George's Favorite Sweater of All Time #7

George's Sweater ft. Paul Simon's Vest

The American War Board Puts Their Foot In It,1942

Loud Protest Follows Sock Knitting Ban

WASHINGTON-

The new war board last night proved its reputation for bold, fearless action by making a definite pass at the millions of knitting needles clicking off sweaters and socks for soldiers.

Claiming that the wool can be better used elsewhere, the board bluntly stated that the products knitted by the millions of well-meaning mothers, wives and sweethearts usually wound up as gun-cleaning or shoe-shining rags. Wool being on a class with rubies and twice as valuable to the war effort, the board took steps to call a definite halt to voluntary amateur knitting.

HANDS OFF CRY

Fighting for women's right to knit while the men shoot, the women's section of civilian defence, headed by Mrs. Eleanor Roosevelt, came back with a violent hands off action. For the sake of civilian morale as well as that of the soldiers, OCS said knitting must continue for the duration. Take the needles out of the ladies' hands and the co-operative spirit and high morale on the home front will collapse, the defenders of the hearth maintained. While their husbands, brothers, sweethearts and sons are far away fighting for world peace, the girls must click or be doomed to discontent.

The war board's answer to this barrage of counter-fire is now in the hands of the Red Cross. In a concise, unmistakable order, the board asked the Red Cross to discourage knitting except by specific order from military commanders. The War and Navy departments refused to reveal whether or not the commanders have any plans to place orders for hand-knitted cozies.

TRADED 'EM FOR WINE

During World 1, according to the war board boys, the AEF had several uses for the things knitted by loving hands at home. One of the most popular ways of getting some wear and tear out of the amateur woolies was made to trade them to French barmaids and housewives for wine. The soldiers got their cup-that-cheers and the French women unravelled the sweaters, reknit them. Everyone was happy, including the little woman at home.

But in World War II, the board explains, the wool shortage is not going to be made shorter by dainty fingers dabbling with the previous skeins. Sweater-knitting, they insist, will be strictly on official order, and the sewing circles will have to think up something else to do with their hands.

All this and the stern order now in making, will mark a mile-post in America's war history. American women have always knitted ferociously while their menfolk fought at the front. The knee-warmers, mittens, mufflers, sweaters and other plain and fancy purling products have always been carefully patted down into boxes and sent off to the men in the trenches with enormous satisfaction.

Knitting has provided women with an excuse to gather and gossip. To feel useful and brave, to mark them as courageous ladies who have courageous men at the front.

The home knitting industry speeds up to a pace envied by many a munition industry during war-time. Debutantes and ribbon clerks take it up with a vengeance. Knitting is hauled out at the theater, in night clubs, at meal times and in doctors' offices. The office of civilian defence stoutly maintains that the sore feet, discomfort and hangovers resulting from amateur knitted goods is outbalanced by the spiritual and morale uplift gained in knitting.

-St. Petersburg Times, Jan 25, 1942

This article astounded me so many times that I had to rest between paragraphs. I still don't quite know what to say. You really must read this article.

Canadian Trends in Wartime Knitting

WAR DIFFERENT IN KNITTING, TOO;

NOT EVEN STYLES REMAIN STATIC

[Lux Knitting Annual 1942. 

Photo courtesy of your friend, the internet.]

In knitting too, it's a very different war. The last one was mostly a matter of socks but in this one, not even styles stay static nor are garments standardized.

Looking over the new 1942 edition of a knitting annual which is a Canadian best-seller in the field, the Lux Knitting Book, a veteran knitter whose needles have served in both emergencies, pointed out how amazing the contrast is. Methods have altered little but almost everything else has.

She leafed through the book which came off the press only this week, to show what a story the knitting changes tell. Here, for instance, are instructions for knitting sweaters for "women in the services," which would have been somewhat startling even a gear ago. There are garments for evacuees, bomb victims and shelter wear.

Knitting needs for the fighting services tend to be as specialized and varied as the services themselves. That's the trend at least. There's an air force sleeveless turtleneck, for example, and a boatneck pullover for the navy. Full instructions are given for more than a score of service items including a series of knitted accessories which are in constant demand but often overlooked.

For that matter, the contrasts are by no means restricted to active service circles. With the sweater doing so well in fashion's popularity polls, these new up-to-the-minute patterns must be given a share of the credit. And there are suggestions too for smart but practical, easily made gifts. The knitting stylists have done a job this season for the whole family.


-The Montreal Gazette, Nov.8. 1941

Click here, to see an interesting excerpt from this book which I posted last year.

Halloween Window: Window Wide Web

 Is it a spiders web made of yarn? Perhaps, like many other passersby and neighbouring businesses, you think that my last minute nod to Halloween in The Loop's display space looks like a giant crack in our window?

