May 1967: Overview

Ahoy! It’s May 1967 here at the Stitchcraft Sixties, where “Cruise Mates feature the fashion for Crepe”, and we are “Holiday Bound.”

What fashions come to mind when you think of spring and summer holidays? Light and lacy tops? Airy dresses? Halter tops and swimsuits? If so, you obviously don’t live in a Northern European maritime climate. Stitchcraft knows what British “cruise mates” need on their summer holidays: multiple layers of thick, damp-repellent wool! Our cover ensemble of nautical blazer and striped “shell” top to go underneath will keep even the foggiest cruise mates warm, dry and fashionable. The double-breasted blazer (“from Paris”, which is not particularly near any large body of water, and also quite a bit warmer than coastal areas, just saying) is made in Totem Cameo DK wool with metal buttons, knitting piping trim and big patch pockets. The sleeveless top is made in the finer version of the same wool, Cameo Crepe. The “crepe twist” (tightly worsted-spun) in the wool makes for smooth, even knitting and good wearablility. You can cover it all up with a gigantic traveling coat made in thick, undyed “Capstan” wool.

Onshore fashions include a sleeveless mini-dress in DK-weight wool (“perfect for holidays”), a short-sleeved jumper in a cables-and-lace pattern, two more sleeveless “shells” for warmer days or layering, and a “classic sporty sweater” in a simple, but effective striped slip-stitch rib pattern. The light green “shell” has a slip-stitch pattern, too, and horizontal texture lines appear more subtly in the easy ridge pattern on the yoke of the dress.

It’s a good issue for menswear too, with a lightweight slipover in a reversible (!) textured pattern. I thought the stitch pattern would be some sort of fisherman’s rib, but it is is utterly simple: knit 1 row, then k1b, p1 for one row. It looks like fairly normal 1×1 ribbing from the “right side” and a sort of starry waffleboard pattern from the “wrong side”. How lovely to never have to worry about putting something on inside-out! The “Continental pullover”, on the other hand, is too wide and the cables on the lower half give a strange “skirted” effect. Perhaps they knitted the wrong size, or should have put it on a larger-bellied model.

There are some wonderful garments for children of various ages in this issue, starting with a comfortable bobble-trimmed top for a school-age girl and a warm sweater for a boy (make sure he’s wearing a proper shirt and tie to go under it while sailing his wooden boats at the beach.) Here too, the stitch pattern looks more complicated than it is: k1, p3 for one row, then p1, k3 back makes a interesting offset rib with minimal effort. Little kids can “paddle and splash” in a tunic, t-shirt top and/or shorts for beach wear. The horizontal stripes are knitted in and the vertical stripes are crocheted on later with chain-stitch. A note in the tunic pattern says, “We have allowed 1-inch extra in length on back and front of dress as chain-stitching tends to contract the work.” Smart!

Rouding out this excellent issue are some wonderful homeware designs, starting with a set of garden cushions in a seaside “fish” and “crab” design. Love the use of pinking shears to illustrate the fish’s scales and the crab’s pincers! Way back in the “Readers Pages” is another, versatile appliqué design, this time with crocheted flowers instead of felt cut-outs.

For cross-stitch enthusiasts, there’s a coffee-tray set with matching deep-pocketed apron, or a tea cosy featuring wool stitching on tapestry canvas. Beginning rugmakers can make an easy runner in chain and soumak stitch.

The most magnificent design, though, is this Chippendale-inspired rug and piano-stool set, rightly featured in full colour over the two centrefold pages. The stool cover is worked in tapestry using tapisserie wool in trammed tent stitch and the 36×62 inch rug is worked in cross-stitch in Turkey Rug Wool.

Even the ads are great in this issue! The model wearing Patons Fiona is happy rain or shine and look at those amazing swimsuits from the Scotch Wool Shop! I would wear either of them today. And don’t you love the Singer sewing machine that can be folded down into its own practical storage cabinet when not in use? Did any of you have one of these? I think it’s brilliant and would have loved to have one.

My projects from this issue will be the garden cushions and the crochet appliqué on a useful-for-whatever little bag. I somehow have lived my entire adult life without a garden or even a balcony, but I know people who have those things and would love to have a fun cushion as a gift.

Happy Spring!

April 1967: Check pattern Shell

EDIT May 26, 2025: Finished! I had to wait for the photos but it was worth it. Scroll down to see…

My April 2025 project was this “shell” (sleeveless top) in a stranded chequerboard pattern — one of three “summer shell” patterns in the April 1967 issue of Stitchcraft, along with a polo-neck bouclet and a crochet lacework design. (And shells. Listening to shells, because shell, get it? Yes, we got it, thanks.)

The wool in the pattern is Patons Cameo Crepe, a very smooth, twisted fingering-weight wool. I chose Lana Grossa Ecopuno, which I used for this “shaded blouse” and this sleeveless cardigan a couple of years ago. Though not as smooth as a crepe-twist yarn, it’s soft, light and not too warm, and available in many very pretty colours. I chose a dark green and pale, slightly seafoam-tinged blue, similar to the original colours but with more contrast.

The tension in the pattern is 8 stitches to the inch in pattern, which I can’t get even with fine yarn, so I made the smallest size (for 32-33 inch bust) to fit me (38 inch bust) and calculated that it would come out with around 36 inches in the bust, i.e. two inches of negative ease instead of the 1-2 inches of positive ease in the pattern. I hear you out there saying “Never, ever knit a stranded pattern with negative ease!!!” but it can and should sometimes be done! The yarn is loose and drapey, even in a non-diagonal stranded pattern like this one, and even two inches of negative ease doesn’t look the least bit tight.

Which brings us to the shaping question: all three “shells” in the issue show the new longline silhouette — hipbone length and unshaped from hem to bust. If you look closely at the photos, you will notice that the poses often involve a hand on the back waist, a hand on the back, arm behind the back, elbow pointing at waist level… the things you do to make you look like you have a waist in your long, unshaped garment! I never make unshaped tops for precisely this reason — they look like a sack on me, as they tend to do on all but the skinniest or curviest figures. Having had good experiences with longer tops shaped from hip to bust, I started the top with even fewer stitches at the hip and increased up to the number in the small pattern size after the waist. I also made the top in the round from hem to armhole shapings.

To test the check pattern, I made a little phone cosy in a different wool (DK weight), Since the pattern has no diagonal lines, I was afraid it would pull together awkwardly . That was a concern with the DK sample, so I was very careful to strand loosely with the Ecopuno (another reason for sizing down) and had no problems. I did, however, make a mistake in the pattern, to be fixed with duplicate stitch because I’m too lazy to rip back that far.

It went wonderfully up until the front part above the armholes, where in spite of my careful calculations, I ran out of the light blue yarn. No problem, I had bought it at my local wool shop right in my neighbourhood, so popped over to buy another ball… But no! The shop is changing management and has been selling off all the inventory before the first of May! They still had some Ecopuno, but not in the right colour, so I had to order more online. Argh!

The new wool arrived and I finished the top easily enough. Of course, the new wool was a different dye lot and the one time it makes a difference… and it was on the front piece, too. The change line got less noticeable after blocking and letting dry. Also, the pattern tricks the eye into not seeing it.

My knit-night friends and I recreated the magazine photos. Here’s the black-and-white one:

And here is the magnum opus, where one knitting colleague photoshopped me into the original photos. Is it me, or is it the model?

I am very, very happy with this project — and the photos!

