Thursday, 10 August 2017

Jersey Suits for Little Boys

We are gradually recording and cataloguing the pattern leaflets in the Knitting & Crochet Guild collection, of which there are a lot.  (I may have mentioned that before.)  Recording (i.e. listing the numbers) is nearly finished, cataloguing is only just starting.   We are focusing on the earlier ones, particularly the 1930s, and many of the designs could be adapted to wear now.  But some garments have gone out of use completely - including the hand-knitted shorts for little boys in this Bairns-wear booklet.  (I call them shorts, but actually the leaflet calls them knickers. Times change.)

Bairns-wear Booklet Number 16

The booklet has several designs for jerseys and jersey suits (jersey + shorts) for boys aged 18 months to 3 years.   They are very pretty, and feature embroidery.   The designs are named after characters in children's books and comics, though the names seem to be randomly assigned - a design doesn't show the character it is named after. For instance, the cover design is called "Mickey Mouse", but doesn't seem to have any connection to the cartoon beyond its name.

Two other designs are named after Brer Fox and Brer Rabbit.

"Brer Fox" suit
"Brer Rabbit" suit

The "Brer Fox" suit is embroidered with little flowers above the pockets on the jersey.  "Brer Rabbit" does have a family of rabbits embroidered above the welt , but they are Mr Rabbit, Mrs Rabbit and Master Rabbit, according to the booklet.  And not very realistic rabbits, especially as the embroidery on the sample has "blue rabbits with pink eyes and tongues".

There are two other jersey patterns in the booklet, without matching shorts.  Tiger Tim was a cartoon  character in the Daily Mirror.

"Tiger Tim" jersey
The embroidery on the jersey, disappointingly, is a rather crude dog, and not a tiger. It's described as a "ferocious animal", but saying it's ferocious doesn't make it look ferocious.  

"Teddy Tail" jersey
Teddy Tail was a cartoon mouse, from a comic strip in the Daily Mail.   Again, the jersey design doesn't feature a mouse, though it is a rather nice design with a zigzag pattern in garter stitch at the neck and hem, and a few embroidered crosses and dots.

Although the booklet is illustrated with black-and-white photos, the instructions specify the colours to use.  And some of the colours are surprising.  The Mickey Mouse design is to be knitted in sky blue and Tiger Tim should be mauve.  But Brer Fox and Teddy Tail are to be pink - pink is now so associated with girls that I doubt if anyone would knit something in pink for a boy.  And the Brer Rabbit suit is white - so impractical for an active toddler.

The jerseys, by themselves and without the unnecessary embroidery, are nicely designed - I like the ones with square necks particularly.  In a stronger, more practical colour they could work very well.  And I know that if I say that no-one nowadays would want to knit shorts for a little boy, some knitter out there will already be planning to do just that.  So I will only say that if you are a member of the Knitting & Crochet Guild, you can have a copy of the  booklet.

Monday, 7 August 2017


I love old magazines, so when I saw a 1963 copy of Flair magazine in an Oxfam bookshop, I bought it.  Flair was a monthly fashion magazine launched in 1960, and I remember reading it occasionally as a teenager.  (Sadly it died in 1970, merged into Woman's Journal).

Flair magazine, June 1963
It's fascinating, especially the ads.  We think of 1960s fashion as revolutionary - the era of miniskirts, Mary Quant, Vidal Sassoon hair cuts, shift dresses, skinny rib jumpers,...  But really that was the later 60s, and it had barely started in 1963.

Many of the clothes shown look very formal, like the suit worn with long gloves, an organdie scarf  and a big hat (modelled by Grace Coddington?)

Admittedly that's from an article How to Stand Out in a Crowd and deals with  "important social events" such as weddings, race meeting, regattas and committee meetings.  (Committee meetings?? No committee I've ever been on had meetings that were important social events.)  But elsewhere in the magazine, too, the clothes look rather stiff by today's standards, and although the possibility of wearing 'slacks' is mentioned occasionally, none are actually shown.