When I began the window yarn web at the end of the day, it looked very spidery.  Many Barrington Street shoppers stopped to watch me construct it, and a few people throwing Halloween parties took photos (like these) and came in to ask me about it.  At some point it began to look less webby.  I admit that when I went outside to check the web, I myself thought it looked like broken glass.  I thought it looked neat anyways though, and finished the web/crack off.  Chives chefs walking passed weren't sure, but I had locked up by this point and left the window as-was.

 I thought that I would revisit the idea of yarn posing as broken glass later.  Perhaps do a window with knitted graffiti, faux yarn bombings, and other wooly urbanisms. Now however, after many reports of distressed neighbours and calls and emails from concerned customers who thought we had been vandalized... I will abandon the idea.  Window space on a high street is a powerful thing!  I apologize to our worried customers and friends!

Early WWII Patterns from the Glasgow Herald

KNITTING FOR HOSPITALS

WITH APPROVED INSTRUCTIONS

The universal occupation of women in war-time is knitting, and already almost instinctively many women have felt that they wanted to be doing something by way of preperatation of those warmth-giving articles which may mean so much to the comfort of the wounded.

Here then are two patterns, as approved by the British Red Cross Society. Eventually when completed, and some supplies accumulated, they can be sent to any Women's Voluntary Services office, or to any other official address which may appear from time to time in the press appealing for hospital supplies.

Heel-less Bed Sock

Measurement when finished, 22 inches.

Materials required: 5oz, of white 4-ply wool and 4 No.8 bone or vulcanite needles.

Cast on 60 stitches (that is 20 on each of three needles). Knit one round plain.

Then knit 2 purl 2 until a length of 10 inches is worked, then knit all plain for another 10 inches.

Knit one round plain, next round decrease 1 stitch about the centre of each of two needles, and one the beginning and end of third needles; knit next round plain.

Then knit 6, take 2 together; repeat to end of tound.

Knit 6 rounds plain.

Knit 5, take 2 together; repeat to end of round.

Knit 5 rounds plain.

Knit 4, take 2 together; repeat to end of round.

Knit 4 rounds plain.

Knit 3, take 2 together; repeat to end of round.

Knit 3 rounds plain.

Knit 2, take 2 together; repeat to end of round.

Knit 2 rounds plain.

Knit 1, take 2 together; repeat to end of round.

Knit 1 round plain.

Next round: Knit every 2 together, then knit 2, slip the first knitted one over the second, continue until last stitch, through which draw the wool, leaving a length of 4 or 5 inches to be neatly fastened off with darning needle.

Heel-less Operation Stocking

Measurement of stocking when finished, 36 inches in length.

Materials required for a pair, 8oz. of white 4-ply vest wool; 4 No. 8 bone needles.

Cast on 68 stitches and knit on two needles, one row plain, and then rib-purl 2, knit 2-for four inches. Put the work on to three needles-24 stitches on two and 20 stitches on the third needle, and knit round and round still in the rib until work measures 34 inches.

Then knit one round plain, next round decrease one stitch about the centre of each of two needles, and the beginning and end of the third needle. Knit the next round plain.

Then:-

Then knit 6, take 2 together; repeat to end of tound.

Knit 6 rounds plain.

Knit 5, take 2 together; repeat to end of round.

Knit 5 rounds plain.

Knit 4, take 2 together; repeat to end of round.

Knit 4 rounds plain.

Knit 3, take 2 together; repeat to end of round.

Knit 3 rounds plain.

Knit 2, take 2 together; repeat to end of round.

Knit 2 rounds plain.

Knit 1, take 2 together; repeat to end of round.

Knit 1 round plain.

Next round: Knit every 2 together, then knit 2, slip the first knitted one over the second, continue until last stitch, through which draw the wool, leaving a length of 4 or 5 inches to be neatly fastened off with darning needle.

-The Glasgow Herald September 19. 1939

Puffed Sleeves In The 1940s

Truly, fashion at the beginning of 1940 and at the end of 1949 should not be lumped together.  The attitudes and influences in the years immediately following the Second World War make for a very specific period of 20th century fashion, as does the introduction of Dior's new look.  For knitters though, a lumping together of years might be more forgivable.  After all, we are dealing less with high fashion, or even commercial fashion; just its trickle-down influence.  Also, because home knitters have to source their own materials, the continuation of rationing post war, and material shortages for the years to come affected home knitting fashion directly.

I'm Canadian, so most of the vintage patterns I find are British, Canadian, or British patterns reformated for Canadian import. This means that the terms I use for vintage patterns are usually British (ie yarn weights, needle sizes) and that all of my patterns from the 1940s are influenced by the Second World War and by the rationing that followed.