April 1967: Overview

“Spring into Summer” with the April 1967 issue of Stitchcraft — one of my favourites. According to “editress” Patience Horne, the latest fashion trends include longer-bodied “skinny” sweaters (i.e. slightly less bulky than the previous oversized look), “still figure-fitting” (they aren’t, though) and “belts with everything” (none of the models in the photos are wearing belts.) Make what you will of that. “Fashion is very dashing — still young and gay in ideas — but slanted to a feminine look — pretty and flattering.” In other words, whatever you want it to be! Colours are definitely bright and fun, with interesting textured stitch patterns and colourwork.

Our cover design picks up the trend for the retro-1930s look which will really take off around 1970 (could Stitchcraft actually be fashion-forward?) in bright, 1967 shades of pink and purple. The brilliantly orange pullover on the inside cover has an intriguing “pineapple” pattern. The summer “shells” (sleeveless tops) strike a nice balance between bold colour and crochet-lace patterning and more subtle, neutral bouclet. Love how they’re listening to shells in the photos! (Though sadly, the crochet model looks like she’s getting bad news.) Rounding out the adult women’s fashions is an understated and elegant fine-knit crepe blouse for larger sizes.

This issue has some great designs for school-aged children, starting with this “outdoor cardigan for rough-and-tumble wear” for a girl. Who is wearing leggings! That cover her legs and which she can actually move around in without flashing the neighbourhood! Finally! The model looks like she’s about to have a great time, too. Our more feminine model sports a pretty panelled pullover that looks like a buttoned-up cardigan. It’s just as practical as the more rustic design, but with elegant details. Her little sister gets a tunic top with a striped yoke and cuffs.

Oversized garments in neutral colours and vertical cablework patterns are still on trend for men’s fashions, represented here with a V-neck pullover in cable-and-rib pattern and a “country cardigan” in undyed “Capstan” wool with a crunchy Aran pattern on the fronts only.

It wouldn’t be Stitchcraft without “Bazaar items”, and the ones in this issue are actually really cool. There’s a knitted nightcase that looks like a fluffy duck thanks to a loop-stitch pattern that is then brushed with a teasle brush to felt and fluff it up. The knitted doily is quite intricate and the “Dutch girl” tea cosy (holding a cluster of felted tulips!) is amazing.

The regular homewares are also more creative than usual. Check out this embroidered “tropical fish” wall panel! (In non-tropical 1967 colours of brown, rust, and burnt orange.) I love it. The fantasy-animal theme continues with a tablecloth and/or table mats and/or cushion in Assisi design. The Victorian stool or cushion ribbon design is quite normal in comparison.

The back pages have the usual ads another nice one from the Scotch Wool shop, but not as dramatic as in the previous issues. in the “Children of other Lands” serial comic, Fifi the French girl takes a baguette home under her arm, only to have it eaten by birds on the way home. I told you this wasn’t the best comic of the Stitchcraft collection… Then there’s a nice extra pattern for a crocheted collar and cuffs in “bell” pattern to perk up your plain dresses.

I’ll be making two larger projects from this issue — the cover dress and the check-patterned “shell”. Neither of them will get done in April, but I’ll post something and update it with progress. Happy Spring!

March Excursion: Snow Daisies

Welcome to Spring! Is it snowing where you live? The March 1967 issue of Stitchcraft had some nice designs, but nothing that was fast, easy or practical enough for my knitting life at the moment, so for this month’s post I’ll write about a cardigan I finished in mid-February: the Snow Daisies cardigan from the Spool Cotton Company’s issue No. 189: “Women’s Sweaters: America at Work and Play” from 1942. The booklet with all the patterns is available for free here.

The “Snow Daisies” cardigan is touted as a “heavy cardigan for outdoors”. Knitted somewhat oversized (esp. for 1940s sweater standards) in thick wool, it has “plenty of room for a sweater underneath.” What you don’t see in the magazine photo is the fact that not only the sleeves, but also the back is made in 2×2 ribbing. This was an excellent design feature on many “sport” garments from the first half of the 20th century, allowing for generous movement without extra fabric to flop around and get in the way of your golf swing or ski poles or whatever. The front is made in reverse stocking-stitch with an open cable on each side, and decorated with embroidered daisy flowers. It’s a nod to all the “Bavarian”, “Tyrolean”, “Alpine” etc. traditional southern German and Austrian styles, though of course an American pattern from 1942 doesn’t use those words as I imagine they did not want the association.

I made my version in Hjertegarn New Life, a very interesting recycled wool — if I understood correctly, it’s reclaimed from older knitted items. Mine was 65% recycled wool and 35% recycled “other” fibres (synthetic, I guess?). It felt like strong, nice wool, tough but not too scratchy.

My tension was a little larger than the pattern and I wanted the cardigan to not fit too loosely, so I adjusted the stitch counts. The sleeves were fine, though the ribbing didn’t pull in as much as I thought it should. I guess that comes from wool that is only 2/3 actual wool and 1/3 mysterious “other”? So I made the back even narrower than I had calculated. It was too narrow. I made extra panels on the sides to make up for it. On the front, I placed the cables slightly differently to couter-balance having fewer stitches. I forgot to do one extra cable twist in the center twist part, but if you can’t see it in the photo, I won’t tell you where it is. The daisies were easy to embroider on.

I was not so happy with the final result. The overall look is quite square — the ribbed shoulders add bulk in an area where I am plenty wide enough. Worse, the ribbing just doesn’t pull in at all — it expands horizontally, especially after washing and with wearing, as ribbing is not supposed to do. I took out the extra side panels, which helped a little. I’m just not happy with the wool, though. It’s too bulky and not springy enough. Also, the button band is “wavy”, though I think that might be a design feature, since it looks like that in the photo, too?

(Not having any winter sports gear, here I am posing with a croquet mallet and ball…)

I’ll see what I can do with it, but I might end up giving it away.

March 1967: Overview

The March 1967 issue of Stitchcraft promises us „new fashion looks for Spring knitting“. March weather being notably unpredictable, there are warm, bulky knits for colder days (or to wear as sporty outerwear) and finer knits for Spring. The former are mostly made in „Big Ben“ to knit up quickly and warmly, but slightly less bulky in shape than before, the latter in smooth crepe wool with or without glittery accents. The „skinny“ „mini“ jumper makes an appearance as an alternative to the bulky look for young folks, and the crochet look in knitwear is still trending.

Our cover duo sports (heh) matching bulky V-necks in Big Ben wool, knitting up quickly at 3 1/2 stitches per inch. The cable panels down the front give it a little bit of vertical line to counteract the bulk. The cable-and-V-neck combination show up in a slightly less heavy-knit casual cardigan for larger sizes. The „Sweater with flower trims“ on the inside cover looks bulky, but is merely oversized and actually knitted in fine Cameo Crepe at 8 stitches to an inch. The flowers are made with intarsia with crocheted motif centres sewn on and the buttons are covered in fabric knitted from the same wool as the sweater — a cute extra touch. The crochet look in knitting continues with a high-buttoned cardigan in a sort of arrowhead-shaped slip-stitch pattern. It too is knitted in fine crepe wool, but looks bulky due to the oversized design and three-dimensional stitch pattern.

Teenage girls can knit themselves a „Little Shetland“ cardigan or pullover with an easy stranded pattern at the yoke or hem, or a fine-knit „skinny rib top“ which would be just as much in fashion nowadays as then. Whatever the girl behind the skinny rib top model is wearing is not part of this issue and will remain a mystery.

