My Amphetamines & My Purls

Choosing & Placing Knitted Shoulder Pads

2012-01-28T11:55:00.000-04:00

Here are some examples of effects created by Gauge Swatch Shoulder Pads. These pads are generously stuffed; remember that the thickness or fullness of the pad is up to you. The pad shapes shown here are Square,
Triangular,
and Rectangular.
Read about how to make your own shoulder padding from gauge squares here. It is worth noting that the effect of the Rectangular pad is similar to that achieved with Sleeve Head Rolls.

A Square pad tacked to both the shoulder seam and the inside of the sleeve head, rounding the shoulder line and supporting the apex of the puff.

A Square pad placed halfway down the neck (at about the bra strap) so that half of the pad projects beyond the natural shoulder.The pad is sewn along one side, crossing the shoulder seam, with the inner corners tacked to the front and back of the garment. The free edge of the pad is weighed down by the sleeve, taking the shape of the puff. The seam of the pad, because it is located further down the neck avoids added height but still has a military feel.

A Triangular Shoulder Pad with the fold (the longest side) attached to the shoulder near the centre top of the shoulder seam. The point of the triangle is left free floating to take the shape of the puff. With an overstuffed pad such as this one, a kick-up shoulder line can be achieved.

(My favorite!) A Triangular Pad with the centre point attached to the shoulder. The folded side projects into the head of the sleeve, and dictates the end of the shoulder line.
The sleeve follows the shape of the top of the pad and then falls in a clean vertical drop. This is a good way to give structure to a drapey or lacy knit.

5.A Rectangular Pad attached to the shoulder at the centre of the pad's long seam. Small stitches tack those inner corners to the front and the back of the garment.

The folded edge of the pad extends the shoulder line and supports the fullest part of the puff sleeve.The outer edge of the shoulder becomes rounded.

A Rectangular pad attached to the shoulder at the sleeve seam with the long seamed edge pointing up into the puff. The fullness of the sleeve is kept aloft by the pad's seam. This is suited to a twin set because of the seaming difficulties. The determined could tack the lower corners to a bra strap or a under shirt to prop up a knitted jacket.
The outer edge of the shoulder line is supported for a softer war time look.

A Final Note:

Use a seamless join like mattress stitch or grafting at the top shoulder seam in preparation for this type of padding.
Use a 3 needle bind off if you plan on using modern, store bought shoulder pads; the ridge created by the seam will provide a spine useful for stitching the centre of pads to the sweater.
You are reading "The Quest For Puff" ©Morgan Forrester

Up next:

Padding Vintage Sweaters with Sleeve Heads

Coming Soon:

Vintage Sleeves: Puff Pleating

Vintage Sleeves: Seaming for Puff

Creating Puffed Sleeves Anew

Canadian Women's Roll in War 1939 - 1940

2012-01-25T08:02:00.000-04:00

Women's Role In War Remains Feminine One Here

BY MURIEL ADAMS

(Canadian Press Staff Writer)

Toronto, Jan. 25

These are full days for the typical Canadian woman. If she isn't knitting pullovers or sewing pneumonia jackets for the Red Cross Society, she is filling a "ditty" bag for sailors, giving alternate Sunday evenings to entertain the air force at suppers or doing special war duties assigned by her own club.

Since 1914 women have won greater freedom---the right to vote, the opportunity to take their place beside men in all professions -but so far in Canada their field of war duty is purely a feminine one-knitting, dewing or nursing.

When war broke out 25 years ago there were a few national women's organizations such as the National Council of Women, the Imperial Order of the Daughters of the Empire, and the Victorian Order of Nurses, where women were taking an active part in public problems. Their total membership was less than one-third what it is today.

Women's war efforts were more unified when war began in September. A national drive for registration of women's qualifications for service in national emergencies was already under way. Then machinery started to collect all available offers from coast to coast. These revealed thousands of workers with experience in munition and textile factories, as translators, canteen workers and nurses, who were anxious to give their services.

Ready for War

Remembering the distress caused by the influenza epidemic that followed the first Great War, women all over the country enrolled in home nursing and first aid courses, prepared to go over-seas or work in their own communities.

First major war effort was the sending of tons of clothing and blankets to evacuated children in England. Canadian women over-seas banded together under the direction of Mrs. Vincent Massey, wife of the Canadian high commissioner, and organized the distribution of these supplies and attended to Canadian war work developing on their side of the ocean.

New Red Cross Branches, I.O.D.E. chapters and St. John Ambulance units sprung up in every province. Troop canteens and recreation rooms were opened in most of the large cities and military districts by women's organizations. Sewing groups met in churches, homes, schools and downtown offices to work in their spare time for the men in uniform.

-The Calgary Herald, Thursday January 25, 1940

Sunday in the Store With Morgan

2012-01-23T15:18:00.002-04:00

*a Parker who loves the 4 Georges?

It is officially winter in Halifax, and when the wind blows at Salter and Barrington Streets it is bitterly cold. On a Sunday however, The Loop is toasty warm. Sometimes it is downright hot. Often, at Noon, I have to crack the back window a little, which shocks and confuses the amorous pigeons who rendezvous on our sil.

I took this photo outside of DeSerres, where I was waiting for a cab. 15 minutes later I flagged one down. I had always been told that in Halifax, you can't flag a car. My Cabbie told me that this isn't true when it comes to Barrington Street! News to me.

This Sunday I spent Embroidering. It's easy to pick up and put down as the need arises, and it's too too convenient having our supply of DMC floss so close to hand.

I also took advantage of our huge storefront window. Over the years I've used countless transfer methods to get embroidery patterns and my own sketches onto cotton and linen. I've used lightboxes, carbon paper, various papers, pens and pencils and ironing methods. When it comes down to it, I don't think anything beats scotch tape, a sharp pencil, and a sunny window.

I do advise photocopying the pattern twice; one copy will be taped to the window underneath the fabric, and the other will be taped alongside, as a reference. I also recommend drawing four crosses on the fabric, tracing each corner of the pattern or pattern paper. This way, if you need to retrace, you can orient the fabric perfectly.

Clover needles and notions have arrived!
I'd like to thank all those customers who understood that for me to do the oft-procrastinated job of sorting and pricing the needle shipment, and then printing out our tiny price stickers I need to
A: Say the prices and item codes aloud, and
B: Listen to cartoons on youtube playing underneath the inventory windows. Totally Spies, Disney's Recess and of course, The Emperor's New School are helpful.
You are very understanding. It must be a shock to hear a sudden 'Hiya! Ya!' or 'This Whomps' before I remember to switch the audio over to yarn shopping music.
Enjoy the 4 Georges:

Who ever could have guessed that I'd develop a thing for George II?!

Vintage Pattern Photos with Shoulder Pads

2012-01-17T15:33:00.000-04:00

Here are some examples of Vintage Pattern Photos that put Shoulder Pads to good use:

This shape can be supported by a kick-up pad. If you cannot find this style of shoulder pad consider using shaped sleeve heads or a rolled pad.

In this pattern photo you can clearly see the edge of the shoulder pad. It appears to be shaped like modern women's wear 'coat pads'. It features a steep increase from the inner to outer edge, and lets the sleeve hang straight down below the modest puff.

A roll or long rectangular pad (see gauge swatch pads) should be used when the sleeve seam sits this far from the neck and the puff extends the shoulder line.

The line of this 1950s shoulder is improved by a round pad. Although the welt features drastic shaping (presumably full fashioned increases) the sleeve and shoulder are very basic. The pad creates the shape and adds drape to the heavy fabric. This is the kind of 'figure enhansing' padding that Dior re-introduced.

Another kick-up shape. Any kick-up shoulder pad, whether it is a pad or layered, angled sleeve head, needs to be customized and carefully placed. In this case most of the shaping comes from the fabric type and pleating. The padding supports, rather than creates the shape.

To support the apex of this folded puff sleeve, a triangular pad or a modern shoulder pad. trimmed to shape should work. When the shoulder line is extended to this extreme, consider stitching the pad so that the greater portion of padding is free of the shoulder. Try flipping a triangular pad so that the point sits at the centre of the sleeve to shoulder seam, and that the long side sits at the edge of the shoulder.

Without some sort of pad a cardigan or any kind of second layer would flatten a delicately puffed sleeve jumper. In this example the pad would most likely have been knit as a small rectangular (almost square) pillow, stuffed with fleece or maybe sawdust. A clever home knitter might have used her gauge squares!

Remember that a sturdier knit may not require a shoulder pad. Often, a dense or thick fabric can support it's own puffed up weight, so long as it has been properly gathered or pleated before seaming into the armseye.

This pattern photo clearly shows the outline of a shoulder pad. It is shaped much like todays shaped pads and is a handy reference for padding placement. It will have been stitched down the centre spine, with small tacking stitches taken at the two side points of the pad, securing it to the front and the back of the sweater.

'For When You're Off Duty ' is an uncommonly accommodating pattern. The pattern includes direction of a custom shoulder pad. Despite the dense fabric created by pleating the firm 1x1 ribbing of the sleeve, this elongated shoulder line would not stay aloft without it's padding.

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

Up next:

Choosing & Placing Knitted Shoulder Pads

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.

Shoulder Pads & Puff Sleeved Sweaters

2012-01-16T20:46:00.002-04:00

There's no need to sit like that; a good shoulder pad will keep your puff in place!

There is a lot to cover. First off, I ask that you shove all your preconceptions, jokes, eyeball rolls and Dynasty memories to the back of your mind. We are talking about a different era for starters.
Shoulder pads in the 30s/40s were a very different beast. They were not the Velcro disks that we immediately think of in a post 1980s world.

Shoulder padding falls into 3 main categories (at least for our purposes)
Pads
Sleeve Heads (Shaped and Rolled)
Supports

This is of no help to the home knitter.