A feature "Underneath it all" suggests one reason why the clothes look more stiff and formal than we are used to - you were supposed to wear a corset.  And perhaps they were more comfortable than earlier corsets, because "in these days of miraculous man-made fibres, a featherweight corselette or pantie girdle will exert real control for all figure types".    Even under slacks - the feature shows a "pantie girdle that gives a really smooth line under slacks",  reaching to just above the knee.  And they were made for slim women as well as "the most ample figure" (size 40 in. bust, that is).

There are several ads for different brands of corset in the magazine, including the famous Silhouette ads, showing corsets worn over a  kind of black body stocking.

As the suspenders attached to the Silhouette corsets show, women still wore stockings, not tights.

The magazine has a surprising number of ads for perfumes and perfumed products like talcum powder. (What happened to talcum powder?) Some of the French perfume brands still exist, and there's an ad for Chanel No. 5, already 40 years old in 1963.  But other names like Morny have gone, I think.

I was too young to be affected by most of this, though I did wear stockings for a short while . (Hated them.)  Women's clothes are so much freer and more comfortable now than in 1963 - a huge improvement.

 And... knitting.  There is a knitting pattern in the magazine, although perhaps you shouldn't really expect much woolly knitwear in a June issue.  It's a collarless cardigan knitted in two colours.

It's really not too bad - it wouldn't look too extraordinary if someone wore it now. The yarn is Lee Target Gaelic Floss, so I imagine something like a Shetland wool.  It's knitted mainly on 4.5mm needles, so possibly a DK weight.  For me, it's the most forward-looking thing in the magazine.  (But then, I'm a knitter.)

Wednesday, 26 July 2017

'Leaf and Trellis' Stockings

Anyone who was at the Knitting & Crochet Guild Convention in Birmingham earlier this month might have seen a pair of 19th century knitted lace stockings that I showed, to illustrate the kind of object that we have in the Guild collection.  Here's one of the pair. (Click on the image to enlarge it.)

They were knitted from the top down, in the round, with a band of double rib to start and then a deep band of stocking stitch, before starting the lace part.  The lace is a stitch that in Shetland lace knitting is called Print o' the Wave, but in 19th century knitting books I have seen it called Leaf and Trellis.   Here it is as it appears on the stockings.  They are knitted in very fine cotton, so that it takes 5 pattern repeats to go round the ankle - there is a huge amount of work in these stockings.

On the way to Birmingham, I found an early version of the pattern, in Miss Lambert's My Knitting Book.  The 7th edition, published in 1844, is available online from the Winchester School of Art library, here.  I think that Jane Gaugain published the pattern earlier, in 1842 (see my earlier post here), but Miss Lambert might have been the first to call the pattern Leaf and Trellis.

In Birmingham, I knitted a swatch of Leaf and Trellis to compare with the stockings.  I used DK cotton for the swatch rather than anything finer, mainly to be easier for me.  But I wanted it to be visible to an audience, too, and didn't in any case have any cotton thread anywhere near as fine as that used for the stockings, or the tiny needles to go with it (around 1mm thickness or less, at a guess.)

Here's my swatch, with the cast-on edge at the bottom, because that seems more natural to me.  (I actually used the instructions in the 12th edition of Miss Lambert's book, from 1845, also available from the Winchester School of Art library.)

Like the stitch pattern in the stockings and other early versions of the pattern, all the decreases are done by knit 2 together, so they are all right-leaning.   Later versions, and present-day Print o' the Wave patterns, use  both left- and right-leaning decreases to make the pattern symmetrical.  As I wrote here, the Leaf and Trellis pattern published in Weldon's Practical Needlework in 1886 claimed the credit for introducing this variation.