Finally, there‘s a glamourous sleeveless cocktail dress with matching jacket. The lacy pattern panels get a little extra glitz from knitting with the base wool (Cameo Crepe) and Lurex thread held together.

There are so many women‘s fashions in this issue that there apparently wasn‘t much room for men‘s or kid‘s designs. What there is is great, though: a three-piece baby set for spring outings in the pram and a hard-wearing cabled Aran pullover for a school-age boy.

The homewares in this issue are less interesting than usual and feature versatile designs that can be adapted to different furnishing needs: a woven design for a rug or cushion, grapes and leaves to embroider on an apron, mats or cushion, etc. Ambitious crafters could make an entire set for a room that way.

There‘s a cute breakfast set for a child‘s Easter morning and a crocheted mat for the adult‘s afternoon coffee table. Really ambitious embroideresses could make an elaborate and very pretty flowered tablecloth.

There‘s a new comic series in the Readers Pages which is cute and well-meant, but also fairly eyeroll-y for modern sensibilities: „Children of Other Lands“, featuring well-trodden clichés about cultural practices etc. in non-British countries. This month features Jan, a Dutch boy whose wooden shoes get stolen by mice, who use them as a boat on the canal. You get the idea. The ad for the Scotch Wool shop manages to be at least as much fun without any stereotypes.

That‘s all for this issue! I don‘t know what to make. I love the cocktail dress combo, but the ratio of time and effort in making / actual use I would get out of it doesn‘t add up. The larger-sizes cardigan is practical and nice, but I have multiple larger projects on the needles and don‘t want to start a warm cardigan in Spring. I might make another project from the January 1967 (the Fair Isle cardigan! Finally bought the wool for it!) or February 1967 (Lacy knee socks!) issue instead, or start ahead on the April project (chevron striped dress.) I promise to get something done sometime. Happy Spring!

February 1967: Crochet-Knit Cardigan

EDIT March 18, 2025: Finished!

The February 1967 issue of Stitchcraft picked up the trend for knitted work that looks crocheted with a “mini-cardigan” featured on the back cover. Interestingly, it bucks the other, longer-lived trend for oversized and shapeless garments, being more close-fitting and just above hip length. (Though more on that later…) The construction of the cardigan is quite basic, with no shaping in the body (the pattern makes it conform to shape nicely… though more on that later) and a plain, high neck. The edgings are actually crocheted.

It’s designed to be made in Patons Totem Double Crepe, a very smooth, worsted-spun 100% wool that shows the pattern well. A merino wool or something like Lana Grossa Cool Wool would have be the most appropriate modern equivalent. but I was still trying to reduce my stash and I had 200 grams of Drops Lima that I could add to that and hopefully buy just the right amount to use everything up. Lima is less smooth than it “should” be for this cardigan, since it’s 35% alpaca, but it’s spun tightly enough and anyway, I like it and it works. The color is more “loden” green than it appears in my photos. For some reason it doesn’t photograph very well — I’m guessing that the three-dimensionality of the stitch pattern messes up the automatic light sensors.

The pattern is sort of based on 2×2 rib, overlaid with twisted stitches and double yarn-overs to give a trellis effect. It was also very slow to knit, with twisted stitches on both RS and WS rows and a fairly large number of stitches per row, as it pulls together quite a lot. The fabric it makes is both stretchy and clingy, and quite warm in a thermal-blanket type of way, as well as being very heavy. I calculated it out from the Totem DK yarn weight and started with 600 grams. That started to look like it wouldn’t be enough at all, and I was on tour and hadn’t packed all of the wool, so I bought another 150 grams while on the road. That was, of course, more than necessary and now I have almost 150 grams extra. So much for destashing!

Apropos pattern, here it is:

Tw2L = k into back of 2nd st, then front of 1st st, slip off tog
Tw2R = k into front of 2nd st, then front of 1st st, slip off tog
Tw2M = p into front of 2nd st, then front of 1st st, slip off tog

Row 1: p2, *k2, p2*
Row 2: k2, *p2, k2*
Row 3: p2, *Tw2L , p2*
Row 4: as Row 2
Row 5: p1, *k2tog, bring wool forward to front of work, wrn, sl1-k1-psso*, k1
Row 6: k1, p1, *(k1, ktbl) into the two new loops, Tw2M* to last 4 sts, (k1, ktbl) into the two new loops, p1, k1
Row 7: p1, *Tw2L, Tw2R*, p1
Row 8: as Row 4

For whatever reason, I couln’t make Row 6 work the way it was supposed to. There were two “extra” loops from the yarn-overs in Row 5, but the way they lay on the needles made it impossible to knit the first and then ktbl the second. I tried making the yarn-overs in the other direction on Row 5 and that didn’t work either. What did work was k1tbl, k1 on Row 6. I’m guessing the designer held her needles differently or did the yo / wrn from another direction.

After the ribbing (on 3.5 mm needles), it is supposed to be knit on 4.5 mm needles. I started with 4 mm needles, since I didn’t want to yarn to stretch out too much. That seemed too tight, so I switched to 4.5 mm needles after a couple of inches on both the sleeves and the body. I finished the sleeves at the end of February and the rest on the long tour with many plane and train rides, making the back and fronts in one piece.

Somewhere near the end of the fronts, I re-read the pattern and realised that I had been knitting it wrong all along! After one pattern repeat, you are supposed to repeat rows 3-8. I repeated the whole pattern, rows 1-8. So my stitch pattern was slightly elongated vertically. It honestly didn’t look much different from the pattern close-up photo in the magazine, though.

The jacket seemed to be knitting up a bit larger than I wanted, but I couldn’t try it on properly until it was finished. It was a little bigger and floppier than I wanted (so heavy!) but the pattern would make it pull in tighter… right? right? No! I made the (crocheted) borders nice and tight in the hopes they would rein it in… not enough. After blocking, it just ballooned in all directions and ended up too big for me — I don’t like the “oversized” look. I decided to sell it or give it to a good home, and luckily a fellow knitter from my knitting group liked it and bought it from me.

Sadly, this project was more frustrating and less successful than I wanted. The sizing did not work out, the wool was too heavy, I made the stitch pattern wrong… there were just too many problems. On the up side, I love the pattern and the colour, the wool is warm and soft and cosy, and I even found incredible buttons that match the colour and style perfectly. Most importantly, my knitting friend is happy to have the cardigan, so I guess “all’s well that ends well.”

February 1967: Overview

Spring Fashion is ready for take-off in the February 1967 issue of Stitchcraft, with its theme of “colour and pattern”. Fair-isle/stranded garments continue to “hold the scene”, along with a fun mix of non-stranded colour and texture designs. Colour and pattern of household items are influenced by spring and Easter (March 26th in 1967), with pastel florals and “novelties” for church bazaars.

Our cover model sports an elegant “traveling suit” (don’t think it’s quite appropriate for flying in the tiny 2-seater plane in the background, but great photo) with an all-over stranded design in red and blue, paired with a short-sleeved knitted blouse. The suit is made in double-knitting weight wool with knitted bias binding in 4-ply Nylox (wool-nylon blend). The same Nylox wool is then used to make the blouse, which cleverly translates the stranded colour pattern into a single-shade textured pattern using knit and purl stitches. It’s a lovely and very well-coordinated ensemble.

