Insert your needle into the stitch directly below the next stitch in your present row:
Combining traditional methods in new ways became more common and new technologies such as zip fasteners began to be used in knitwear. New synthetic yarns started to become available. The hardship experienced by many during the Great Depression meant some turned to knitting through necessity. It was much cheaper to knit your own garments than to buy hand or even machine knitted products. Skills were needed for repairs to existing garments, socks and underwear.
Patterns, now often included in popular women's magazines frequently reflected this need. Socks with replaceable toes and heels were common. Some hobby knitters took to part-time work, hand-knitting for extra income.
The s also saw a rise in the popularity of commercial machine knitting. Much commercially sold knitwear during the s was hand-knitted, however the costs of this and other pressures of the time saw a large shift in consumers towards cheaper machine knitted products. Make do and mend was the title of a booklet produced by the British wartime government department, the Ministry of Information.
Wool was in very short supply, and the booklet encouraged women to unpick old unwearable woolen items in order to re-use the wool. Knitting patterns were issued so that people could make items for the Army and Navy to wear in winter, such as balaclavas and gloves. This not only produced the much-needed items, but also gave those on the "home front" a positive sense of contributing to the war effort.
After the war years, knitting had a huge boost as greater colors and styles of yarn were introduced. Many thousands of patterns fed a market hungry for fashionable designs in bright colors. The twinset was an extremely popular combination for the home knitter. It consisted of a short-sleeved top with a long-sleeved cardigan in the same color, to be worn together. Girls were taught to knit in school, as it was thought to be a useful skill, not just a hobby. Magazines such as Pins and Needles in the UK carried patterns of varying difficulty including not just clothes, but also blankets, toys, bags, lace curtains and other items that could be sold for profit.
The popularity of knitting showed a sharp decline during this period in the Western world. Sales of patterns and yarns slumped, as the craft was increasingly seen as old-fashioned and children were rarely taught to knit in school.
The increased availability and low cost of machine-knitted items meant that consumers could have a sweater at the same cost of purchasing the wool and pattern themselves, or often for far less. Alternatives to traditional woolen knitwear gained in popularity, such as tracksuits and sweatshirts , which began to be worn as everyday wear rather than only in a sporting context.
Sewn from a micro-knit synthetic fabric and brushed on one side, these were more fashionable at the time, produced more cheaply and quickly and easier for consumers to care for. These fabrics could also easily be printed with fashionable designs. Although made from a kind of knit fabric they are not usually considered knitwear. These new garments, along with trends away from formality in clothing meant traditional knitwear was no longer seen as sportswear as it had been in the s.
Knitwear became more associated with "smart casual" wear. Technological advances such as computerized knitting machines saw new designs and approaches to knitting.
Some artists began to see knitting as a legitimate art form rather than a craft or cottage industry, and more attention was placed on the design possibilities of knitting from an artistic perspective rather than just fashionable or practical approaches.
By the late s, many of the suppliers to the home knitting market had disappeared or been absorbed into other companies, while local wool shops suffered a marked reduction in numbers.
However, home knitting still had a strong and loyal following. The growth of craft fairs, release of well researched books on many aspects of knitting and the continued support among those who had learnt the skill in the heyday of the 60s and 70s kept a considerable amount of interest in knitting alive.
One of the most influential changes was the spread of the internet, which enabled knitters to share advice, patterns and experience, but also it meant that home knitters had direct access to supplies rather being reliant on local sources. These trends have continued. The 21st century has seen a resurgence of knitting. Natural fibers from animals, such as alpaca , angora and merino and plant fibers, chiefly cotton , have become easier and less costly to collect and process and therefore more widely available.
Exotic fibers, such as silk , bamboo , yak and qiviut are growing in popularity as well. The yarn industry has started to make novelty yarns , which produce stunning results without years of knitting experience.
Celebrities including Julia Roberts , Winona Ryder , Dakota Fanning , and Cameron Diaz have been seen knitting and have helped to popularize the revival of the craft. As time and technology change, so does the art of knitting. The internet allows knitters to connect, share interests and learn from each other, whether across the street or across the globe. Among the first internet knitting phenomena was the popular KnitList, with thousands of members.
In , the first online knitting magazine, KnitNet , began publishing. It suspended publication with its 54th edition in Blogging later added fuel to the development of an international knitting community.
Patterns from both print and online sources have inspired groups known as knit-a-long's, or KAL's centered on knitting a specific pattern. Knitting podcasts have also emerged, with much cross-pollination of ideas from blogs, 'zines, and knitting books. Traditional designs and techniques that had been preserved by a relatively small number of hand-knitters are now finding a wider audience as well.