The lace stockings must have been very precious to the woman who wore them - either because she had knitted them herself,  or because they had been bought and must then have been very expensive.  We can see that she valued them, because they have been darned in several places.  The heels wore through, as you would expect, and there are also darns on the back of the calf - perhaps she sometimes wore them with boots?   And there are more darns in the stocking stitch sections at the top of the stockings.  I would have guessed that they would have been kept up by garters, though that seems a bit precarious.  But I really don't know anything about how Victorian ladies wore their stockings, and perhaps they were attached to the corset?  I don't know.  

Here's one of the feet, showing the darn in the heel.  I'm not a sock knitter,  so I don't know whether there is anything unusual in the heel shaping.  The toe shaping on the other hand does look rather peculiar - it looks as though it's designed for an anatomically strange, very pointed toe.

But clearly the stockings did fit someone, who wore them a lot and looked after them.  And then eventually they were put away and kept carefully, until the end of the 20th century, when they were acquired for the Guild collection. And we can admire the skill that went into making them, and marvel at the amount of time they must have taken.

Monday, 24 July 2017

My Linen Drape Scarf

I mentioned in my last post that at the show-and-tell session at the Guild Convention 2 weeks ago, I showed the summer scarf knitted in Rowan Linen Drape that I started in April (described here).  I finished it just before the Convention.   

Here it is.  It does drape very well (as it should, given the name of the yarn).  I like the fact that even the stocking stitch stripes are slightly translucent.  And as I planned, it's an open pattern but not too fussy.   

If I've got time (hah!)  I'll write out a chart for the pattern and add it to this post.  And I'll try to take another photo with a better colour - the blue is less grey than in this photo.  

I haven't actually worn it yet - it's been too warm to want to wear a scarf.   But today is cold and damp - a raincoat and a scarf are needed, and it will get its first wearing.  

Saturday, 15 July 2017

Guild Convention in Birmingham

It's been a busy week, so I am only just getting around to writing about the Knitting & Crochet Guild Convention which was in Birmingham last weekend.  The Convention is an annual event, though Birmingham is a new venue.

On view was the Guild's display for this year's shows, on the theme of 'Passing on the Passion'.

It features a few items from the Guild collection, including a Kaffe Fassett 'Foolish Virgins' jacket, a crocheted top from C&A, and a knitted crown.

That's one of the very few photos I took at the Convention - I was too busy knitting most of the time.  (I bought some Rowan Felted Tweed in John Lewis, and started knitting a Heidi Kirrmaier cardigan, but that's another story.)   I also spent some time looking around the centre of Birmingham - it's not a city I know well.  The hotel was in the Chinese Quarter, with the Bull Ring markets nearby.  Around the corner are the National Trust Back-to-backs, which are fascinating.  Several of us who arrived a day early for the Convention went on a tour.

And I spent a lot of time in the Museum and Art Gallery.  It has wonderful collections, including a new display of the Staffordshire Hoard, which is amazing (and very difficult to photograph through the glass cases - I tried).

At the Convention, as well as the Guild's AGM, we had three very good talks.  Betsan Corkhill, of Stitchlinks, talked about the role of knitting in healthcare.  The second talk was by Emma Price of In the Woolshed, which produces natural dyed yarns.  She talked about her career to date, initially alternating between accountancy and spending time in India with people practising traditional crafts, before starting In the Woolshed.  She now also leads textile journeys to India.  And finally, Denise Musk, a life member of the Guild, brought along some of her machine knitted garments in amazingly complex fabrics, and talked about how they developed from her initial ideas.

As well as the talks, there were two workshop sessions led by Guild members, with six topics on offer in each session.  But I skipped one session in favour of the Staffordshire Hoard and Pre-raphaelite paintings, and so only did one workshop.  It was on Moebius Knitting, with Fiona Morris.  Fiona brought along some very inspiring samples, and taught us how to cast on - a surprisingly quick technique.  I didn't get very far past casting on in the workshop, though I did finish one round and I've subsequently done a few more.