Elsa Schiaparelli, perhaps best known to us knitters for her iconic tromp l'oile sweaters, pioneered an unbelievable list of fashion classics, among them the Shoulder Pad. The Schiaparelli shoulder is strongly associated with Hollywood glamour, and all the broadest of faux-broad broads, Crawford, Garbo and Hepburn were fans. Her look is satirized and honoured in the fashion show segment of The Women (fashions by Adrian) Watch the clip below to see how these extreme silhouettes and shoulder styling are era specific. These pads were often triangles; soft cushions extending width. Her 1930s mainstreaming of adjustable shoulder padding into conventional women's wear ensured that the square shoulder of the 1940s was feminine, rather than a simple diminution of military uniforms and other customs of mens tailoring.

You must click HERE to watch on youtube proper.
Watch on Mute! This is (clearly) not the original soundtrack.

Shoulder Pads are best suited to structural puff sleeves. Puffed, or full sleeves that have been folded or pleated into the seam benefit most from this style of padding. Military, kick-up, and elongated shoulder lines from the late 1930s up until the introduction of the New Look in 1947 were supported by shoulder pads and should be now. The hand knitter working from patterns in this era would have taken this extra step for granted.

Know which look you're going for by reading Puffed Sleeves in the 1930's and 1940's.

Many Vintage Patterns include directions for knitted pads to be sewn to the inside of the sweater. A good example may be found in the V&A's collection: "For When You're off Duty". This little pad is more like a cushion; knit of jumper yarn (sock yarn is a good substitution) and stuffed to your taste. It rests on the shoulder and supports the apex of the puff. Make your own as you would a cell phone cozy. Two squares or rectangles sewn together, or one folded in half and seamed will do. For a softer, pre-war look, you may choose to make your pad out of two triangles rather than rectangles which have a more masculine feel.

Read 'Using Gauge Swatches as Shoulder Pads in the Vintage Style' for more on knitted padding.
Read 'Choosing & Placing Knitted Shoulder Pads' for further guidance.

Today, ready made shoulder pads may be purchased at most fabric stores. These objects are more like the power suit boosters we are used to. For Knitters' use they will most likely need to be trimmed. For this reason I do not recommend buying vinyl pads. Good companies provide different pads for different sleeve shapes i.e. Raglan, Dolman. The pad is sewn to the garment through the center, creating a spine for the pad. Baste this spine and try on the sweater. Working from the outside, still wearing the sweater, take small stitches with the sweater's yarn (de-plyed if necessary) to anchor the pad in place, or for heavy yarns, sewing thread.
For an extreme vintage look I recommend a "coat pad" (a pad used in coats) with a 1" thickness. For a blouse vs. a sweater a 1/2" thickness may be more appropriate.
The looks which large pads can provide depend entirely on their placement, so a great deal of experimenting will be needed. It is best to do this while wearing the garment, whenever possible. If trimming is necessary, use a fabric marker to note cuts while holding the pad on your shoulder (with a friend or a mirror).

This vinyl pad is not what we want. Note the centre stitching along the pad, attaching it to the shoulder seam. We do want this.

Ready to wear Shoulder Pads tend to come in white, nude or black. If none are available in an appropriate shade for your project they may be covered. For a nude look try using old nylons to cover a pad.
For an outrageous shoulder la Joan Crawford or House of Balmain, consider layering 2 or more pads. Baste them together through the centre spine, and then cover the pad using loose stitches or feather stitches and cover with fabric or nylons. This is a great technique to use if you can only find 1980s styled flat pads.
American football comments be damned!

Generally these kinds of paddings can be made at home with little sewing experience. With a reliable sewing store in your area though, you may find it easier to purchase ready-made padding, and then alter it at home. Pads may be opened up at the seam and the amount of wadding can be adjusted. You may choose to add or remove bulk, or you may decide to push the stuffing to one side or the other, depending on your sweater style or body type. If you are layering sleeve heads or pads use large feather stitches. If you are layering fibrous padding stuffs, experiment with spray adhesives. If a large shoulder pad's slope is to wide for your shoulder or if you have a petite shoulder line, cut your pad in half. Trim as necessary, adjust the angle on your own shoulder, and then reattach the front and back of the pad using a baseball stitch. Remember that few bodies are symmetrical, so treat each pad, each knitted piece, and each shoulder separately.

Click HERE to see examples of Vintage Sweater Pattern Photos that put Shoulder Pads to good use.

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

Up next:

Choosing & Placing Knitted Shoulder Pads

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.

WWI Red Cross Sleeveless Sweater

2012-01-12T20:52:00.004-04:00

RED CROSS TELLS HOW TO KNIT FOR SOLDIERS

WASHINGTON, September 22- [1917]

Here's how to knit a sleeveless sweater for a soldier, according to official Red Cross instructions:

Get two and a half hanks of yarn.
Also one pair of Red Cross needles No. 3.

Cast on 80 stitches.
Knit 2, purl 2 stitches for 4 inches.
Knit plain until sweater measures 25 inches.
Knit 28 stitches, bind off 24 stitches for neck, loose.
Knit 28 stitches.
Knit 7 ridges on each shoulder, cast on 24 stitches.
Knit plain for 21 inches.
Purl 2, knit 2 stitches for 4 inches.
Sew up sides, leaving 9 inches for armholes.

Now if you are still interested in going further with the war knitting brigade, go to your local Red Cross chapter and ask for one of the official knitting circulars.

Five hundred thousand of these circulars have been sent to local chapters everywhere by the Red Cross.

Each contains full information on how to knit the wight standardized articles: Sleeveless sweaters, mufflers, helmets, socks, wristlets, wash cloths, bed socks and bottle covers.

Recent cables from Major Murphy, Red Cross commissioner with the American boys in France, emphasized the need for the warm knitted articles for the soldiers who face the hardships of winter in the trenches.

Army officers request that these articles be forwarded to France as soon as possible. The severity of winter on the battlefields and a rising tuberculosis rate to combat the demand, they warn, that several million of these articles reach France before Thanksgiving.

Socks, [unreadable word] knitters are warned that knots ridges or lumps must be avoided, as they blister the feet.

-Berkeley Daily Gazette, September 22, 1917

Note: I have altered the original typesetting for readability.

A Little Modern Help From Morgan:

There was no illustration or schematic in this newspaper article, but basically this is a sweater knitted flat, in one piece. Today, North Americans would call it a vest.

"Get two hanks of yarn" is kind of hilarious, but remember that the Red Cross had depots in most cities providing official yarn to be used with their official patterns.
If you were to chose a modern Double Knitting or Worsted Weight yarn, these are the sizes you could achieve.
At 5 stitches to the inch the sweater would measure 32" at the chest.
At 4.5 stitches to the inch the sweater would measure 35" at the chest.
At 4 stitches to the inch the sweater would measure 40" at the chest.

There is a reason why the Red Cross did not provide gauge or desired sizes.
They had discovered, in wars passed, that there was no point!
They found that one set of instructions and materials could provide many different results, and conveniently, a bevy of sizes!

The sweater is knit in garter stitch with a ribbed waist. It is knit from the front (or back, I suppose) upwards, to a neck created by casting off the centre 24 stitches.
Two shoulders will be worked either side of this cast off, so new yarn will have to be attached to work the first shoulder (the shoulder located at the beginning of the neck cast off row).
Work one shoulder, and once the 7 ridges are knit ('ridges' refers to the effect created by 2 rows of plain knit in garter stitch) you will place those 28 stitches on waste yarn or a holder.
The casting on of 24 stitches replaces the centre 24 stitches cast off, connects the two shoulders, and creates the neck of the sweater.

The remainder of the pattern echos the beginning of the pattern, as you work the 2nd side from the neck down to the waist, ending the project with the second half of the waist ribbing.
I would suggest using a mattress stitch to sew the sides of the sweater together seamlessly, remembering to end the stitching at the desired underarm location (9" from the shoulder if you are sending this to the 1917 Red Cross!)

Let me know how it goes!

Shoulder Pad Intro

2012-01-01T17:23:00.012-04:00

Peggy Cummings in 1950's Gun Crazy

Shoulder Pads: You Don't Gotta Love Em. I do. It's a compulsion. I love their various forms, their little ways and quirks. I love that shoulder pads can be used in more than one way, regardless of their shape, and that subtle shifts in their placement can result in very, very different fits and effects. For these posts we'll assume that we're going for a full-on vintage look from the 1930s, 1940s or '50s. That said, we can do things authentically (the way these jumpers would have been made and worn in real life) or we can mimic the ideal modeled in the pattern (or an ironic exaggeration of the look). It's easy to switch between the two goals.

It is also important to note that the way we remember things isn't always the way they really were, especially if like me, you have no business remembering 1930. The way we romanticize an era gradually changes the way it is remembered, and soon a few singular looks or trends come to represent a period. We cannot help but bunch these into decades, and in time the handful of looks and ideas which we now associate with periods like the 1960s or 1970s will be whittled down to one image as it has been in preceding decades. Look back beyond the turn of the 20th century and the average person will have one outfit which they associate with each century. What on earth will come to represent our current time? Well this is a completely different topic now...

I guess I was trying to point out that the look a knitter is looking for within the patterns of a period may not even exist within those years. It may only have existed in the Hollywood send-ups of period films and costume dramas, or the time-machine fantasies of fashionistas. That does not mean, however, that the look can't be achieved. This is another reason to experiment with padding. A cleverly chosen shoulder pad, well appointed, can change an everyday and historically accurate sweater pattern into the imagined silhouette of any fashion fantasist.

A variety of garment shoulder pads available at diytrade.com

A shoulder pad is not an accessory for a jacket or sweater; it is part of the internal structure of a well constructed garment.

Also, pads are not the whole padding story. There are many ways in which the home knitter can support a full or puffed shoulder. Shoulder pads are just the most familiar tool in a post-1980s tool box. A vintage-enthused knitter should acquaint herself with all forms of padding before completing her puffed look.
Learn about your shoulder pad-ding options here.

