that were the work of one woman, Jane Denny.  She was a prolific knitter - she commuted to work in London by train, and knitted on the journey.  She eventually gave the Guild more than 50 garments.  The earliest is a pixie hood that she probably wore to go to school in the 1940s, but there are also several little jumpers that she knitted in the 1950s, and later garments too.


We have three feather-and-fan jumpers knitted by Jane Denny in the collection - it was evidently a stitch pattern that she liked very much.  As you can see, it has a buttoned opening at the back of the neck (one of the buttons is missing), which was common in 1950s jumpers. This one is distinctive in having a square neck and dolman sleeves, and those features match it to a Marriner's pattern.

1950s vintage knitting pattern
Marriner 266
I like the square neck opening - a neat way of avoiding having to incorporate a curved line of decreases into feather-and-fan.  There is of course a seam along the shoulders, running into the sleeves, and an underarm seam.  It's awkward to seam the wavy edges of feather-and-fan neatly, but I think that the seams would look better when worn (as in the illustration on the pattern leaflet) than when laid out flat.

Marriner patterns at that time included a sketch of the garment as well as a photo, to give you an image to aspire to.  Wearing gloves, earrings and flowers on your shoulder is easily achievable, if a bit impractical for everyday wear, the hourglass figure not really. 


The obvious difference from the Marriner pattern is that Jane Denny's jumper is striped, in two shades of pink and a blue-purple.


Most knitters, I'm told, like to match the illustration on the pattern leaflet as closely as possible, and choose the same colour.  (I've done that myself.)  It's a very useful habit, as far as the collection is concerned -  it helps in matching a finished garment to its pattern. For instance, the pink crocheted disco dress (see here) was easy to recognise because the pattern leaflet also shows the dress in pink.   But Jane Denny not only chose a different colour, but also knitted her jumper in stripes.

One of the earliest cases where I matched a garment in the collection to its pattern was also a Jane Denny jumper, knitted to a Jaeger pattern.  I wrote about it here.


1950s vintage knitting pattern
Jaeger 3398

It was knitted to a Jaeger pattern, and again it was designed to be knitted in one colour.  But Jane Denny knitted it in broad bands of four different colours, combining together beautifully. We already knew quite a lot about her, and we know from the quality of the garments she gave to the collection that she was a skilful knitter.  We can now see, comparing these two jumpers with their patterns,  that she also had a very good eye for putting colours together, and didn't just follow the intention of the pattern designer.

Saturday, 27 October 2018

Matching Socks

I finished another pair of socks (for me) a couple of weeks ago.   They are like the last two pairs I knitted - the structure is based on the On the Other Foot socks I made in Ann Kingstone and Sarah Alderson's knit-along, but these are quite plain, double rib.  I had some variegated sock yarn I wanted to use, so a fancy pattern wouldn't have shown up well.


The yarn was dyed for me by my friend Steph of Millhouse Designs (stephscraftybits on Etsy).  The special thing about the yarn is that she dyed two strands together, so that the colour changes happen in the same places.  So knitting a sock from each strand means that they match. 

I wanted colours that aren't too exciting (I'm not into wearing brightly coloured socks yet), so they are grey at the toe, turning into indigo blue at the cuff.  With winter in mind, I made the leg part longer than the last pair I made.  They are proving very cosy.  I'll knit some more.  I have two skeins of variegated sock yarn that are basically grey - I should be safe colourwise with those (not too exciting) and I think that they might suit a fancy pattern too.

Sunday, 21 October 2018

Arans in Birmingham

I have just been to Birmingham with my colleague Angharad - we did a trunk show and workshop on Arans yesterday for the Birmingham branch of the Knitting & Crochet Guild.  That is, I did the trunk show in the morning, and Angharad did a workshop in the afternoon.  We had two suitcases full of Arans - they are of course very bulky and heavy.  (Fortunately for us, we didn't have to transport them ourselves on the train - they were taken to Birmingham by car a few weeks ago and they are being brought back this week.)  I've given talks on Aran sweaters a few times, based on those in the Guild collection, and I showed some of the same things yesterday, including a replica of the sweater illustrated in Mary Thomas's Book of Knitting Patterns, published in 1943, that I showed here.  We had also chosen the Aran sweater in 4-ply (fingering) wool from a 1959 Woman's Weekly magazine (see here for more details):


and my own Susan Duckworth Aran from 1973, as well as more conventional Aran knits.

The collection has some distinctly unconventional Arans from the 1980s, using more or less standard Aran stitch patterns, but not knitted in wool.  One we showed yesterday is in purple chenille, following the Sirdar pattern below (cropped version):

Sirdar 5231
Another is in pale blue cotton:

Wendy 4033
We even have a batwing Aran sweater in a cream yarn with lurex, though in that case we don't have the pattern:


Here's a detail to show the gold sparkly bits:



If you recognise the pattern, please let me know.  Did the pattern specify lurex yarn, I wonder, or was that the knitter's choice.  And why not?  Maybe my life too would be richer for a batwing lurex Aran sweater.