At no other time in modern history was knitting so newsworthy!

The War Knitting Marathon at the 1940 New York World's Fair

Several initiatives were already in place when war was declared and the British and Canadian Governments created and regulated many wooly efforts. These have been well documented, especially in the last few years. Try these posts to learn more about war time knitting. Of course these knitting initiatives served those knitting for the troops and wounded overseas, but also served the garment needs of the homefront. 'Make Do And Mend' is only one part of the 1940s knitting story. It is also only one influence on the creative home knitter of this period. Perhaps another post is needed. If and when I write it, it will be slotted in with a link here.

The conditions of WWII knitting made a pleated puff sleeve possible and popular.

Where the pads of the 1930s had extended the shoulder line slightly into the cap or puff of the sleeve, supporting the height of the puff, the puff sleeve of the early 1940s was often constructed and fitted flat at the top of the cap and, because of it's rigidity, and the shape and firmness of the shoulder pad, sat level with the shoulder, puffing every direction but up.

A 1940s puff; the flat, pleated top of the sleeve extends the shoulder line.  

A pad (visible on the left shoulder) helps to push the puff out.  

The firm lace and long cuff exaggerates the fullness at the shoulder.

Moving forwards, the puff sleeve of the later war years was much more extreme.  The WWII shoulder attempted to do two things:  appear soft and feminine (round puff), and to echo the uniforms and wartime spirit of the time (squared shoulders).  These two looks (which sometimes appear together in some of the more fantastic wartime sweater patterns) are controlled by three factors: the construction of the sleeve, the setting of the sleeve, and the padding of the sleeve.  Day to day, it is the pad that becomes indispensable.  With a mini collection of different kinds of pads, a home knitter could (and can!) change the feel of a jumper depending on the event, mood, or time of day.

Yahoo!

Several factors also contributed to the practical possibility of these kinds of sleeves, and to the flourishing of puff.  Wartime sweaters were often knit with a yoke of a different scrap colour or stitch pattern, in part to save and use up scraps (remember that a British coupon was worth only 2oz of wool), but also because of the striking effect it creates.  A straight, no-nonsense line separates the two areas and sets off the whimsy of a slightly silly sleeve.  It also slims the shoulder no end; very dainty, but still efficient.  This visual effect was easy to achieve without too much experience and it is a great way to instantly evoke a vintage feel today.

 











A more experienced knitter might also knit the puffed section of the sleeve in the yoke colour or pattern, continuing the line of separation across the entire body.  Striking, and neat as a pin.  No one wanted to look frivolous or wasteful so few sweaters from this period were particularly lacy, or knit loosely or drapey, instead lace was close, creating a firmer fabric than typical knitted lace. A firm fabric is easier to fiddle with when it comes to setting the sleeve; a plus for a puff or sculpted sleeve.
Puffed and exaggerated shoulders were unavoidable; the fabric created by the body of wartime sweaters was one just begging to be inflated.

My 'Vantine's' Jumper has a yoke of a firm fabric to help with finishing.  Also note the firmness and pertness of the lace pattern.  It is delicate, but not drapey.

Sweaters needed to be more durable because for many, more time was having to be spent outdoors. This meant that padding and pleating could be added to greater effect. It also meant that the fabric of the sweater was sturdier, especially due to the scarcity of fine yarns. Many sweaters were knit of old, recycled sweaters or scrap yarn meaning that the wool was often stiffer than normal. Recycled yarn also looses it's elasticity and must be knit firmer.  Most sweaters of repurposed wool were knit in textured fabric, perfect for structural sleeves.  Although beautifully shown in 1940s patterns, at home stranded knitting was largely avoided over the top of the sleeve, and Fair Isle patterns were usually placed by novice knitters on the yoke alone.  Most sweaters were of one colour (on the sleeve) and of a textured stitch pattern so that in the finishing, the gathering or "easing in" of excess fabric at the head of the sleeve gave an instant structural look even if no special finishing techniques were used.  Make do and Mend, Red Cross depots, and Air Raids all meant that women were knitting in groups more than ever, and so specialty stitches and techniques could be shared (or not).  More home knitters and new knitters could now attempt puffed sleeves.

Granny, her mates in the WAFs, and their shoulders.

This look was in because of the unavoidable influence of military uniforms on fashion. Of course many women found themselves in uniform, but many women called to war work outside of the forces wanted to emulate this appearance of professionalism and patriotism.

In this way pads became as square as the squared shoulders (figuratively and literally)of the military, and padding raised them adding height in addition to width. With 'Make-Do" foremost in every knitter's mind, many pads were made of scrap fabric and were stuffed with yarn scraps or sawdust if cotton was scarce. These pads were adding height (new since the 1930s) and so were often knit or sewn square, rather like little beanbags.  Click here to read "Using Gauge Swatches as Shoulder Pads in the Vintage Style", part of the Quest for Puff series!