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

Up next:

Shoulder Pads & Puffed Sleeved Sweaters

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.

Make it a Manos Christams

2011-12-23T15:54:00.000-04:00

-Manos Del Uraguay Ad from Vogue Knitting, Winter 1987

What do you know? The Loop has received Manos Del Uruguay Wool Classica and Maxima just in time for Crimbo. Not in time, unfortunately, to make this holiday jumper. Can you imagine it made in Manos' 2011 colours?

Christmas Shop Window 2011

2011-12-21T13:59:00.000-04:00

Downtown Halifax is hoping for snow this Christmas week!

PS It's proving to be a bit of a Rorscharch test, but I love my Yarn Ball Tree with Niddy-Noddy Trunk!

Stitchcraft Christmas #1

2011-12-15T13:29:00.000-04:00

Christmas Shop Window Phase 1

2011-12-06T13:40:00.005-04:00

George's Favorite Sweater of All Time #7

2011-11-30T14:49:00.003-04:00

George's Sweater ft. Paul Simon's Vest

The American War Board Puts Their Foot In It,1942

2011-11-22T15:20:00.003-04:00

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

2011-11-19T13:18:00.001-04:00

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

2011-11-18T14:29:00.000-04:00

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

2011-11-11T09:03:00.003-04:00

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.

-The Glasgow Herald September 19. 1939

Puffed Sleeves In The 1940s

2011-11-09T13:40:00.016-04:00

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

2011-11-05T15:38:00.000-03:00

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

2011-11-01T09:53:00.000-03:00

My New Favourite Rockefeller

2011-10-27T09:42:00.001-03:00

J.D. ROCKEFELLER, JR., KNITS

Industriously Works on a Shawl for War Sufferers.

Special to The New York Times.

HOT SPRINGS, Va., Nov. 12. -John D. Rockefeller, Jr., is knitting a shawl of heavy wool. Knitting is a new accomplishment for Mr. Rockefeller. He had never tried it until las night, when he was sitting in the lobby of the Homestead Hotel with his wife, W. H. Cheesebrough, Mrs. Richard Perkins, and Mrs. N. W. Chadwick, the women knitting, as most of them here are constantly doing. Somebody suggested that inasmuch as the Rockefeller Foundation is giving large sums for relief of the war suffers, the men might as well help with the work. Needles and yarn were produced and Mr. Chesebrough made a feeble attempt. Mr. Rockefeller, however, went at the work with spirit, soon got the hang of it, and persevered for two hours. Tonight he was continuing and had about a yard done.

-The New York Times, November 13, 1914

Back to School Window

2011-10-25T14:21:00.000-03:00

This September the kids went back to school, and we at The Loop went back to work. Our job? Teaching the masses to stitch. We are now midway through our Fall 2011 schedule and there are lots of fun classes still available. Lamby recommends needle felting! Our class schedule is posted in the store's window for sneaky peeks and is always available on our website here.

I'm off to teach a crochet workshop tonight. Don't forget that The Loop also offers private lessons. Please phone the shop for more information (902) 429-5667.

When Knitting Groups Go Bad

2011-10-21T19:04:00.000-03:00

DON'T JUST SAY IT!

Idle Gossip on War is Dangerous!

Women can do a lot of talking while they're knitting -and if they don't watch themselves they can do as much damage by their talk as they do good by the warm clothes they knit for the Red Cross.

If the click of their knitting needles is accompanied by thoughtless war talk they aren't nearly as patriotic as they like to believe they are.

No woman can knit enough sweaters to make up for spreading vague and frightening war rumors. Of for circulating stories about people in her community who have always been good citizens, but who happen to have been born in a country with which we are now at war.

Nor can she roll enough bandages to make up for the damage she does by making derogatory remarks about our army or repeating groundless gossip about the men who are running our government.

And she can't devote enough hours to war work to balance the harm she does by kicking about taxes, complaining over the high cost of living, and grumbling over having to give up a few luxuries.

Don't Wall Over Sacrifices

Nor is there any way in which she can make up for her bad effect on morale when she acts as though when she gives up "things" she is making a terrific sacrifice. Any woman who has a man in one of the armed forces is bound to resent such an attitude.

Knitting is a great inducement to talking -so while they knit women should keep their minds on their talking as well as their knitting to see that there is no harm in anything they say.

We, The Women, by Ruth Millett

-The Evening Independent February 9,1942

The Story of George E. Hill

2011-10-19T14:49:00.006-03:00

KNITTING ACTIVITIES COVER THREE WARS

Aged Ohio Man Has Made Many Socks and Sweaters for Soldiers.

"Knitting is easier today than it was when I was a boy, and I guess I've improved some in my work, too." is the modest way in which George E. Gill of Dayton, I., comments on his knitting record, which embraces three wars. During the European war, after American intervention, the Dayton chapter of the American Red Cross delivered yarn to him in volume of 20 hanks at a time. Those who knit will appreciate what this means-what a tremendous task confronts the knitter. Undaunted, Mr. Hill "carried on." When he reached his hundredth pair he knitted appropriate designs into the socks and sent them to the president of the United States, who is also president of the American Red Cross. General Pershing, he says, will get the two hundredth pair, properly decorated.

When a boy Mr. Hill knitted for the soldiers of the Civil war. During the Spanish-American war he knitted garments for Red Cross distribution. Long before America declared war against Germany he resumed his knitting activities on behalf of the allies, redoubling his efforts when the youth of our land was called into service. He is indefatigable in his work. In November when the Dayton chapter of the American Red Cross was asked to furnish 500 sweaters for nurses, Mr. Hill completed two in six days, remarking when he delivered them: "I can finish two of them in five days if I'm not interrupted too much."

Although his hair is white with the snows of many years, Mr. Hill's heart is delightfully youthful. He works at his regular employment in the commercial world from seven to five o'clock every week day, and does his knitting in his leisure hours, often arising at three o'clock in the morning to knit a sock before breakfast, as it were. He has made a specialty of knitting two socks simultaneously with one pair of knitting needles.

Ellensburg Daily Record, December 20, 1918

Using Gauge Swatches as Shoulder Pads in the Vintage Style

2011-10-08T15:47:00.003-03:00

Even before rationing made reusing and recycling wool necessary, clever knitters were repurposing their gauge swatches (tension squares) as shoulder pads. A swatch can be made into several different styles of pad. We'll be looking at three: triangular, square, and rectangular.

NOTE: The average swatch is knit to 10cm (4"). The examples in this tutorial are each of 24 stitches; a neat display device I tried at The Loop. These swatches were of various worsted weight yarns resulting in 18-22 stitches per 4 inches. The average size of swatch was 5" square.

Because they were for display purposes, each swatch was knit with a garter stitch border 3 stitches on either side and 3-4 rows top and bottom. This is an excellent format for a swatch destined to become padding. The garter border allows for easy stitching and stuffing, and also creates an ideal flat surface for placement and stitching to the garment, particularly useful if the pad is to be removed or used in multiple applications. These worsted weight swatches make a big statement but for a more subtle look, use a fine yarn. The point of this technique is that you will have already made the pads by swatching for your project, and since most of your vintage sweaters will have been knit with a fingering or sport weight yarn your pads will be less cartoony than my examples.

Triangles/1930s

As we know, shoulder pads first became necessary to the home knitter in the 1930s so that the shoulder line could be extended gracefully, and girlish puff sleeves could stay aloft. The first shoulder pads were triangular, a perfect job for the typically square gauge swatch.

Your swatch is unlikely to be a perfect square, but this does not matter much. Fold the swatch in half and pin one side as you begin work on the other. Any waste yarn will work for this project; it need not be the same yarn as the gauge swatch. Using the garter stitch border as a guide, stitch generously. Tiny stitches are nice, but not necessary. Do not seam these two edges as you normally would a knitting project. Grafting or Mattress Stitch will ruin the affect. Backstitches, or even a Running Stitch, if you're inpatient will do the job.

Place these stitches in from the edge. The stitches in the photo were placed in the middle stitch of the 3row/3 stitch Garter border. This works to about .25" from the edge. If your swatch does not have a border like the example pad does, place your seam .5" in from the edge. This will create a ridge you can use to attach the pad to the garment.

Stop stitching your pad together an inch or so before the second corner. Use this opening to stuff your pad. Do not cut your working yarn or unthread your needle.

You have several stuffing options. I stuffed the examples above with raw fleece, but only because it was the easiest thing to hand. Polyfilla, cotton baton and fluff will do just as well. Followers of Make do and Mend may take a tip from WWII and fill their pads with scraps of waste yarn....or even sawdust.

Note: If you are using flat sheets of wadding you should cut these to the shape of your swatches, leaving a .5" seaming allowance along the sides to be stitched. In the case of a triangular pad this means that along the third side the wadding should reach the fold of the swatch. In a square pad you will need to leave a seam allowance along all four sides. You will layer the filler to taste, depending on the thickness of the wadding, but start with just one layer.

Whichever material you choose, resist the urge to overstuff.

Pick your needle back up and finish stitching, closing the stuffing gap, and backstitch to secure. To finish, bury your yarn by inserting the needle into the pad and stuffing and bringing up through the middle of the pad's fabric as pictured further down. Now clip the yarn close to the surface.

Squares/1940s

Square shoulder pads are made in much the same way and will thrill knitters of 1940s patterns. In the sweater patterns of the 40s we see instructions for shoulder pads start to crop up and although some of them are unique to a single sweater, most are simple bean bags of the same yarn as the main pattern. Remember that under WWII's military influence pads were required to both extend the shoulder line, and raise it. In more extreme puffed sleeves, the sleeve head would be totally unsupported but for padding. This is one reason for disappointing, deflated puffs in home knitting.