It's very satisfying for anyone with a mathematical background that it is a genuine Moebius strip, with one edge and one surface.  But my sample isn't very tidy and I'd like to do more practice and then try one of the very nice cowls that Fiona showed us.

I contributed to the Convention, too.  There was a 'show-and-tell' session on Saturday evening, when members could show something they made during the past year.  I took the summer scarf, started in April, which is now finished - I'll write about that later.  And Maureen and I did a short presentation on 'How to do a Trunk Show'.  I had brought two items that haven't previously featured in trunk shows and talked about them - but those are two more stories for the future.

Friday, 30 June 2017

Practical Knitting in 1886

I was sorting out some miscellaneous Weldon's publications in the Guild collection this week.  Several of them had lost their front covers, or probably had them removed  - the covers generally just had a summary of the contents, and the rest was ads, so they were often discarded.  But it makes life difficult for a cataloguer, because sometimes, as with the Practical Needlework series, the number in the series is only printed on the cover.  But eventually, with not too much cursing, I got most of them into the right place.  In the process, I found one of earliest issues in the Practical Needlework series, from volume 1, dated by Richard Rutt to 1886.

Victorian knitting magazines
Weldon's Practical Needlework No. 2
It's number 2 of Weldon's Practical Needlework, and also number 2 of the Weldon's Practical Knitter subseries.  I have to admit that that's a bit confusing.  But never mind  - it has some interesting things in it.  Here are a few that caught my attention.

First is a pattern for a knitted quilt square in Foxglove pattern, described as 'exceedingly pretty'.

From Weldon's Practical Needlework No. 2, 1886

I recognised the image immediately, because I  had seen one very like it when I was trying to find the pattern used for a 19th century bedspread  - I found the image in an Australian newspaper, the Australian Town and Country Journal, published in Sydney, also in 1886. And now that I compare  the two, the images are exactly the same - the Australian newspaper lifted both the text and the image from Weldon's Practical Needlework, in a cut-and-paste job.  And I can't see any acknowledgement to Weldon's.  To a former academic, that's really shocking behaviour - blatant plagiarism.  On the other hand, much of the wording of the pattern is taken in turn from an earlier book, Needlework for Ladies for Pleasure and Profit by 'Dorinda', though Dorinda didn't illustrate it.  So Weldon's aren't entirely innocent of plagiarism themselves.  Victorian morals weren't quite as pure as some people claim.

Another pattern in the magazine is my favourite lace pattern.  I started out thinking of it as Print o' the Wave, but I now think that that is only its Shetland name - in Victorian knitting books, it seems to have been called Leaf and Trellis (if it was given a name at all).

From Weldon's Practical Needlework No. 2, 1886

The description says: ' This is a very favourite old pattern for window curtains, cotton antimacassars, bread-tray cloths, and other articles. It is here rearranged and improved, and the veining of the leaves is carried symmetrically upwards."    (Following a tradition beginning with Mrs Gaugain, the sample is shown upside down, with the cast-on edge at the top - I suppose because it looks more like a pattern of leaves that way.)   The claim of symmetry in the pattern is because some of the decreases are right-leaning (knit 2 together) and some are left-leaning (slip 1, knit 1, pass the slipped stitch over) so that in the 'leaves' you get a line of successive decreases, all leaning the same way, and then a line leaning the other way.  In earlier versions of the pattern (Jane Gaugain's, for instance), all the decreases are done by knitting 2 together.

So it may be that, as claimed, this is an innovation, and the first version of the pattern to have symmetrical decreases.  Or it could be that the magazine has 'borrowed' the improvement from an earlier publication - I'm reserving judgement.

And the other pattern that I particularly noticed was for a Balaclava cap, 'a most comfortable cap for gentlemen travelling or for shooting excursions.'  

From Weldon's Practical Needlework No. 2, 1886

 It's knitted in navy blue Berlin wool (merino), with red stripes, on No. 10 bone needles.  I would like to believe that the pattern was written for this magazine, but the image seems very familiar - I'm sure I've seen it before, but can't remember where.  Maybe I have seen it in a later publication, but I'm not very confident - this might be another case of 'borrowing'.