Fair Isle knitting (I know the Fair isle purists will remind us that not all stranded knitting uses traditional Shetland/Fair Isle designs or techniques, but Stitchcraft is not that picky, so I won’t be either…) features in the inside-cover sweater-suit design as well, with patterned borders on both skirt and sweater. Whereas the cover suit falls to just barely above the knee, this outfit is not afraid to go mini. More variations on colour and pattern can be seen in the striped and ribbed “country sweater” or the knitted mini-cardigan in “crochet look” — a nubbly twisted-stitch pattern. Larger ladies can make a very pretty blouse in a delicate feather-check pattern. The checked part is simple block ribbing with rows of garter stitch and the feather stitches are made by dropping a stitch down 5 rows and then working it together with the 5 stitches above it. Bright colours are trending (the blouse is turquoise) with yellow and green at the top of the list.

There are great patterns for the rest of the family, too: the man’s “Italian design” sweater is quintessentially 60s, and it’s not Stitchcraft‘s fault that the pattern looks like the glyph from the “White Bear” episode of Black Mirror. Little boys get a fun Aran-patterned sweater with practical buttons on the shoulder. Daughter “Melanie” gets a much less practical pinafore dress with polo sweater to go underneath, and the baby of the family can get dressed up for a special occasion in a shell-patterned dress and matinee coat ensemble.

There are toys for the children as well: a knitted “Higgledy Piggledy” stuffed animal to go with the comic in the Readers Pages, and “Tracy the Knitted Doll”, interestingly not a “dress-up” doll like most of the dolls in Stitchcraft — her cap and scarf are knitted separately and removable, but shirt and leggings are integral to her body. “Country” accessories for adults round out the list of smaller items: warm cabled gloves for him and feather-pattern knee socks or stockings for her.

Homewares and “novelties” are themed for spring and Easter, starting with a tapestry church kneeler with church-key design. There’s a cushion and/or tea cosy in knitted patchwork, which is not particularly Easter-themed but would fit with an Easter brunch or church bazaar.

Spring flowers make an appearance in both a set of embroidered framed pictures and a cross-stitch traycloth and cosy. Finally, three cheerful sailing boats decorate a panelled rug for the bathroom.

In the children’s comic, untidy piglet Higgledy Piggledy’s adventures come to an end when he moves in with Topsy Turvy, who likes to put right-side-up things upside-down and vice versa. So Higgledy Piggledy makes everything untidy and she tidies it up. Isn’t that grand? Doesn’t she just love constantly picking up after a messy male? Of course she does, it’s 1967. The End! Any girls who are too busy having fun on their own to be picking up after a husband (yet) can treat themselves to sexy underwear, courtesy of the Scotch Wool Shop. I love everything about this ad — the underwear, the art design and the copywriting.

My project for this month will be the mini-cardigan in “crochet look” and possibly at a future point, the knitted socks/stockings (over-knee socks in my version.) Plus the cardigan I was going to make from the January 1967 issue… plus another non-Stitchcraft cardigan that’s been a WIP for a while… all in the shortest month of the year, so we’ll see what actually gets finished. In any case, it’s going to be a well-knitted Spring.

January 1967: Headband and Mitts

Welcome back to January 1967, one of my favourite 1960s issues of Stitchcraft. After making the failed “Pinafore Dress”, the successful “Lace and Ribs” pullover, and the the utterly cute “Fashion for Tots” jacket, I wanted very much to make the turquoise Fair isle cardigan on the back cover… but alas, it was not to be, as it is not possible to order wool from Scotland to continental Europe at the moment. But I won’t give up hope! While waiting for different wool to arrive, I made a simple headband-and-mitt(en)s set from the “Accessories for the Outdoor Life” page.

The mittens (Stitchcraft calls them “mitts”, but I’ll call them mittens to avoid confusion with fingerless mittens/gloves) and headband both feature a simple 9-stitch braided cable set in garter stitch (only 4 stitches on the mittens with the rest in stocking-stitch) with 1 stitch of reversed-stocking stitch on either side of the cable. The mittens are meant to be knit flat back-and-forth, but I wanted to make them in the round to save time and a seam.

Re-writing or re-thinking the pattern to accomplish that was… not easy. Of course the pattern doesn’t say, “Make a 9-stitch cable with 1 stitch of reversed stocking-stitch and 4 stitches of garter stitch on each side, and the rest in stocking-stitch”. It says things like “k3, (p1, k3) twice, C 6 B, (p1, k3) twice, k twice in next st., k to last 20 sts, k twice in next st, k 19” and then the wrong-side row is “purl to last 22 sts, k5, p9…” and so on. I tried to chart it out and was even more confused than before. The cable was all wrong and didn’t cover nine stitches. I finally figured it out, but the pattern wording didn’t help.

The headband was very easy and took two evenings. It fastens around the head with a buttoned strap, which I found very charming. The strap as given in the pattern (3 inches) was too short, so I made it to fit. It’s a little loose on me, but my friend has fluffy hair. Of course, she can always move the button if it doesn’t fit her properly.

Friend is wool-sensitive, so I made these in 1960s-appropriate 100% polyester yarn (Pro Lana Star). For a synthetic wool, it’s quite nice — soft and doesn’t feel too plastic-y. I chose a lovely cherry red colour to feel festive in winter.

That was it! I will return to this issue when the substitute wool I ordered for the Shetland cardigan (Rauma 3-trads Strikkegarn) arrives and make an extra post. I don’t mind that it didn’t work out to make the cardigan this month, as I probably would have overlooked the headband and mitts. They were fun to make and look really cute, so maybe I’ll make a set for myself sometime.

January 1967: Overview

Happy New Year, everybody! It’s 2025 in the modern world and 1967 at the Stitchcraft Sixties. What does our first issue of the year have to offer?

1967 was the year that Stitchcraft finally started to get just a little bit fashion-forward, albeit in a slow and conservative way. It starts with the title fonts, which keep getting bigger and more sans-serif (graphic designers, please excuse my layperson’s vocabulary — I’m sure there’s a better word for what I’m trying to say, but I don’t know it.) The skirt and dress designs are finally just barely above the knee — three years after Mary Quant introduced the “mini” in her shop in London — and a sense of fun and “swing” is slowly but surely creeping into the aesthetic.

The January 1967 issue features a “fair isle theme” of stranded colourwork, starting with the sweater-suit on the cover. It’s made with Patons “Fiona” wool, a blend of Shetland wool and synthetic. Fiona was also one of the first Patons wools to be sold in 2-oz balls — a precursor to the metric transition in the early 1970s, after which yarn was sold in 50g balls. The sweater has typical Fair Isle border patterns, of which the flower pattern is repeated near the skirt hem. There’s a his- (pullover) and-hers (round-yoke cardigan) Fair Isle set as well, also in “Fiona” wool. The knitting techniques are not at all traditional Shetland-style, as all the garments are knitted flat, back-and-forth in pieces and sewn together. Even the round yoke is only picked up after the front(s), back and sleeves are made separately and worked flat for a few inches above the armholes.

Non-stranded patterns include a swingy “pinafore” dress, to be worn with or without a tight-fitting ribbed pullover underneath. I tried to make this dress and it was a failure! The pleated skirt, in DK wool, was extremely heavy and stretched the stocking-stitch top part uncontrollably. I ended up frogging it. A few years later, I made the ribbed pullover and wrote about it in this post on the blog. That turned out fine at first, bit the wool was too lightweight and not 100% wool (part linen), so that even the rib pattern couldn’t save it from getting shorter and wider. How I love wool that keeps its shape! Sadly, it was not the case with either of these projects.