In this example the two swatches are of slightly different sizes. This is almost always likely to be the case, and it doesn't really matter for this project. Simply pin the two squares together so that the edges match. The centre of one of the swatches will bulge, but that's what we want anyways.

Don't overstuff the square pad either. The amount of filler in the photo above was a good starting point; you may find that you need less padding than you thought. Remember that placement of the pad is going to be very important. Extreme vintage looks are created when the shoulder pad is stitched in. Overstuffing will actually give you less options and control.

A sticky material like raw fleece will tend to ball up in the middle. We want an even stuffing so use your fingers to distribute the filler evenly.

Bury your yarn as pictured.

A single square can also be made into a rectangular pad by folding a swatch in half and stitching. In my knitting I find this to be the most useful pad. The truth is, it has a bit more in common with another type of padding; a 'sleeve head' or 'roll'. This is because its short sides will follow the curve of the shoulder and support the front and back of a round puff. The term sleeve head is problematic! Read more about this in the intro to this padding series:here.

The rectangular gauge swatch can afford to be stuffed generously. The most important aspect to this pad for knitters, is the top seam. If your swatch does not have a garter stitch ridge remember to place your stitching well away from the edge. Along the long sides of the rectangle sew at least .5" in, creating a flat strip. This is what you will use to attach the pad to the garment.

Next we'll talk about the placement of these pads and the different looks they can achieve.

This post is a part of The Quest For Puff Series. Read it from the beginning HERE.

Going Dutch?

2011-10-05T10:56:00.000-03:00

-click to enlarge and read

Scheepjes ad, 1987

I think this is very funny, and had no idea how to pronounce Scheepjes until I read this. Duh.

George's Favorite Sweater of All Time #5

2011-10-02T10:56:00.001-03:00

I Play Crewel Games.

2011-09-18T19:15:00.005-03:00

(Click to Enlarge)

"Have fun. Be clever. Win every time.

If it's your first go-round START with something simple like the pin cushion or any starred item. PROCEED with pillows and pictures as you wind through the Living Room, Bedroom, Dining Room, and Den.

Crewel your way to a fabulous FINISH and instant heirlooms that become exquisitely yours."

In 1968 Erica Wilson and Hiawatha Needlework Kits wanted you to "Spin A Winner" on their astounding full page ads. They appeared on the back cover of McCall's Needlework & Crafts Magazine.

"Have Fun. Be Clever. Win Every Time". An excellent motto!

The Way They Were #4

2011-09-12T18:41:00.002-03:00

-Berroco ad, s/s 1987

25 odd years later, Berroco is releasing Nora Gaughan's 8th pattern booklet. It has some gorgeous pieces in it which show off Berroco's core yarns. The styling is quite nice, the palate on point, but what is remarkable about this round of patterns is the fit. While Nora Gaughan's garments are usually generous, drapey, and swingy, these new looks echo a mid 80s sense of ease. Actual patterns from that period didn't always reflect this trend which is strange. The orange top "Pixie" in the ad above illustrates the look. I think that these new Berroco sweaters will fit a wide range of sizes and styles.
Get Nora Gaughan's latest at The Loop this F/W.

Visual Soundtrack at The Loop #12

2011-09-10T22:30:00.002-03:00

Fleetwood Mac, White Album

Classic Elite Yarns "Fresco" and a couple of strays.

Connextion: Quite White, but not exclusively.

It was 10 years ago today, Sept. 10....Ewan, Stevie, "Darrell" & I.

Illume.

I will not take you for granted
I wouldn't trade you for jade
Or for diamonds
Not for one minute
Not for anything

Puffed Sleeves In The 1930s

2011-09-05T09:47:00.006-03:00

The way clothes change from fashion to fashion directly effects the way we feel and behave in our clothes, which in turn affects our productivity.

Fashion is also a reaction to politics and economy, but adages about markets and hem lines are oversimplifications in my eyes. Fashion fluctuations are as common within an era as are fluctuations in the stock market, and often fashion too has to 'correct' itself (this is what Retro crazes are).

Styles and cuts going in and out of fashion quickly is not a modern thing. If anything, clothing was changing more rapidly in the first half of the 20th century than just about any other time, due in part to the introduction of synthetic fabrics and the industrialization of the clothing trade. It is silly to ascribe one look to a decade. Forgive me then, because I think I have to do just that. I will also have to blab about hemlines and GDPs, but lets look specifically at the ways in which society, economy and women's roles within them effect our topic: puffy puffy sleeves.

Puffy shoulders always indicate a social stress on femininity and domesticity. Many women felt that they had lost their mystique in the '20s and sought to cover up and soften their look, creating curves and shapes with their tailoring if they had none of their own. The sleeve shapes of this period are varied and the puff can be found very high on a short sleeve and nearer the elbow of the longer sleeve.

In the early 1930s shoulders (and everything else) reflected the market crash of 1929. In some cases shoulders drooped and silhouettes followed. As a result, many early puffs fell below the sleeve head. This gives a softer look, and women became softer themselves. A Nostalgic craze, common in periods of economic downturn, brought back the leg o'mutton sleeve, but this too had a deflated look when compared to its 1890s heyday.

There was, however another style of puff designed purely to lengthen the shoulder line. These puffs were supported first by Schiaperelli's new fangled shoulderpads; soft triangles worn to fill out the extra length of the sleeve head. Expect a full history and tutorial on these and other types of shoulder padding.

The atmosphere of uncertainty that bookended this decade left women portraying a soap opera classic; good twin, bad twin. The day looks were sweet and domesticated, no nonsense and handmade. The night looks were clingy, silky, decadent and exotic, and so fashion became romantic but strong as women attempted to take on the same duality.

Gone were the boyish frames of the carefree 1920s flapper, their truly basic clothing and immature feel. This meant that the home knitter had to improve her skills. For the first time since the early 1900s knitters had to contend with complicated in-pattern shaping and finishing techniques. Nowhere is this more apparent than in the sleeve, where for many years shoulder shaping had followed traditional northern shaping; boxy and dropped shouldered, whether centuries old circular knitting and steeking techniques were used or not.

Although the 1930s women was a grown up, fashion still dictated a slim line. This time the widened, rounded, and draped sleeve, along with a new bust line, served to skinny the waist down. More of an upside-down triangle, rather than an hourglass was achieved. The rectangle of the previous decade was gone.

The shoulders that launched a thousand puffs. Joan Crawford wearing Adrian in Letty Lynton, 1932

Emphasizing the shoulder has a slimming effect and often capes were worn over sweaters to stress this ratio even more. This was a good option for less skilled handknitters (indeed, Chanel gave the Schiap a hard time for this trick and for her padded shoulders; Schiaparelli lacked Chanel's tailoring expertise).

The broader squared shoulders as the decade progressed and the Depression gave way to the threat of war are easy to interpret. Still, the main goal was a widening of the shoulder line. While this effect always emphasizes a small waist (think Scarlett O'Hara), it also makes women look more impressive physically, and certainly more capable (think Power Suit). Women found themselves in the workplace and demonstrated their difficult duality in their knitting.

Granny at her first job, in late 1930s Glasgow. Her hand-knit sweater is lacy and feminine with a simple line. It is a complicated and finicky pattern, showing off her skill. Over her shoulder hangs a calendar with a glamourously gowned lady with massive puff sleeves. This photo really illustrates the two roles women played in this era.

It is due to the Depression that we have such a bevy of innovative knits from this period. Chanel's collections of jersey and cotton also helped to elevate knitwear so that the sweater could be seen as a viable fashion item, making hand knitting much more attractive to young women. In this way handknitting became a practical way to recreate high fashion. As in the decades to follow, knitting for oneself became a way of displaying quite publicly a woman's domestic skill and eligibility, but also a way of exploring self expression under the guise of woman's work.

It also became simple to try out trends. As society reexamined class and gender roles, fashion and street fashion revisited styles and silhouettes from the past...even fictional ones. This tends to happen in revolutionary periods. Often, when young people are in the drivers seat of change, the images they draw upon are ones from their childhood. A fairytale trend emerged, encouraged by the otherworldliness of Hollywood. Princesses and Evil Queens really do have the best outfits, as whimsical patterns from the 1930s attest. Thank you Snow White!

Up next:

Puff in the 1940s

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.

A soft puff below the sleeve head, typical of hand-knit sweaters of the 1930s

George's Favorite Sweater of All Time #4

2011-09-03T10:30:00.000-03:00

Maritime Knitting & Defensive Puffing

2011-08-31T12:49:00.003-03:00

Click to Enlarge."The Deluge Over Again", from The Picture Magazine, 1895. Found at NYPL Digital Gallery.

Irene may have missed us, but she marked the traditional peak of Hurricane Season here in the Maritimes. From now until almost December is when our season really gets active. Get your candles, batteries and canned tuna in, but consider starting a puff sleeved project....it's only sensible.

Follow along with "The Quest for Puff", a series of posts in which you will learn far more about puff sleeves than you ever really wanted to know.

The Way They Were #3

2011-08-26T11:12:00.001-03:00

Classic Elite Fall 2011 is coming soon! It's beautiful...not as colourful as these old collections.

I think these old ads are stunning. Nutso, but fantastic.

Amazing Classic Elite Yarn ads, Vogue Knitting 1987

These Things are Cyclical

2011-08-15T19:21:00.002-03:00

Have you booked your place at the 2011 Maritime Spinners Retreat?

Mimi and I just did.

This year's Retreat is being hosted by Gaspereau Valley Fibres & The Potluck Spinners; it promises to be a real treat. The theme this year is 'Spin Local'. At last year's closing banquet is was suggested that the theme is really going to be Spin Local, Drink Local but I'm not sure that anyone else will remember that...it was a jolly evening!