Well, knitters took up Strange Brew in force check out all of the awesome unique designs here , so we decided push the recipe even further. In order to swatch for all of our colourwork, we love to make hats and cowls. These smaller projects are a great way to play with different yarns, colour combinations, and motifs.
With that in mind we created the Anthology hat and cowl recipe pattern for swatching, and we made it free so everyone can cast on! This is our newest free pattern, perfect for personal experimentation, or for use by knitting teachers in colourwork knitting workshops!
John is wearing Almanac , our take on the Icelandic lopapeysa style. All of the designs in this collection got their start as a Strange Brew recipe sweater. We took the recipe as a starting point and let our imaginations run wild!
Some of the sweaters keep the colourwork to the yoke, some have all-over patterning, and they are all a ton of fun to knit. If you are new to colourwork get started with a Fleet hat , or be bold and try your hand at the Trek or Mountain Mist sweaters. For all the details check out our Rav group here. We know you all love a good tutorial so over the next month we will be releasing a step-by-step tutorial series to guide you as you design your own Strange Brew sweater.
If you are knitting up one of the patterns from the book you might be interested in the upcoming tutorials on yarn choice, choosing your sweater size, and swatching for colourwork.
Keep your eyes on the blog! If we had a band this would totally be the album cover…. Almanac and Mountain Mist pictured here. Alternately, click below to follow the blog, and get each and every blog post delivered to your mailbox! How to knit a top-down raglan sweater, including a shawl collar shaped by short-rows.
Explains all techniques required for the Gramps cardigan. Tin Can Knits modern seamless knits for the whole family. This post is part of a multi-part series that covers the Strange Brew colourwork yoke sweater recipe! For a list of the other posts in this series, click here.
Measure a sweater you love to wear First of all, when knitting for yourself, the most useful and quick method for choosing a size is to begin with a sweater that you already love, and measure it up. Lay the sweater flat on the floor, and measure 3 key dimensions: Chest measurement measure across, then multiply that number by 2 Body length measured from underarm to hem Sleeve length from underarm to hem Armed with these key dimensions, look at the pattern sizing table.
Find the size with a finished chest measurement that most closely matches the dimension your beloved sweater , this is the size you will knit. If you are making a non-shaped body, you can simply knit more or less inches in the body section. If you are working waist shaping an option which is included in this recipe pattern then you should add or subtract length from the hem.
This means when knitting top down, you will complete the waist shaping section, then knit a shorter or longer distance before working your hem ribbing. When knitting from the bottom up, you will work either more or less distance BEFORE beginning the waist shaping, so the length is adjusted in that section of the body, and the waist shaping will still sit in a suitable place relative to the underarm join.
Adjusting Sleeve Length You can adjust sleeve length in much the same way as you would body length. Working from the top down, you will work more or less inches before beginning sleeve shaping decreases. For example, you might increase every 4th round rather than every 5th round, so you reach the total stitch count sooner. Understanding Ease Ease describes how tightly or loosely a garment will fit on the body. If the garment measurement is smaller than your body measurement, it has negative ease.
If the garment measurement is larger than your body measurement, it has positive ease. Generally, the body measurement is most critical when sizing a sweater. It is the largest point of your torso; whatever that may be, belly, chest, or bust. An example from the Almanac pattern: Nina is wearing the same sweater with 5. We include these details to help you decide how much ease YOU would like to have in your finished sweater. Everybody loves to wear their clothes differently, and sweaters are no exception.
I usually prefer my sweaters with a bit of negative ease at the bust, so I choose the sweater size a little smaller than my bust measurement.
Alexa usually prefers a bit of positive ease so she would choose a size a couple inches bigger than her bust measurement. So this is why we list finished garment measurements the size of the sweater itself assuming you knit it to the design gauge , and allow knitters to choose the size to knit based upon the amount of ease that they prefer. If a close body-hugging fit makes you feel your best, opt for a chest measurement with zero or negative ease.
Fabric Type Considerations Stockinette is a stretchy fabric, but other stitch types like stranded colourwork can be less forgiving. So at times we will also include a suggestion of what level of ease is required to make the garment fit well.
For example, the Moraine and Cartography sweaters include stranded colourwork throughout the garment. This makes for a fabric that is MUCH less stretchy than stockinette.
Since this fabric will not stretch as readily, we recommend choosing a size with at least a little bit of positive ease. This would apply to the Marshland sweater too, as the stranded colourwork section extends down past the yoke separation into the chest area.
You went to all the trouble of measuring and carefully considering what size you want to knit…. Not really sure what gauge means?
Check out this post. The process of choosing a size, then following the instructions for that size is only useful if, when you knit your sweater with your needles and your yarn, you achieve the stitch gauge given in the pattern. Any consideration of sizing will prove pointless if you fail to achieve the design gauge stated on the pattern.
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