Other designs include a slip-stitch cardigan jacket which you are supposed to “slip on when the January winds make you chilly”, even though it doesn’t have buttons or any kind of fastening in the front, so I think the wind would get in pretty easily. For larger-sized ladies (up to 46-inch bust, which is pretty size-inclusive for 1967 standards), there’s a machine-knit jumper with a lace panel and a simple cardigan blouse with a pretty “petal” edging on the neckline. Men get a classic raglan crew-neck pullover with cables in Courtelle synthetic DK wool.

“Fashion for tots” gives us this wonderful tunic-coat and hat for 3- to 6-year-olds, which I also made and wrote about here on the blog. Older boys get a cardigan as well, in tough “Bracken” wool with a practical zip and contrasting collar and details.

There’s a whole page of lovely winter accessories: a lacy, fringed crocheted scarf, a classic moss-stitch scarf, and a set of headband and mittens with a cable-and-moss pattern. Plus golf club covers! I guess you could consider them to be hats, in their way. If any golfers read this blog, please tell me why golf clubs need covers? Is it so they don’t get scratched? (I would think they would get more scratched up from hitting a golf ball all the time than by being stored somewhere, but I have never played golf and wouldn’t know.)

Homewares are unspectacular in this issue: place-mats or a cushion with easy cross-stitch on Binca cloth, or flowers embroidered on a tea cosy or tray-cloth. There’s a stitched rug in bright wintry colours, or a fireplace screen with the church of Norwich worked in wool tapestry.

The Readers Pages give us a reprint of a crocheted afghan from the November 1962 issue, tips for knitting in stranded technique, and the continuing adventures of the untidy piglet, Higgledy Piggledy. In this instalment, he has run away from his tutors, Miss Prim and Miss Proper, to find refuge in a house with a girl named Topsy Turvy who turns everything that is upside-down, right-side-up, and everything that is right-side-up, upside-down. I am reminded of a colleague who claims to turn straight people gay, and gay people straight. Anyway, that’s it for this issue!

There are so many good projects in this issue that I’m glad I’ve made a few of them already. My project for this time will be the turquoise Fair Isle cardigan, but it might have to wait a while because I want to make it in Jamieson’s DK wool, which I have to order through a wool shop in the next city over from me, and that will take a while to happen before I can even start knitting. In the meantime, I’ll either skip ahead to the February 1967 issue, which also has some great larger projects, or make one of the smaller accessories (not the golf club covers). Stay tuned!

December 1966: Inspired-By-Stitchcraft Mitts

The December 1966 issue of Stitchcraft had some lovely items in it, but the ones I liked best were too time-consuming or impractical to make in the middle of a busy season. For example, I loved the dress on the cover, with its criss-cross stitch pattern on the bodice and sleeves, but didn’t have the time or energy to make a whole dress. I decided to adapt the sleeve pattern to make a pair of long fingerless gloves.

Two years ago, I made this pullover from the December 1964 issue, and still had plenty of wool left over to make a set of mitts. The pattern on the December 1966 cover dress (see close-up photo here) is quite different in appearance, but in a way similar to the December 1964 pattern in the fact that the stitches seem to twist and cross, but there are no actual cables nor even twisted stitches — it’s all done with regular knit and purl stitches, plus yarn-over increases and k2tog and s-k-psso decreases.

The leftover yarn that I used was G-B Jil — DK weight, 100% wool and corresponded well to the Shetland wool-and-acrylic-blend Patons “Fiona” from the dress. Actually, I think my wool was even better for this stitch pattern, since it’s worsted-spun and superwash — nice and smooth to make the pattern stand out well, as well as being non-scratchy and washable. I don’t know why this wool brand is not more popular where I live. I guess it’s too “plain”? Their brand slogan translates to “nice, reliable, and a good bargain for your money”, which, unlike most advertising claims, is both refreshingly humble and 100% accurate. It is perfect for everyday knits and wears well.

The dress pattern has sort of “bracelet” length sleeves, i.e. deliberately a bit too short, so I figured the mitt ribbing would rest at roughly the same spot on the arm as the cuff ribbing of the dress. I started the mitts there, at the arm, on 48 stitches (dress pattern has 49, but seamed — I made the mitts in the round) and worked toward the hand. After the first pattern, I decreased for the wrist to 46 stitches, then to 44 on the fourth pattern. I made an afterthought thumb on pattern repeat 6, then decreased down to 40 stitches for the hand ribbing. The thumb had 6 “afterthought” stitches top and bottom, and I picked up 6 more for a total of 18.

And that was it! Easy peasy. Well, almost. I admit that the the stitch pattern was more complicated and “illogical” (as in, in was hard to memorise or “instinctively” know what was coming next in each round) than I had expected. I charted it out, which helped — the pattern in the magazine is written out in words only and it is easy to get lost in a sea of “k2, yo, sl1, k1, psso, yo, k1, k2tog” etc. I am way too lazy to write this out as a proper pattern and try to sell it on Ravelry, but here are my scribbled notes, if anyone wants to make their own version. The hash marks show the number of rows in the ribbing – 10 at the beginning and 7 at hand and thumb — and the chart only shows the odd-numbered rows 1, 3, 5, 7, 9 and 11 –the even-numbered rows are all knit (in the round). The mitts fit fine on my size-8 hand. but of course, since the pattern is only on the top side of the mitt, you could easily add or subtract from the plain stitches on both sides to make them larger or smaller.

Happy New Year, and thank you all for reading my blog! Stay tuned for lots of fun designs and projects coming up from 1967, which was a great year for Stitchcraft.

EDIT January 1st, 2025: I made a tam to go with the mitts!

December 1966: Overview

Hooray, it’s the Christmas issue! Our cover model from the December 1966 issue of Stitchcraft sports a holiday-red knitted dress with a jaunty black velvet bow in her hair. Bright, cheerful colours, fun ideas for gifts and holiday parties, and the “Total Look” of a complete knitted outfit in one colour theme light up the pages.

The cover dress is made in Shetland-blend “Fiona” yarn and a diagonal criss-cross pattern that looks like cables, but is actually made entirely out of normal increases and decreases (yo, sl-k-psso, k2tog). The skirt is plain stocking-stitch and amazingly for 1966, still falls just above the knee. The two-colour suit with stranded “key” pattern in yoke and skirt hem is similarly demure. The two colours of lightweight “Cameo Crepe” wool are “Pearl Frost”, which I assume is the lighter one, and “Mastic” — I have no idea what colour “Mastic” is supposed to be. (I can only think of Mastix cosmetic glue, used for sticking on fake beards etc., which of course has no colour at all.) As an alternative, the magazine suggests to use Patons Beehive 4-ply in “Mink” and “Magnolia”, so I guess “Mastic” is a medium brown and the magnolia is white. Or the magnolia is dark pink and the mink has got its winter coat on. By the way, Stitchcraft‘s “editress” Patience Horne promises us in the notes to this issue that starting in January 1967, there will be more colour photos, so there may be less guesswork in the future.

The other patterns for adults include a lacy bedjacket, also in “Fiona”, that is pretty enough to wear as a cardigan, as well as a party jacket with Lurex metallic thread held together with the main crepe wool on the borders for extra holiday sparkle. There’s also practical heavy cardigan in reverse stocking-stitch with cable panels.