2010's Retreat was themed 'Spin Wild!" focusing on wild fibre and art yarns so no surprise, I had a great time. Last year's PEI hostesses Louise and Elaine are packing along their feathers and we three will still be spinning slightly off kilter this year (I know I can't help it). We hope you'll join us, especially with the event (at Old Orchard, Greenwich NS) being so close to Halifax.

You can find more information and the nuts and bolts of booking your spot at the official retreat blog by clicking here.

Here are some fun moments from last year:

Games included forcing 'straight-laced' spinners to spin a single blindfolded...and it was a race!

I bought a lot from our fellow vendors...The Loop made money that weekend, but I spent a lot of mine.
Mimi and I taught mini sessions playing upon our wild theme; Knitting Without a Map and Freeform Crochet.
On Day 2, fully into the swing of things, we were encouraged to wear wild outfits...luckily I had brought my Noro Tutu. Oops, I guess I never blogged that project.

We had a great time as vendors. Hope to see you in the valley this year!

New Art Yarn 2 "I Still Have the Receipt"

2011-08-12T14:04:00.000-03:00

Flowers

Easter Grass
Tulle
?

Visual Soundtrack at The Loop #11

2011-08-08T13:45:00.000-03:00

Lou Reed, "The Blue Mask"

Freedom Spirit Yarn

Connexion: Blue

The Quest For Puff: Introduction

2011-08-05T18:29:00.013-03:00

Or, "Morgan's Puff Piece"

"Well, I hope she'll be satisfied at last, for I know she's been hankering after those silly sleeves ever since they came in, although she never said a word after the first. The puffs have been getting bigger and more ridiculous right along; they're as big as balloons now. Next year anybody who wears them will have to go through a door sideways."

-L.M. Montgomery,Anne of Green Gables, Chapter XXV: "Mathew Insists on Puffed Sleeves".

I'm a direct descendant of one of the first Scottish families to settle on Prince Edward Island, so perhaps it is in my blood. Like Anne Shirley, I think that puffed sleeves are the living end. I like any number of shaped sleeves and try to incorporate these looks into my knitting. If the search

terms resulting in a visit to this blog are to be believed, then I find myself in good company.

In the continuing quest for nicely puffed sweater sleeves, most of us have become jaded. No puff is great enough. Full sleeve heads, gathered at the top are not satisfying us. Neither are increases placed near the beginning of top down raglans. Most of us are knitting vintage sweater patterns from the 1930s ,'40s and '50s.

"The History of the Feminine Costume of the World, From the Year 5318 B.C. to Our Century"

Paul Louis de Giafferri, 1926-27

Shoulder shapes differ from decade to decade but there are distinct looks specific to each of these eras. Not everyone loved a puff then either, but those who did were passionate. It is an over simplification to ascribe one puff to a single period...but I will.

As I understand it, 'vintage' knitters are interested in recreating the puff sleeves of the

1930s Click Here

1940s Click Here

and the peasant inspired puff of the 1950s-70s. (Coming Soon)

Aside: If you are interested in Victorian styles of puff, I recommend using 1980s patterns for the modern sleeve shaping and finishing guidelines. Look for sweaters baring a descriptive pattern with specific sleeve and sleeve setting instructions. The New Romantic patterns of the '80s and early '90s show good examples of late 19th century sleeves. Start there, but be warned; they will use heavier gauges.

Why I'm Puffed Up About This:

There is a misconception out there that people want to knit vintage patterns, but want to make them look modern.
This is not where I am coming from.
If I choose a pattern from say, 1943, it is because I want the look, feel and silhouette of 1943. De puffing the sleeves or adjusting the welt (or making the jumper baggy!?!) in my eyes, defeats the purpose.*
Indeed, if I choose to knit a puffy sleeved vintage pattern it probably means that I want my shoulders as big as possible and for my fit to be exaggerated.
*My purposes are petite and costumy, I do realize.

The Designing Women were not the Fashion Harpies that Mature Knitters think they were.

I assume that this notion of deflating the sleeves of old patterns is fueled by some real anti-puff bias. Most knitters hate volume in the shoulder area. They hate the idea of padding in the shoulder area more. Perhaps it is borne of having been a little bit older than I was in the 1980s. I grew up with shoulder pads, but never wore a power suit. Indeed, once they were out and my Mum un-velcroed the pads from her jackets, blouses and sweaters, I was fond of stuffing my bra with them.
Many modern patterns, should they contain any degree of puff are met with cries of "Ack!! Puff? I already have shoulders, thank you very much" and "Uh, do I want to look like a Football Player?"
Let me assure you that even with Balmain styled shoulder pads I could never look like an American Football Player, and if you are interested in knitting vintage sweaters, chances are nobody will mistake you for one either.

I'm not sure who this Gentleman is.

Padding the Problem:

That out of the way, let me also add that sometimes even vintage patterns that look great in the photo let me down in the end. The photos in these patterns seem to promise either fullness level with the ears, or sleeves that jut out high, then drop as suddenly as a cliff face (as scaled by Joan Crawford and the like).
Of course there is no reason to think that the same 'styling' skullduggery so common place in today's photo shoots wasn't being utilized in the 1930s and 40s. If we could go back in time to the Stitchcraft studios I am sure we would find ladies with backs lined with bulldog clips (to cinch in excess fabric) and most importantly, we would find a whole bunch of foreign objects holding up the sleeve at the shoulder. Of course these patterns assume that you will construct some kind of pad or sleeve head (that's another post), but these photos belie more help than those cushions could possibly provide on their own.
Link: Making Authentic Vintage Pads & Padding (Coming Soon)

Read "Using Gauge Swatches as Shoulder Pads in the Vintage Style" Here.

When it's Still a Deflating Experience:

Often, in re-knitting vintage garments the sleeves are a limp disappointment, particularly in those vague patterns that provide no finishing instructions. The puff is in the finishing. There are several alterations and techniques that can be applied to the sleeve at the end of the knitting to enhance puff. In this way, you can re create a pattern faithfully and still achieve your own interpretation of the look.
Link: Setting the Sleeve to Increase Puff (Coming Soon)

I will also describe pads, rolls and sleeve heads. These can be bought or made and altered to achieve a custom look.

Of course all of these techniques can be applied to modern patterns. The difference is the reluctance many of us have towards fiddling with a vintage pattern. This predilection could be romantic, or it could be the fact that as these patterns are vague, it is impossible to predict just what it is that you're fiddling with. This was the case when I knit 1938s "It Cannot Fail To Please", for example. Read it here.
I will try to write about working puff into modern patterns in another post. It will deal with more substantial, structural changes, and to alterations made to the knitting itself.

A separate article will talk about designing puff sleeves and the shoulder shaping needed to accommodate them.

Get Ready To Puff It Up!

George's Favorite Sweater of All Time #3

2011-08-01T22:29:00.000-03:00

Pride Window 2011

2011-07-30T23:56:00.001-03:00

David sports a crocheted rainbow beanie with giant pink tourie on top. He has the best seat in the house for the 2011 Halifax Pride Parade.

Rainbows abound, and giant ric-rac sprouts twisted lengths of coloured crepe paper. They reach towards the sky optimistically.

Ilga Leja's "Earth Maiden" sampled in Kauni's Effekt yarn, colourway "EQ" looks right at home. Draped over a triangular metal form it makes a cheerful yet sophisticated statement despite being placed in the background, away from direct sunlight.

"Better Together" is the motto this year.

The formally longest scarf in the world cascades down the back wall, embraces the vivid yellow Judy (repeatedly) and coils into a tumshie seat at her feet.

The swift kicks up a breeze when used which sends the paper garlands dancing.

This year, Lamby wears Red Velvet Platformed Stevie Boots, an Art Yarn Necklace and Blue Feathered False Eyelashes.

New Art Yarn

2011-07-29T13:53:00.000-03:00

Tulle and stuff...

Window Dressing with Pride

2011-07-23T14:02:00.001-03:00

Pride Week is coming to Halifax and it's Pride Parade is coming to Barrington Street. This is always a treat and shops along the route try to join in.
I see it as an excuse to gussy up the window.
Lamby sees it as a chance to dive into my shoe closet.
Here's what happened last year.

I posted this late. oops.

Your Summer School Assignment:

2011-07-22T14:09:00.000-03:00

-Better Homes & Gardens Creative Ideas, 1974

Tonic Wine

2011-07-19T11:59:00.000-03:00

Woman's Weekly, Front Inside Cover Ad, 1965

No knitting, but you must zoom in.

My new motto is

That's lovely...that's better

Vintage Needlework Ads #15

2011-07-17T11:24:00.000-03:00

The Cat's Face!
-Malina Company Ad c.1979

The Way They Were #2

2011-07-13T06:24:00.000-03:00

Brown Sheep does know classics. The Loop carries their Burley Spun as our basic super bulky yarn. 'Classic Chunky' is a hoot.

PS I also like Laurel & Hardy for advertising knitting; I play their theme song in the store on cruise ship days.

Why I'm Bringing Macramé Back...Knitting with the Archies #3

2011-07-07T11:23:00.006-03:00

.......after some macramé bashing from Veronica & the gang....

I love Archie.

George's Favorite Sweater of All Time #2

2011-07-03T22:26:00.000-03:00

1990 Wishes You a Happy Canada Day!

2011-07-01T11:22:00.001-03:00

-Patons "O Canada! Our land in handknits" pattern book for Canadiana and Canadiana Chunky, 1989

Vintage Needlework Ads #14

2011-06-29T13:40:00.002-03:00

It's another saucy one. Click to Enlarge.

-Magazine Ad for Aunt Lydia's "Pa-Qel", a new form of acrylic yarn . From Woman's Day Super Special, Granny Squares and Needlework, 1982.

When Words are Not Enough

2011-06-18T18:37:00.001-03:00

This was a regular column in a short lived craft mag from the mid 1980s:

This was one of the questions asked:

This was the drawing below:Genius.