Monday, 26 June 2017

Designs by Marjory Tillotson

I wrote in February (here) about small collection of a dozen booklets and leaflets from the 1920s, that I had just been sent for the Knitting & Crochet Guild's collection.  Most of them were completely new to me.  They deserve to be shown in more detail, so here are a few of them, designed by Marjory Tillotson. 

She designed the earliest pattern booklets that were published in this country, for J. & J. Baldwin & Partners, of Halifax.  The first 'Beehive Knitting Booklets' appeared in about 1910, and Marjory Tillotson stopped working for the company in 1920 when she married.  But some of the booklets she designed evidently stayed in print for several years, or were reissued in a 'New & Enlarged Edition'.  All the ones I am showing here date from the 1920s, by which time the company was part of Patons & Baldwins Limited.

1920s vintage crochet pattern
Beehive Booklet no. 13

The first booklet (no. 13) has a dozen designs for babies' garments - although it's called a Beehive Knitting Booklet, they are all crochet patterns.  An impressive array of bonnets, caps, coats, and bootees, all trimmed with satin ribbon bows, even those for boys.  

The second booklet (no. 14) has a range of sports sweaters, for women and men, girls and boys.

1920s vintage knitting pattern
Beehive Booklet no. 14

The cover shows a woman wearing her sports sweater to play tennis, but I think that sports sweaters were often worn as casual wear and not just for sports.  (As sports wear is now, in fact.)

From Beehive Booklet no. 14

The booklet includes sweaters for Girl Guides and Boy Scouts, and says that both are the regulation pattern.   'Each Girl Guide should knit one of these sweaters.  It is of the regulation pattern, easy to make and neat, warm and durable in wear.'  (Boy Scouts were not, of course, expected to knit their sweaters.)

Booklet 16 has patterns for nine 'House Wraps' - a range of garments to wear at home, including bed-jackets.

1920s vintage knitting & crochet pattern
Beehive Booklet no. 16 

The cover design, 'Florence', is a knitted nightingale - a type of bed wrap invented by Florence Nightingale.  They were designed to be very easy to make from a length of woollen fabric (see here),  and many nightingales were made for the sick and wounded during the First World War.  Marjory Tillotson replicated the design in knitting. The booklet describes its construction: 'The graceful "FLORENCE" Wrap is made in one length (in a fancy knitted pattern) like a shawl, the collar being formed by turning back the two corners of a slit-like opening in one of the long sides.'  The making up instructions say: 'For the cuffs, turn back the corners of the long side opposite the collar, folding them over and fastening at the folded points while leaving sufficient room through which to pass the hands.  Finish off with dainty bows.'

Another design I'm quite taken with is Cicely - mainly because it's called a Breakfast Jacket, and it seems such a ridiculous idea to have a special garment to have breakfast in.
From Beehive Booklet no. 16

It's also completely impractical - the sleeves are very loose with big frilly cuffs, and they would trail in your Weetabix or bacon and eggs. But perhaps you could eat a light breakfast of tea and toast (if someone else buttered it for you) without getting  in a terrible mess.

Finally, there is a booklet of vests, plain and ribbed. There are patterns for women, men and children, from size 22in. chest upwards.  Not very exciting designs, but the illustration in the front cover is charming.

1920s vintage knitting pattern
\Beehive Booklet no. 25

Although Marjory Tillotson could not work for Patons and Baldwins after she married, she did continue to design knitting patterns for other companies, until well after the Second World War.  She also wrote books on knitting, including The Complete Knitting Book.  It's wonderful to have these very early booklets, with her name prominently displayed on the cover - I think they are now very scarce, and it's amazing that these copies have survived in such good condition.

J. & J. Baldwin's trade mark, from Beehive Booklet no. 25