For the man in the family, an oversized shirt-sweater with angular pattern lines. Or you can make a his-and-hers set of “snow sweaters” in a typical all-over tiled Fair Isle pattern. Diagonal lines are a clear theme in this issue, whether made via texture, colour, or with angular cables.

For the kids, there’s a cute, warm 3-piece outfit of leggings, jumper and cardigan that is good for winter playtime (and finally, a girl can have warm legs and move around without worrying about where her skirt is flying. Look how happy she is!). The boys’ slipover features elements of the cable pattern and blocks of ribbing that we saw on the women’s cardigan. Finally, a bigger girl can enjoy the “Total Look” of tunic, tights and floppy pom-pom-trimmed hat, all coordinated in bright shades of “Lipstick Red” and “Strawberry Ice” double knitting. I’m glad they used a colour photo for this one!

The usual embroidery patterns for cross-stitch borders and easy cushions are supplemented by another big, fun appliqué wall panel: “Widdicombe Fair.” (Spelled with two “d”‘s in Stitchcraft.) I admit, I did not grow up in the UK and wasn’t familiar with it. For others who also weren’t in the know: it’s a traditional agricultural/livestock market fair that has developed into a more social gathering for traditional events, arts and crafts, and rural activities. Have any of you readers been there? Do they have knitting? Tell us about it in the comments! The wall panel shows a scene of happy (and presumably quite tipsy) fair-goers riding home on a pony after the fair. It is comic-like in style, but actually quite intricately worked, with close-fitted felt pieces embroidered and decorated after the appliqué is done.

And of course, it wouldn’t be Christmas without little handmade gifts and Christmas “novelties.” You can knit a hot-water-bottle cover and address it in embroidery to “Miss Miranda” in “Dreamland” (presumably other names and addresses would work as well) or knit some fireside slippers in an easy bobbly-lace pattern. While you’re knitting, make some cabled gloves with a contrasting-colour cable on palm and back of hand for “Father” and a kangaroo with baby for your littlest one. A crocheted hall runner is a “practical gift for the Home.”

The Christmas novelties run the gamut from elegant (an appliquéd panel of a poppy flower from which you can hang a tiny calendar), to cute and wintry (felt table mats with appliquéd stars, a “Father Christmas” sack to fill with gifts), to cute and silly (a knitting snowman made of cardboard, with the “snow” effect made by just pasting cotton wool onto the cardboard), to “what even is it” (little “mascots” made from the scraps of felt left over from the other projects. Apparently, they represent “amusing Bongle people”. I was very afraid to find out what that meant, but they seem to be a sort of fairytale gnome that have recently made a modern comeback in the video game Baldur’s Gate? Either that, or a slang term for copyright protection, lol. I’m guessing the Stitchcraft mascots are the fairytale gnome kind.)

The Readers’ Pages have a great little pattern for a potholder with a crocheted robin sitting on the handle of an embroidered spade. In the comic, schoolmarms Miss Prim and Miss Proper try to teach untidy piglet Higgledy Piggledy how to be neat and clean, but he is not having any of it. It’s the schoolmarms’ fault that he flies out the window, though, since they sat down too hard on the other end of the bench he was sitting on. To finish off the issue, there’s a thoroughly groovy ad for “Stop Red” and “So Dotty” lingerie from the Scotch Wool Shop.

That’s all for this issue! I have no idea what project I will make. Stay tuned, and happy holidays.

November Excursion: Love Birds Jumper

EDIT December 26, 2024: Finished!

The November 1966 issue of Stitchcraft was perfectly nice, but the projects in it that interested me were either too much of an undertaking (i.e. an entire suit) or something I would like to knit later when I have more time to plan it out (the top-down round-yoke cardigan). I decided instead to make a project whose pattern and wool had been sitting around for a long time waiting for me to use them: the Bestway A2063 “Love Bird” jumper.

The booklet isn’t dated, but presumably from the 1940s. I got the pattern as a PDF from the wonderful Subversive Femme website. A few years ago during the horrible wildfires in Australia, Bex, who runs the site, offered a free pattern to anyone who donated to the fire relief fund. I did, and was very kindly given this pattern as a thank-you. The wool is “Darnie” by Studio Donegal, a fingering-weight lambswool in the perfect shade of green, which I bought in Galway while on a work trip to Ireland.

The original pattern has a tension of 8 sts/inch, which I don’t get even with the finest of wools and smallest of needles, but I am also larger than the 34 inch/stretch to fit 36 inch bust finished size. I have had good results in the past with making 8 sts/inch, 34-inch jumpers at 7 sts to the inch with the original stitch counts and just adding an inch or two to the waist-to-armhole length, but that didn’t work here. I love the wool — it’s quite soft and not at all scratchy, and the little bits of tweed catch the light beautifully — but it was impossible to calculate the tension even with a good-sized, blocked swatch. The wool is so lightweight that it stretches more in width the longer it gets in length, so the tension is variable even when knitted closely and evenly. So at some point around rib height, I had to rip back quite a lot and adjust the waist-to-armhole increases. I tried to keep it close to the original proportions, but make it fit me. That worked out pretty well, though I hoped it wouldn’t shrink or stretch too much in blocking.

The birds are worked in stranded intarsia, i.e. you use different short lengths of the colours for the four birds, and strand the light green main colour behind. I am very good at stranded work and not bad with intarsia, but I found the combination of the two very tricky! The yarns bulk up at the back and/or leave holes (in spite of twisting together and weaving in) and it is hard to gauge whether the strands are too tight or too loose. There are a hundred ends to weave in and they are all in roughly the same spot, so the back side is very “full” and doesn’t lie down flat easily. Presumably, it should block out?? Also, I should have used a larger needle for the bird section — too late!

Not to mention that the bird tails start BEFORE the armhole decreases, and since I didn’t read ahead (I know…), I had already finished the body to the armholes in the round and the entire back part above the armholes before I realised it. Yes, I should probably read ahead and also think ahead! Yes, I am also too lazy to rip everything back, especially since I had to re-do the upper back once already to get the sizing right. Oh yeah, and I also forgot, twice, to make an opening in the back neck to accommodate the close, high neck, AND since I started the birds at the armhole instead of below, the neck was even higher and tighter than it should have been. Sigh.

In spite of all of that, it looked good (even before blocking) and fit great (ditto). It does fit over my head and I don’t think it’s a problem that the birds sit a little higher than they should. I made the sleeves from the top down, picking up stitches around the armhole, and only had to restart them twice to get the decreases right.

It was so worth it, though! It blocked to exactly the knitted proportions without shrinking or stretching, and the birds flattened out well enough. (The tails, which I made in a different, slightly thicker red wool than the bird bodies, are still bulkier than the background. I will call it a “3-D effect” design feature.)

I am very happy with this jumper and it has gotten a lot of compliments already. Didn’t get the pose quite right for the photo re-creation — head tilted the wrong way! — but I thought the red curtain made a nice background.

November 1966: Overview

Tweed, Crepe and the Total Look! The November 1966 issue of Stitchcraft brings together contrasting styles of nubbly tweed and smooth crepe wool as well as an entirely coordinated knitted outfit including hand-knitted stockings.

The cover design is not quite “total” (no stockings or accessories) but combines tweed “Bracken” wool with smooth “Cameo Crepe” for the edgings to make that boxy, double-breasted suit that everybody copied from Chanel. The pattern is very easy: k one row, single rib one row, purl one row, single rib one row. I imagine it gives a nice firm fabric that won’t sag too terribly in the skirt.