You Need A Market Bag

2011-06-13T17:10:00.003-03:00

I often ask myself "Do I need another reusable Market Bag?". I always end up answering myself "Yes." I love receiving them from foreign friends and they are a great thing to send away in return....but I crochet mine. They are a snap to craft and take just a few hours to complete. I like to add inner pockets, trick bottoms (so that the bag is self-containing) and special considerations for different kinds of groceries. For me, the Market Bag is a great go-to gift because it's quick and easy to make, usually only takes one ball, requires no special care for the recipient to worry about, and it does any kind of person on your gift list (note: this is an excellent thing to give someone you don't know very well. It's also great for someone you do know, but don't really like). Everyone is always glad to get a bag, and one more in the bottom of your purse can't do you any harm either.
This summer The Loop is running a new workshop for Crocheters. In one session we will make a class full of greener than green bags for our summer marketing (or we will at least cover all the bases and get most of the project crocheted).
The crochet pattern for this workshop is a classic. The format for the pattern has been in use here for over 100 years. You may come across Victorian versions on the internet, or spot a lookalike on Road to Avonlea reruns*.

The pattern is designed to use a certain amount of cotton (keeping the materials at one ball) but additions such as wider straps and an attached change purse will be covered in the class.

The bag pictured (my "Posh Nosh Fennel Carrier") used one ball of Rowan Purelife Organic Cotton DK, which has about 120m to the ball. Each colour in this line is plant dyed. This pretty blue was achieved with indigo. Indigo is the Pluto of the Colour Spectrum, poor little guy.

[From The Loop Website]Mesh shopping bags--called "filoches" in French--are a chic, practical, and environmentally friendly way to carry your produce home from the market. They're also a great introduction to crocheting in rounds. In this workshop, you'll learn how crochet can be used to make both firm, stable fabrics and open, stretchy ones--while making a market bag of your own.

Instructor: Morgan Forrester

2 hours

Tuesday, July 12th, 6 p.m. - 8 p.m.

Thank you Chives & Ciboulette for the photo props. I was very glad to use the fennel; very posh nosh.

*Aunt Olivia crochets throughout the series, and uses a white version of these bags to carry groceries for the Dale homestead back from Lawson's. This was obviously my inspiration as are the Dales; Yorkshire and Jasper.

Welcome to Halfiax, Cruise Ship Season!

2011-06-10T17:01:00.005-03:00

There are lots of ways to shop the city whether you're a cruiser or a native Haligonian. Remember that most small, independent stores are busy sourcing and stocking local products for visiting shoppers. It's a great time to buy products from your area that might not be available during the off season months. I pick up Maritime gifts now, to save for mailing at Christmas.

Local Artisans have been stockpiling work for this season, so expect to see new works in all the shops and galleries. Farmers are busy and are hearing back from mills, so there will be new local fibres at The Loop and lots of goodies at the Farmer's Markets. You may even need to take a bag to carry it all.

Staycationers should still do their research. Pick up the Coast Guides as well as the new local guidebooks and maps. The Loop is included in the MUG (Modern Urban Guide) and the new I Love Local HFX brochure. Watch for I Love Local HFX events online and throughout the downtown.

Spring Window

2011-06-08T18:05:00.001-03:00

An organic tipi structure of flowers, foliage and wrapped yarn twigs, supported by metal stands, a vintage 1930s dress form base and the former holder of the World's Longest Scarf Guinness Record.

The Way They Were #1

2011-06-05T18:00:00.000-03:00

There was something fishy going on at Classic Elite Yarns in '86

Strong branding prevails, and for Fall 2011 Classic Elite is offering beautiful blends of yarn in predominately natural colours. As always, the collection has been worked into very usable garments and accessories. They are highly wearable, even if you have fish hands to accommodate (though you may have trouble working cables).

Each new season The Loop carries a selection of their pattern books. These books are beautifully photographed and are styled in a very North East American way, which is perfect for Maritime Canadian knitting.

Vintage Needlework Ads #13

2011-06-02T07:30:00.000-03:00

Nature Spun Yarn's 2 page spread in Vogue Knitting's 1987 Holiday Special.

Slick & Bizarre. Just how I like it.

George's Favorite Sweater of All Time #1

2011-06-01T13:48:00.000-03:00

Careful study will reveal that George Harrison actually owned a capsule collection of similarly Fair Isley Andeany Stranded Cardigans with moss stitch collars. Let's see how often he wore them...

How Were you Feeling in 1987? #2

2011-05-30T17:55:00.000-03:00

Click to Enlarge to read the "Beautiful Feelings" Bernat's Panama and Splash were trying to inspire.

Note: It may be necessary to click the image twice to zoom in. So worth it.

How Were You Feeling in 1987?

2011-05-27T14:52:00.006-03:00

Click to Enlarge to read the "Beautiful Feelings" Bernat's Cajun and Garden Party were trying to inspire.

Note: It may be necessary to click the image twice to zoom in. So worth it.

Visual Soundtrack at The Loop #10

2011-05-11T19:25:00.002-03:00

Elvis Presley, "Blue Hawaii"

Twilleys of Stamford's Freedom Spirit in "Air"

Connexion: Blue Skies

Around the World in 80 Tiny Crocheted Dresses

2011-05-09T08:39:00.000-03:00

Visual Soundtrack at The Loop #9

2011-05-02T19:25:00.001-03:00

Linda Ronstadt, "Silk Purse"

Classic Elite, 'Silky Alpaca Lace'

Connexion: Silk + Beast

A Hon's Duty

2011-04-28T17:50:00.001-03:00

Visual Soundtrack at The Loop #8

2011-04-27T01:18:00.000-03:00

Carole King, "Tapestry"

Tapestry Needles from Clover and Prym

Connexion: Tapestry

My Art Deco Sweater

2011-04-18T14:12:00.001-03:00

I designed this using my Duct Tape Judy. I didn’t realise that she has broader shoulders than I.

photo courtesy NSCAD, Halifax

After months of depression I concluded that without the heart to reknit the arm and shoulder shaping, I would have to fiddle. Call it a nod to Make Do & Mend. The shoulders are cinched in using a twined length of the project yarn (Inca Gold from Berroco) tied in bows. I like it for now; it's so very period. I may try this trick on old cashmere sweaters that are maybe a little too big. No shoulder pads were used which was a bit of a disappointment as I'm writing a epic tutorial on puffs and padding.

The stitch pattern was found in Barbra Walker’s Second Treasury; “Fancy Chevrons”. The slip stitch pattern uses garter stitch bumps which really show off the yarn. It has a sheen to it and shows texture well.

Although I made up the body, the sleeve shape was lifted and reworked from “When Your Off Duty”, a jumper from the V&A’s war-time pattern collection.

photo courtesy Victoria & Albert Museum, originally published in Woman's Weekly July 1943

Reworking the '40s instructions from a 4ply jumper weight to a modern worsted weight yarn, with gauge given without a row gauge and for a lace stitch pattern, where I was using a ribbed section of the pattern made charting these sleeves a puzzle but, I have to admit, pretty fun.

A ribbed sleeve is a mysterious thing, especially when a puff or peak is intended. If I do re-knit the shoulder/armseye, then I will treat the head of the sleeve properly. It should be blocked and set into shape, perhaps over a lightbulb, and it may need to be supported by padding.

Yarn Bombing Challenge

2011-04-15T12:33:00.000-03:00

Last summer we were tagged by mystery yarn bombers. We loved it!
Your new Challenge: Get us this summer with a romantic clue to your identity.

Are these our Bombers?

Visual Soundtrack at The Loop #7

2011-04-12T01:40:00.001-03:00

"Gaite Parisienne"

Filatura, 'Opera D'arte'

Connexion: Thrilling Ruffles

Knitting With The Archies #2

2011-04-07T14:13:00.000-03:00

La Ruota Della Fortuna

2011-03-31T21:55:00.002-03:00

On the Ferris wheel of Zaub it's an up and down ride. We love Schoppel Wolle's Zauberballs. We carry all the types we can get in. Straight up Zauberball is the single ply fingering weight. Crazy (which does not mean that the other Zaubs are in any way sane) is the 2 ply fingering weight, plying two singles at different points in their colour sequence. We have also carried their lace weight which is akin to the non-crazy but still coo coo sock weight. We are now carrying their 6 ply (Stärke 6) which is a sport weight which uses the same plying technique as the Crazy sock weight.

Everyone loves Zauberballs and we have several customers who are on our books to receive 'Zaubalerts' when new colours come in. Trouble is it's hard to get. If you covet this yarn too, consider joining our Zaub Club, adding your name to our list of Zauberball lovers. You'll get a call as soon as it arrives and can have first pick of the colourways.

Knitting With The Archies #1

2011-03-20T00:42:00.001-03:00

Visual Soundtrack at The Loop #6

2011-03-15T12:31:00.000-03:00

Joe Jackson, "Look Sharp"

DMC and Clover Needles

Connexion: Sharp

Visual Soundtrack at The Loop #5

2011-02-20T13:25:00.000-04:00

Miles Davis, "Kind of Blue"

Manos Del Uruguay yarns, Solids and Variegated

Connexion: Blue...kind of

Gauge Matters

2011-02-15T12:18:00.000-04:00

Display showing Gauge Swatches of Featured Loop Yarns worked over 24 Stitches

Confused by Gauge? Think you can get by without it? Well, you can’t. You can conquer it though, and perhaps even learn to love it as we do.

The Loop offers several workshops which cover finding, getting and keeping gauge in knitting. In truth, we’ll chat about it at any opportunity.

Workshops:

Knitting for Absolute Beginners
Beyond the Basics: A Refresher clinic
Understanding Patterns
Knit a Hat – an introduction to circular knitting
We also talk about gauge in Beginner's Crochet.