At Angharad's workshop in the afternoon, we were given Aran weight yarn in cotton, to knit a wash-cloth.  We each chose stitches from the Arans in the trunk show.  I chose mine mainly from a very fine 1950s Aran:



I used the double cable from this sweater and the cable from the welt, and a related cable from the welt of the 1943 replica.  I carried on knitting it on the train back home, and then finished it last night.



It was a very successful workshop - devising your own pattern from a garment makes you examine it much more closely than you would do otherwise.

We had travelled to Birmingham on Friday, and as an extra, that evening our friend Janet took us to a Rowan Ruby Anniversary event, put on by the Stitch Solihull yarn shop.  The Birmingham branch had treated us to the tickets, and it was a lot of fun.

There was a display of current and vintage Rowan designs, as well as the current Rowan yarns and book to browse.   The Soumak wrap below by Lisa Richardson is both past and current: it was first published in 2013, but is also in Rowan's new 40 years book.

Lisa Richardson's Soumak and Mayfield designs
There were of course several designs by Kaffe Fassett: the China Clouds jacket is from Rowan Magazine 28 (2000) and Summer Star from Magazine 25 (1999).

China Clouds jacket by Kaffe Fassett

Summer Star by Kaffe Fassett

We were encouraged to wear a Rowan knit for the evening (in exchange for free entry in a raffle).  I wore the Gilda sweater that I made in 2009, in Rowan Wool Cotton - still a favourite of mine.   It was fascinating to see what other people were wearing - including a huge 1980s intarsia sweater.

There was a fashion show, too, presented by Anna of Stitch Solihull - here she is modelling a jacket with 'ROWAN YARNS' knitted into it.


It was a very good evening.  The shop provided drinks and a buffet with a 1970s theme (for the 40th anniversary) - including pineapple chunks and cubes of Cheddar cheese on cocktail sticks, and of course Black Forest gateau.  Looking through the Rowan books, I found at least two designs that I really want to knit.  And Angharad won the first prize in the raffle. 

Wednesday, 17 October 2018

Fancy Needlework Illustrated in Piecework

Yesterday, a packet arrived through the post with three copies of the current (Winter 2018) issue of Piecework magazine.  If you don't know it, Piecework is an American magazine, published by Interweave, that covers the history of needlecrafts.

Piecework, Winter 2018

I was sent the copies because I have an article in this issue.  Earlier this year there was a call for articles on needlecraft magazines, so I decided to write about Fancy Needlework Illustrated.  It is one of the magazines in the collection of the Knitting & Crochet Guild, and a favourite of mine (I have written posts about it several times, e.g. here).  I especially like the covers of the 1920s issues which have charming colour illustrations.

Fancy Needlework Illustrated, September 1927


As well as the magazines themselves, we have several pieces of filet crochet in the Guild collection that were made to FNI designs, so there was plenty to write about.  I have written a few times in this blog about the "Welcome Home" tea-cloth pattern appeared in 1915 - evidently a design that appealed strongly to women left at home when their men joined the armed forces.  We also have several examples of the "Dresden" tea-cloth, a very popular design from FNI that is featured in the article - and appearing here in an ad for Ardern's Crochet Cotton that shows a guest at afternoon tea admiring her hostess's handiwork:



There is also a project to accompany the article, to knit a very pretty 'Tea Rose Scarf', designed by Katrina King.

I sent photos of several pretty jumper designs from 1920s issues of Fancy Needlework Illustrated as possible sources for projects, and this is the one that inspired Katrina:

The "Tennis" Knitted Jumper

I think the jumper itself is pretty, if a bit shapeless.  In the usual 1920s knitted jumper style, the sleeves are made in one piece with the front and back.  Often in 1920s patterns the whole jumper is knitted in one piece, but in this case because the lace pattern has a definite direction, the back and front are knitted separately in two T shapes, finishing with several rows of moss stitch (to match the panels of moss stitch between the rose leaf panels).  Then the moss stitch edges are grafted together on the shoulders.   Katrina's scarf also has a graft in the middle, for the same reason - so that the lace pattern is going in the same direction at both ends of the scarf.  All the designs in Fancy Needlework Illustrated are for cotton yarns, as I explain in the article, and the tea rose scarf is also knitted in cotton, so it represents the magazine very well. 

There are some fascinating articles elsewhere in the issue, including several others on needlecraft magazines. or on novels featuring needlecrafts (including a knitted fichu inspired by illustrations to Louisa M. Alcott's Little Women).  Another knitting project that I like very much is a pair of lace fingerless mitts in cotton, based on traditional Russian festival costume.  (Do I have a suitable festival coming up where I could wear white cotton lacy mitts?)  I'm proud of my article and very pleased that the issue is full of other interesting content too. 
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