The “Total Look” is best exemplified by the other suit design: a square-patterned cardigan suit with jumper and stockings to match, in two shades of Double Knitting for the suit as well as lightweight Cameo Crepe for the jumper and stretchy, hard-wearing Nylox for the stockings.

The idea of complete coordination came into handknit fashion around this time and continued into the early 1970s. Mary Quant, for example, designed a four-piece outfit (jumper, skirt, stockings and “bonnet” cap) for the Australian Women’s Weekly in March 1966, using Patons Courtelle wool. There was originally an entire supplement in this month’s issue of Stitchcraft with more “Total Look” fashions in the same 101 Courtelle, but sadly, it was no longer there when I acquired it. If anyone happens to have this supplement, please let me know and/or post about it here! I would love to know what was in it.

The other fashions for adult men and women feature textured stitches in heavier wools for winter and a round-yoke cardigan knit from the top down in one piece. Although quite common today, that was still a very unusual construction method in the 1960s and was captioned as an “interesting design for the knitter who likes something different.” The men’s cardigan has a “Continental Pattern” made quite easily by combining knit, purl and knit-through-the-back stitches, and the women’s pullover has a unique cable-and-bobble pattern that makes a pretty shell design.

The “Junior Fashions” for girls consist of a bright, fun “Viennese Sports Sweater” in a bold Fair Isle pattern and a cabled and colour-blocked pullover in soft tones of white, blue and rose. The older girl has her fireworks ready, perhaps for Guy Fawkes Night on November 5th, while the younger one is content to play with her dolls.

Gearing up for the Christmas season, we have a double page of weird and/or wonderful little gifts to knit, sew or embroider. For some reason, Stitchcraft really likes Humpty Dumpty, who appears in many forms as a toy, puppet, doll etc. over the years. Here, he “tops a stocking”. There are tiny felt accessories for a doll, sewn and decorated pinafore bibs for a baby or toddler, or coasters with the signs of the Zodiac in embroidered felt appliqué.

Larger tapestry and embroidery projects include a tapestry evening bag in rosebud pattern, mats and cushion in counted stitch for a girl’s bedroom, drawn-fabric table linens or a cushion and matching tea cosy in a bright floral cross-stitch pattern. I seem to remember the rosebud bag from an earlier project in 1961 that had a similar design. (That project didn’t work out and I don’t think I’ll be making another tapestry handbag anytime soon.)

To finish it all off, you can knit a warm afghan for the coming winter evenings by the fireside, or crochet a practical potholder as many of us did in school. In the children’s comic, untidy piglet Higgledy Piggledy ignores the instructions given to him by the magicians who are supposed to change him into a tidy clean piglet, mixes the wrong potion and turns into a pink and green mouse. Good for him, I say! I am a neat and tidy person myself, but I have to admit I am rooting for Higgledy Piggledy in this comic. Will Higgledy Mouse escape the authoritarian rule of cleanliness? Tune in next time to find out!

October 1966: Jacobean Embroidery

EDIT November 19, 2024: Finished!

My October 2024 project was an embroidered panel in “Jacobean” style from the October 1966 issue of Stitchcraft.

Real Jacobean embroidery was an elaborate, mostly floral style of wool-on-linen work that was popular in the early 17th century. It featured heavy, filled stitches and complicated couching, often in multiple colours and with a high level of skill and artistic virtuosity. The style enjoyed a revival in the mid-20th century, and many home embroideresses made Jacobean-inspired designs to decorate home furnishings such as cushions and wall panels.

This finished panel is intended to be used as a chair-back and / or sofa-back, with the sofa-back incorporating the panel twice. Chair-backs and sofa-backs were a popular way to extend the life of upholstered furniture by keeping it clean and protected from sun damage. You don’t see them much nowadays, except in the casual form of throwing a blanket or quilt over the sofa back to hide faded or worn spots. I could actually use a sofa-back, since my sofa sits under a window and the sun does fade the dye quite a bit over time, but my sofa is already so cluttered with hand-made cushions. I decided to make the panel first and then decide if it should become a cushion, laptop case, decorative wall panel or other use.

The pattern is written for wool embroidery on furnishing linen. I had no trouble finding an appropriate background fabric — although mine is thick cotton muslin, not linen — but fine embroidery wool is difficult to find. I know one store in Paris and a Ravelry friend just let me know about another (also in France.) I could have ordered from either one of them, but I happened to be in a store that sold mending wool in a variety of colours, and decided to give that a try instead. The colours in the pattern were light green, green, dark green, peacock, dark peacock, rust and light rust, which I found with an extra alternative-light-blue and slightly-more-blue-green for variety. It worked well!

The most difficult and time-consuming part of all these vintage embroidery patterns, as always, was getting the design onto the fabric. Back in the Stitchcraft days, you had to send away for the iron-on transfer by post. These days, old transfers occasionally pop up for sale on ebay, but of course not exactly the one I want to work on right at that moment, so I have to recreate them myself. I do it the old-fashioned way, by drawing a grid over whatever photo or schematic is in the magazine, then drawing a proportional grid over a piece of paper in the correct size, and enlarging by copying square for square. Then I go over it with marking pen, and transfer it to the fabric via “lightbox” (i.e. taping it to a window) or dressmakers’ carbon paper. I used carbon paper for this one.

I’m sure there are computer programs that could do all of that a lot faster, but then I would have to take the time to learn the computer programs… and I like keeping the handwork aspect of the craft alive.

The embroidery itself was not nearly as difficult as I had expected, considering that the design looks very complicated. It’s really just lots of satin, buttonhole and stem stitch. The fancy couched parts were a lot easier to do than the buttonhole areas, in my opinion! They are worked by laying down threads in crossing diagonal lines and tacking them at the corners, then working French knots or tiny crosses in the squares.

It went quickly and although it is was not quite done by the end of October, I did get the embroidery finished at the beginning of November. The I was traveling for work and didn’t get a chance to make it up into anything without my sewing machine.

In the end, I decided to make it into a cushion — simple and period-appropriate. I made a separate cushion for inside the embroidered cover to make washing easier and fastened it with a button flap this time instead of a zipper this time. That was it!

The finished size is about 18 x 11.5 inches (47 x 29 cm), which corresponds to the width of the original chair-back design. It’s perfect, and since I don’t have space for more cushions and like making people happy, I arranged to give it to a friend.

October 1966: Overview

Autumn is here, and Stitchcraft‘s October 1966 issue celebrated it with warm, cosy sweaters in bold colours and textured stitches. Our cover pair sports not-quite-matching partnered pullovers in bright “Golden Willow” with a thick stripe in “Woodland Green.” The stripe on the man’s sweater is diagonal and made in intarsia. “Her” pullover has a broken-zigzag stitch pattern and the stripe running horizontally under the bust line and across the sleeve. Both are made in smooth Totem Double Crepe wool.

Bold colours, textures and diagonal stripes (whether made with colours or stitch pattern) are on trend for many of the other garments in this issue as well, for example, a ridge-pattern women’s pullover in “Gemini Turquoise” in Courtelle Double Crepe (like Totem, but 100% synthetic), or a “car coat” for larger sizes in bulky, bright red Capstan with a flattened cable pattern. There’s a rust-red zipped cardigan for men, too, in Patons Flair wool and diagonal herringbone stitch.