Don’t forget that The Loop offers Private Lessons during store hours. Phone to arrange a time (We remind you that Ciboulette Cafe – is closed Saturday and Sunday)

The 2011 Canada Winter Games in Halifax

2011-02-12T02:18:00.005-04:00

Hoorah!

Save The Oval

2011-02-02T14:25:00.000-04:00

Think of the Fashion Opportunities Halifax!

From Stitchcraft Magazine 1942

Visual Soundtrack at The Loop #4

2011-01-25T19:21:00.001-04:00

The Partridge Family, "Shopping Bag"

The Loop, "Deluxe, Locally Sourced, Hand Stamped Bags"

Connexion: Highly Collectable Shopping Bags

Visual Soundtrack at The Loop #3

2011-01-12T19:27:00.001-04:00

Donovan, "Mellow Yellow"

Brown Sheep, "Burley Spun"

Connexion: Yellow

Visual Soundtrack at The Loop #2

2010-12-02T19:21:00.000-04:00

Visual Soundtrack at The Loop:

Smothers Brothers "Think Ethnic!"

Manos Del Uruguay yarn

Connexion: Ethnic

Hilda Ogden

2010-11-04T21:13:00.004-03:00

Who doesn't love Jean Alexander's Hilda Ogden? Even Lord Larry Olivier was a member of her fan club. In fact, he founded the Hilda Ogden Appreciation Society. Her iconic scarf and rollers make me swoon with all the ignorance of post-war youth. Somewhere between Rosie the Riveter and Joan Crawford comes this modern take on a 1940s headscarf, modernized into an easy to wear headband. It is very quick and easy to knit.

The expansive rib is worked in Brioche Stitch, a great yardage extender and a very warm knit.

You may omit the provisional cast on by gathering the cast on edge with the tail when finishing. Do try the provisional cast on though; it's important to 'start as you mean to go on'!

Materials:
1 skein Jill Eaton Minnow Merino yarn (Available at The Loop, Halifax)
6mm Knitting Needles
Large eye Darning Needle or 3.5mm Crochet Hook

Yarn Substitution:

Minnow Merino is an aran weight yarn. It is a soft bouncy one ply. One 50g skein contains 70 metres. This project takes less than one skein. A heavy worsted weight yarn may be substituted.

Pattern:

With 6mm needle work
Provisional Crochet cast on with slippery, contrasting, dk or lighter weight scrap yarn.
Cast on 14 stitches.
Note: the original headband, shown in photos was worked with a cast on of 12 stitches. Over time it's width didn't hold up. A cast on of 14 provides a more utilitarian headband for Northern climbs and oceanside cities like mine.

Knit one row with main yarn leaving a 8" tail .
With Main Yarn, begin Brioche Stitch.

Brioche Stitch:
Row 1 (Foundation Row): *yo, sl1pw, k1* Repeat from *to* to the end of the row.
Row 2: *yo, sl1pw, k2tog* Rep *to* to the end of the row.
Repeat Row 2 for pattern.

Continue Brioche Stitch until headband measures 19" from cast on, or until the headband fits around head, slightly stretched.
Final Row: *K1, P1, drop yarn over of previous row* Repeat from *to* to the end of the row.
Leave stitches on needle and cut yarn leaving 8" tail

Rip out provisional cast on

Note: If you have substituted a dissimilar yarn, or a an acrylic yarn, the stitches may not remain pert and ready for pickup once exposed (as in the photo below). If you have floppy stitches prone to unraveling, you may choose to rip out the provisional cast on 'as you go' or to catch up the live, exposed stitches on the needle.

Thread cast on tail through cast on stitches
Thread cast on tail through cast off stitches and pull fairly taut
Thread cast on tail back through cast on stitches, keeping taut.

Thread cast off tail through cast on stitches and cast off stitches, keeping taut.

Weave cast on tail through a few of the cast off stitches and then hide end in the ribbing.
Weave cast off tail through a few of the cast on stitches and then hide end in the ribbing.
Admire.
Blocking is optional but may help to exaggerate the drawn-in effect

Visual Soundtrack at The Loop #1

2010-10-30T21:25:00.000-03:00

The Rolling Stones "Black and Blue"

Naturally "Aran Tweed" yarn

Connexion: Black and Blue

Visual Soundtrack at The Loop #11

2010-10-29T19:21:00.008-03:00

Lou Reed, "The Blue Mask"

Freedom Spirit Yarn

Connexion: Blue that is really purpley.

Pinwheel Pillow

2010-10-14T10:11:00.000-03:00

This classic crochet project is very pomo. It's also totally The Loop. Our store in Downtown Halifax, Nova Scotia sees my business partners and I, in turn, perched on quite a hard little bar chair for most of the day. It seemed silly not to try and create our own pillow, and I have always wanted to stitch one of these nostalgic pinwheels. I was surprised that I could not find a pattern, even amongst my vintage books and pamphlets, so I reverse engineered a pattern from a 1970s pinwheel pillow I had in the house. I didn't much care for what I ended up with. This new pattern is modernized with simplified shaping. It is also streamlined by omitting one feature; most of these cushions, in decades passed, were worked with a hard circular centre covering the join, much like the centre of a flower. With this new pattern it is no longer necessary to cover the centre join. I think it looks much more modern this way. It's comfier too. I have included instructions for a centre though, in case you're feeling nostalgic.
There are also optional finishing instructions for 'couching' the pillow.

This pattern was designed for The Loop and directions can be found on their Free Pattern Page, as a pdf file. Post your projects on Ravelry and see other crocheters' results.

This is the Colour Sequence I finally set upon for the store's pillow. I used my good friend Cascade 220 wool. The colours are inspired by The Loop. If you would like to use your own sequence, I suggest trying The Random Stripe Generator. Of course, you could just dive in, changing colours when you feel inspired to do so. Don't forget that you can change the number of colours used to amazing effect, and that this project is a great stash buster; just change yarns when you run out of each colour.

Biscuits & Jam's Random Stripe Generator can be found here. I use it all the time. I find it difficult to come up with colourways and sequences that look random. Mine always look laboured. What I really like about the online stripe generator is that it not only shuffles colours, it allows you to program in a range of rows over which the colours are spread. I asked for a sequence for 6 colours with rows ranging from 1 to 4 rows. The pillow could be worked with as little as 2 colours to amazing effects. Of course a hard candy inspired pinwheel would be striking as well.
Questions or Comments? PM me on Ravelry, or post a comment here (you don't need a login to do so). If you are in the Halifax area and want to try this, or any of The Loop or Pomoboho patterns drop by the store. Sundays are always good.

Featured Product at The Loop

2010-09-22T12:11:00.000-03:00

This fall we're showing two new Bulky yarns. Unfortunately, both 'Bulky' and 'Chunky' can seem like subjective terms. I thought I would write a little about our new yarns, Burley Spun, and Grande to explain how chunky chunky is.

The Craft Yarn Council tops out their Weight System with their 5th and 6th categories; Bulky and Super Bulky.

The Bulky category comes after Medium (worsted and aran yarns) and includes Chunky, Craft, and Rug Yarns. Their gauges over 4" of stockinette stitch should work out to 12-15 stitches. For most knitters these yarns require needles from 5.5mm to 8mm. Crocheters are advised to use a 6.5mm to a 9mm hook.

Super Bulky is the heaviest category and comes after Bulky. This whimsical title is applied to Roving, but also to Bulky yarn. ?!?!?! Confusing or what? Best to focus on gauges. The CYC describes Super Bulky as having a gauge of 6-11 stitches (in 4" worked in stockinette stitch). These yarns should be worked with needles larger than 8mm (15mm is the biggest needle in most shops. The Loop carries these sizes and does get in circular Addi needles in sizes over 15mm. We can always special order these for you!) Crocheters should use a hook size greater than a 9mm. I would advise using the biggest hook you feel comfortable with.

Our first new Bulky yarn comes from Schulana. Grande comes in brightly coloured 50g balls. It provides 9 stitches over 4 inches, using 12.75mm needles. Bouncy, soft, and fun to work with, Grande looks great in textured stitches and cables. It's 2 plies also make it look accomplished in plain knitting.

The Loop is thrilled to provide free patterns with the purchase of 50g. Thrilled, because Schulana has put together a free booklet of four smashing hat patterns. Just take a look! You can find a growing gallery of these projects at Ravelry.

Visit the Grande Hat Gallery Here:

Brown Sheep yarns are a firm favourite with knitters, and a new addition to The Loop. Our first yarn from this company is their heaviest offering, Burley Spun. In skeins of 226g, Burley Spun's single ply looks a bit wild and untamed. It also looks like good fun, and I can't wait to make an oversized winter cowl in one of the super saturated colours. We will also be receiving Burley Spun in Handpainted colourways which will look stunning in plain knitting; perfect for beginners and for Holiday knitting.

This yarn is also considered Super Bulky, its gauge at 10 stitches over 4". The good people at Brown Sheep would like knitters to try a 9mm needle, but in my books bigger is better.

Learn more about Burley Spun at Ravelry

PS Can you guess what our inventory code for "Brown Seep Burley Spun" is? Yeah, it's double BS. Totally.

Shop Windows

2010-09-20T13:49:00.001-03:00

In the past I've shied away from posting about The Loop, if only because I didn't feel that this was the place (or really, 'that it was my place') to do so.

Now that I'm an owner though, I have no hesitation in posting pictures and talking about what's new at the store. I will be blogging with Cathy and Mimi at The Loop's blog and contributing to our main website at www.theloophalifax.com

There may be some overlap, and at times double posting, but something that will only be here at the pomoboho blog is an ongoing record of our Store Window Displays.

We've had some doozies over the years, and while I have been really quite proud of some of them I cannot take credit for them all. Indeed, many of our windows have been collaborative efforts, open to the public.
Right now our Barrington Street-facing window has a camping theme, flanked as we now are by two excellent outdoorsy shops, TAO and MEC.