This free pattern from the Victoria & Albert Museum's War Time Collection features a custom knitted shoulder pad. 

The Shiap tried to kill the square look, introducing a sloped shoulder. It did not take off. Operating out of the States, rather than Occupied France, she was fighting the fashion houses' rebellion. The Couturiers showed manish shapes, awkward hems, ugly shoes and misappropriated hats, all destined (they hoped) for the wives of German officers; no one else could afford them. England stayed ignorant of this trend until well after the war; their shoulders would never become as bizarre.

Occupied France's lines had only a slight influence on British styles.

A peasant revival was inspired by land girls, though most land girls themselves could not participate in it.

Girlish puffed sleeves couldn't help but be popular, (a look carried over from the '30s) and stayed inflated and round until around the time the Americans joined the war. After Pearl Harbour the military inspired square shoulder won out for the most part, and puffs tended to be angled until Dior's New Look. This is partly to do with the fact that the fashion colonies were cut off from France. Forced to look elsewhere for mode, foreign designers pulled from the military look, and even the specific uniforms of local heros. It is at this point that the American and British commercial fashions really begin to take on a unique cultural identity.

The Peasant/Folk craze would continue to come and go as it had for centuries.  

For the home knitter it would become a haven of puff.

Dior launched his 'New Look' in 1947.  Of course it changed everything and part of it's success was it's very 'newness'.  It was achieved, however, by reviving some very old techniques.
You might think that the Look's rounded shoulder lines would kill our story and certainly annex the shoulder pad.  Although a square shoulder was instantaneously out of date, Dior's rebirthing of French Tailoring and Couture techniques, many unseen since Victoria,  made padding a staple.  Pads became more shaped, more like the ubiquitous pads of the 1980s.  Sleeve Heads, particularly for jackets were to become, and remain essential.

Pads can be used to give puff shape to a shoulder that was knit to be sloped.  

This look is a bridge between the square and the round shoulder.

Dior's line was universally lauded and in Britain it was seen as a breath of fresh air.  The American and British Governments however, were furious.  They were working very hard to ration a public who was confused about restrictions still in place after the war.  Dior's New Look, with it's ample fabric was very very expensive and hard to come by.  Nowadays, this would be a case for High Street knockoffs.  Britain, however was still rationing many garments and dressmaking materials, and would continue to do so for several years.  Also,  mills and design firms had both been restricted and could only produce a limited line of products.  Knitting was still essential, and now more of the home knitter's time could be spent on personal projects, rather than knitting for the troops.  The Red Cross in Canada and the US continued to collect for various worthy causes, but here too we see more involved patterns for the knitter herself.

Knitters continued to employ tricks like this one to conserve rationed wool; the contrast colour is embroidered over the body of the sweater, extending it's effect.  Perhaps the wool for the embroidery was salvaged from the pocket of another sweater.  The firm fabric of the sleeve (since the colour wasn't stranded) is perfect for pleating into a puff.

In February of 1949, wool clothing ceased to be rationed.  This meant that if the consumer could afford it, some items could be bought and no longer needed to be knitted.  Unfortunately, this didn't quite produce a renaissance of personal knitting as it had after WWI; knitting wool would remain rationed until 1952.

When it becomes readily available again, yarn will be a very different product and knitting will have to adapt.

Bring on the 1950s '60s and '70s.

You are reading "The Quest For Puff" ©Morgan Forrester

Up next:

Mid Century Peasant Puff

Coming Soon:

Vintage Sleeves: Puff Pleating

Vintage Sleeves: Seaming for Puff

Creating Puffed Sleeves Anew

This post is a part of The Quest For Puff Series. Read it from the beginning HERE.
PS  Sorry, I don't know what's up with the spacing.

War Knitting Marathon

DOWN THE STRETCH IN WAR KNITTING MARATHON

Here they come down the stretch in the war knitting marathon at the Australian Pavillion at the New York World's Fair, June 18. The winner was Finland by a stitch; Belgium was second. With Fanny Hurst, noted author; Mrs. Harrison Williams, one of the ten best-dressed women, and Lynne Fontanne, stage star (left to right) acting as the judges, Mrs. Siami Rappell (seated right), of the Finnish relief committee, beats Mrs. Rene Burchard, of the Belgium relief committee. The marathon lasted for two days.

-Windsor Daily Star, June 21, 1940

PS I think Mona von Bismark (Williams at the time) is stunning in this photo. It's amazing to see how beautiful she was in real life, in a candid shot. What must her own knitting have been like?  The Curse of the Boyfriend Sweater might have a lot to answer for!

George's Favorite Sweater of All Time #6