For a more elegant look, there are two garments in lighter, 4-ply wool: a dress in “French Green” with an intriguing “shadow check” pattern or a classic V-neck cardigan for larger sizes (colour: “Blue Streak”). I have never seen either of the stitch patterns before. The “shadow check” is particularly intriguing, as it seems quite simple, but makes a very cool sort of large waffle-check effect. The first two rows are stocking-stitch, to make the horizontal line, then the squares are made with 1 row of k1 tbl / p1 tbl “ribbing” separated by 2 purl stitches and one row of k2, p9, repeated to the end of the “block” (14 rows in all). The pattern on the cardigan is even simpler: Row 1: k3, p1; Row 2: k1, p1. If you have any wool left over, you can make a diagonally-striped (or plain) knitted tie.

For the little ones, there’s a cardigan with checked front panels in “Fuzzy Wuzzy” angora wool that are knitted separately and sewn on to the front+back piece before adding the ribbed trim, and a nice warm tweed coat in “Moorland” wool. Well, at least the upper half of this poor tot’s body will be warm — if he goes out dressed as he is in the photo, I worry that he will literally freeze his arse off. (Doesn’t seem to bother him — I’m guessing it was warm enough in the studio). There’s a huggable stuffed elephant and a winter outfit for a doll to knit, as well.

The homewares are pretty standard, but offer a range of different techniques: a crocheted cushion, a counted-stitch cushion and chairback, a practical stitched rug, or huckaback embroidery for various practical linens. Advanced embroideresses can make a stunning chairback set in Jacobean-style wool embroidery with plenty of intricate and multi-coloured stitches.

But wait, there’s more! Or not, sadly. This issue apparently had a supplement of nine designs “to knit for the family in Patons Brilliante qualities”. It must have been carefully removed from this particular issue at some point and separated from it, since there is no trace of it in my magazine, not even in the centre fold where it was presumably stapled in, and all the regular pages are intact. If you happen to have this supplement, please feel free to write in and let us know what’s in it!

In the “Readers Pages”, there’s a reprint of a pattern for machine-knitted wool “slacks” (I guess we would call them leggings today) and Part 2 of the comic adventures of Spick and Span, the two very neat and tidy teddy bears. They meet a very untidy bear named Higgledy Piggledy and seek out the services of two magicians, “Lo” and “Behold”, to magically turn him into a tidy bear. I sense a certain pedagogical overtone in this story, which is perhaps why it is less fun and interesting than some of the other ones.

That’s all! I don’t know what to make from this issue. I offered to knit my father the red zippered cardigan, but he claimed to not need another cardigan, and nothing else really speaks to me except for the Jacobean embroidery. But what to embroider it on? I have so many cushions and I don’t need a chairback. New laptop case? Black felt skirt? We’ll see! I still have to finish my September 1966 project, anyway.

September 1996: Cover Cardigan

EDIT October 22, 2024: Finished!

My September project was the cardigan from the twin-set in “crepe look” featured on the cover of the September 1966 issue of Stitchcraft.

The original version is made in Patons 101 Courtelle Double Crepe, a “new” (in 1966) 100% synthetic yarn. I prefer real wool and chose Schachenmayr Merino Extrafine 120, a smooth, tightly-plied merino that gives the “crepe look” very nicely. It seems to be a bit thicker that the Patons 101 Courtelle — the wool is supposed to have a tension of 5.5 stitches to the inch on (old UK) number 8 needles (4mm / US 6) and I got 5.25 stitches to the inch. I didn’t want to use a smaller needle, as the 4mm needles felt right for the wool and gave a good texture, so I made the smallest size (35-36 inch bust) instead of the otherwise-correct second size (37-38 inch bust) in the longest length (22.5 inches from shoulder).

I started with the sleeves, which I prefer to do in order to 1) check how size, tension and fit are going and 2) get the boring part out of the way first. The sleeves are made in plain stocking-stitch and I made them in the round to work faster and avoid seams. The sleeve length from underarm is supposed to be 16 inches for all sizes and judging from the photos, hits at about “bracelet length” i.e. not quite long to the wrist. I prefer long sleeves to go all the way to the wrist, but I have also made sleeves longer than required and had them turn out too long after blocking, or because the underarm depth was larger than expected. These finished sleeves fit before blocking just above the wrist at the expected underarm depth, and there was enough width to adjust if necessary.

The body of the cardigan features an interesting twisted-stitch pattern both on the fronts and back between hem ribbing and low waist, and at the top of the yoke.

The pattern is

1st row (RS): p3, *k3, p3* to end
2nd row: k3, *p3, k3* to end
3rd row: *p3, take wool to back, sl1 knitways, k next 2 sts tog without taking them off the needle, then k 1st of those sts, slip off needle and pass sl st over 2 rem sts*, rpt to last 3 sts, p3
4th row: *k3, p1, pick up horizontal loop below next st and purl it [i.e. m1 in the lower horizontal “bar”], p1* rpt to last 3 sts, k3
5th row: K
6th row: P

The twist rows are much easier to do than the description makes it sound. When you see the stitches on the needle, it’s quite clear. The background makes horizontal bands of rib and stocking-stitch and the overall effect is pleasantly squishy and nubbly.

After seven patterns, you switch to stocking-stitch, and that is where I found myself as of September 27, 2024, when I first wrote this post. I made the fronts and back in one piece and had a few long train trips since then, so it went quickly enough.

Unfortunately, there wasn’t enough yarn of the right colour in the store when I bought it, so I had to order more and of course, the new balls of yarn were from a different dye lot. I hardly ever have a problem with that, as many brands have very consistent dye lots, but of course the one time it’s a problem, it’s a problem! The new yarn had a much yellower-browner tinge than the old. I planned ahead to make the ribbing and collar in the new yarn and hoped to have enough of the old to make the complete body and sleeves minus ribbing. That actually worked, after unraveling the original swatch, and I had only a tiny little ball of the old yarn left over.

The ribbing and collar are mostly made separately, picking up stitches on the back neck for the back collar part only. The ribbing is knitted in vertical bands and sewn on, the collar horizontally and then you sew them together “with a very neat seam”. Hahahaha well, I did my best. The back collar has a couple of short rows at the end, to give it a nice roll. I added facing bands to the ribbing to help it keep its shape, and found some nice matching buttons.

(N.B. The real colour is more like the photo on the upper left. My computer and I are not good at colour correction).

The finished cardigan fit OK after blocking, just a little stiff and scrunchy. It stretched way out with blocking. The yarn is not labeled “superwash”, but it says on the band that it can be washed in the machine at 40 degrees C, so I’m guessing it is superwash-treated and they just didn’t say so. It certainly behaves like superwash in its stretchiness. I actually liked it better when it was a little stiff, but as it is 100% wool, it will always shrink a little with subsequent washings. And it is nice and soft, I’ll give it that!

The finished fit was fine. I prefer more fitted clothes, but that’s not the 60s style. The colour is beautiful — hard to reproduce in a photo, but a nice woodsy green. It will match many dresses in my closet. And the two-tone effect from the different dye lots worked out fine — I mean, you definitely see that the colours are different, but it looks deliberate. The sleeve length was just a little bit on the long side, but that will change with subsequent washings, I am sure, and I can always fold the cuff back. So all in all, I am quite happy with this project.

As always, we tried to reproduce the photos… with neither a real park by daylight, nor a dog. I think I nailed that sultry look from the black-and-white photo, though!

That’s all for this project! Time to start the October one…