I have a tendency to lose sight of the bigger picture when constructing a window display, so I was less than dismayed when my business partner de-naughtified what I had done. I can show you though, gentle readers:

Can you see the Amigurumi eggs and bacon in the tiny pan?

Back to School Knits

2010-09-05T13:12:00.000-03:00

McCall's Magazine, early Seventies

Retro Knit and Crochet Beach Wear

2010-09-02T10:14:00.001-03:00

-Vogue Knitting 1967
-McCalls 1974

Halifax is in the middle of a heat wave! It is very hard to knit.

Holiday Knitting 1940's Style

2010-08-26T09:19:00.001-03:00

Pretty, cream-coloured slub linen is the material used;

it washes splendidly.

We chose jade green striped with white for this new idea in beach suits. Close-fitting pants are worn under the wide swinging skirt which you can also wear in casual fashion as a shoulder cape.

-Stitchcraft Magazine, Holiday Issue

Woolen Bathing Suits #3

2010-08-22T12:26:00.000-03:00

"A Welcome Gift"

-Complete Family Knitting Illustrated 1946ish

Woollen Bathing Suits #2

2010-08-20T16:47:00.001-03:00

For sunny days by the sea or river this trim two-piece swim suit is knitted in a simple four-row pattern which produces a firm close stitch and ensures a smooth-fitting garment. The neat-looking shorts of the original set were in light green, and the brassiere in dark green with light borders.

A narrow band of ribbing at the waist of the shorts is threaded with a crochet cord which ties at the side for a comfortable fit. Elastic is threaded through a hem at the lower edge of the brassiere.

The -edit-will love to spend as much time as possible in the open air by the sea, or in the garden, if she is wearing this attractive little one-piece swim suit. The original was in pale blue and navy.

The main part of this neat little swim suit is in a six-row box pattern, and the narrow waistband, borders and shoulder straps are in rib stitch.

For hot sunny days out of doors, this delightful little swim suit, with its effective chicken motif marching gaily across the bib front, will prove an indispensable summer garment. -edit It has a high bib back and front, and fits snugly at the waist with a band of deep ribbing.

The chicken motif is embroidered in "Swiss-darning," and a shell crochet edging adds a decorative finishing touch. The original garment was in red and white.

Trim-fitting and neat, this attractive two-piece swim suit is ideal. -edit Knitted in two colours, the original garment looked gay and charming, the main part in bright yellow, with Fair Isle borders and edges trimmed with bright blue. A crochet cord is fitted through a hem round the top edge of the shorts to allow for a snug fit. The brassiere is tied at the back.

Small holes at centre-front of the brassiere are threaded with a crochet cord which is drawn up to fit.

Complete Family Knitting Illustrated 1946ish

What I'm After

2010-08-12T14:04:00.004-03:00

What I'm After by pomoboho featuring 1928 jewelry

Mitford Sweater Girls

2010-07-04T13:40:00.000-03:00

I think these ladies from a 1935 Monarch knitting magazine look remarkably like the Mitford Sisters. Well, four of them. Sir John Betjeman and I love them for their sins....even the 3rd model's hat.

Centenial Crafting for Canada Day

2010-07-01T16:35:00.003-03:00

This Canada Day marked the 100th birthday of the Canadian Navy. Here in Halifax, Nova Scotia, that's a pretty big deal. Our celebrations were made downright electric by the attendance of Her Majesty Queen Elizabeth and His Highness the Duke of Edinburgh at the International Fleet Review in Halifax Harbour.
For reasons perhaps known to locals, I have much much more to report on the Queen's visit. For now, please enjoy some Navy inspired vintage knitting and crochet.

Here is an insert from a Canadian wartime craft magazine (cover title missing) with patterns approved by the Canadian Red Cross and the IODE for service knitting.
Does anyone know what 'wheeling' (a yarn type), mentioned in the article below might be? The article gives gauges for wartime knitting yarns and lists what type of service garment each yarn is best for.

Animal Crackers

2010-06-12T12:04:00.000-03:00

My favorite is the Tortoise and Hare sweater. I like the idea of a story played out on a sweater, like the BayeuxTapestry. Makes my lingering desire to knit the story of Fleetwood Mac in the style of Egyptian Hieroglyphics a little less crazy.

Wip Smart #2

2010-06-06T09:12:00.001-03:00

Some projects on the go...

Welcome, Summer.

2010-06-03T11:08:00.000-03:00

-McCalls 1972-1975

More Vintage Lingerie Patterns to Delight and Confound.

2010-05-30T15:45:00.000-03:00

My First Sweater

2010-05-28T11:23:00.001-03:00

Well, jacket.

Since blogging about granny squares and this, my first wearable garment worked from a pattern, I had been searching my closet for my G2 Jacket. The disaster that befell my closet in '06 has been improved upon since this post, but the hanging rod is still bust and it is a scary place to visit. I installed 2 bookshelves along one wall and have been making due with two standing hanging racks, but these are jimmy rigged and can't take much weight. I need to go to CanTire or something and invest in a closet system but it's all quite daunting. Any advice?
I made this out of acrylic-Bernat Super Saver, I think. I remember that I couldn't find a blue that matched the original well enough for my unforgiving teenaged eye for detail, so I used left over yarn from one of Granny's afghans (making it period accurate, no less)
I think this jacket is worth remaking in Cascade 220, but really, I can't imagine finishing it. I can't quite believe that I ever did, let alone at 17.
I was alone, on the edge of it (Seventeen), and apparently crocheting my heart out. It must of drowned me!

Funny Lux Ad

2010-05-27T14:52:00.001-03:00

-Ad from Lux's 'Patriotic' Knitting Pattern Book 1939

Wip Smart

2010-05-16T13:41:00.001-03:00

Some projects on the go...

Wool Gathering Series #3

2010-05-13T10:44:00.000-03:00

-Stitchcraft Magazine, circa 1936
Click to Enlarge.

It Almost Failed to Please.

2010-05-12T12:49:00.012-03:00

"It Cannot Fail to Please" is a pattern that was originaly published in Woman's Weekly magazine in 1938. It has been republished twice. In 1972 it appeared in it's original format as part of Jane Wallen's A Stitch in Time. It is also included in the new Stitch in Time alongside a new, "modern" version of the pattern. I used the original pattern.

Although a total pain in the butt, it is not uncommon for patterns from this era to gloss over finished measurements or to only offer one size . I sallied forth and trusted in the skinnyness of the model.
The pattern called for "Grenock", a 3-ply Super Fingering (which was apparently hard to get even in '38) and No.10 and 13 needles. I substituted Zitron's Trekking Pro Natura, a fine sock yarn, and used vintage needles in the same sizes. I almost always use sock yarn with vintage jumper patterns. It's a good substitution for 'jumper weight' yarn. If a pattern calls for 4-ply, I use a heavier fingering weight. Bottom line, I substitute according to gauge. Often times a vintage pattern will give gauge over a pattern repeat. Sometimes the gauge will be over stockinette and so extra gauge swatches must be made (but that's another post).
I enjoyed knitting this firm but lacy fabric very much. Unfortunately, once I was done and had blocked, I knew it was going to be way too big on me (okay, I knew before that). I didn't much mind; the point had been to recreate this sweater as it would have been. Typically, there were next to no finishing instructions in the original pattern, so I seamed the sides and shoulders the way I usually do. A little fiddling was needed because the lace pattern made the edges wave in and out on it's own. To tailor it to myself, I put on the seamed sweater (a vest at this point). Using mattress stitch I cinched in the sides. Imagine those Mad Magazine comics that had you fold in the sides, A meeting B, so that a new image appeared.
Then there were the sleeves.

Really, the sleeves were the whole point of the sweater for me. I wanted them to puff as they do in the original pattern's photo and, although I am not adverse to shoulder pads and padding, I wanted to see if I could make them puff on their own, unsupported.
That said, I didn't want to change the way that the sleeve was knit. I knit them true to pattern but did use the smaller, ribbing needles to cast off very tightly. I left a very long tail of Trekking. I then pleated the tops of the sleeves and sewed these folds in place using the tail. I also seamed the arm ribbing with the cast on tail.
I tried the vest on at this point, sliding the sleeve up my arm. I played with placement and found that for the kind of puff projection that I wanted I needed to attach the head of the sleeve not to the armseye, but to the side of the neck edging which is square and worked in garter stitch.

Not only did this place the puff early and high on the shoulder, it also allowed the puff something firm and stable (the garter stitch) from which to project. In a puff sleeve the most important section is the very head of the sleeve and the section to which it is attached. In a lacy sweater it can be hard to avoid deflated puffs; the fabric just isn't strong enough to stand up it's own.
After sewing down the pleated section, which was determined by the sleeve's various rates of decrease, I lay the sweater out and eased the sleeve out so that the bottom of the sleeve hit the body at the right place. I tacked this in place.
The sides of the sleeve now lay on top of the sides of the front and back sides of the sweater. Using the same mattress stitch technique I used to tailor the sides, I attached the sides of the arm to the sides of the sweater, matching lace motifs as closely as possible.
I have extra fabric on the inside now, but as the yarn is so fine and the fabric lacy, it didn't really add bulk.
In my experience xs or vintagey sized jumpers can have very tight arm bands.
I recommend blocking the ribbing on the arm if you have thicker upper arms like me. Do not block the bottom body band ribbing. The nipped in waist of these sweaters are responsible for a big chunk of their charm.
After doing all this I decided I had better sit down and write a post about puff sleeves. Then it turned into a tutorial. Then an article with tutorials, then a series of articles with background, silly drawings and tutorials.
I feel the need to take a stand against puff nay-sayers. I couldn't look like an American football player, or a muscle man if I tried. I think the de-puffing of vintage patterns is a crying shame and that anti shoulder pad fury is misplaced.
Stay tuned.