Seven Differences of Pattern Interpretation

Spot the differences:

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1. Sleeve Length and Belling: I’ve written before, my arms are shivery. I cast on a forearm’s width at the wrist, and knit straight until I needed to increase for the rest of the arm. This provides the perfect, Goldilocks’-happy-medium, amount of belling.

2. Sleeve / Back Transition: I cast on stitches at the underarm, instead of binding off, to give more coverage in front.

3. Back Shaping: To ensure that the back didn’t become too wide (since the ribbing strip would add to the width) I decreased gradually to centre back. Also, I didn’t do the centre back gathering since I don’t see the point of that.

4. Ribbing Twisted: twisted rib with tubular bind off for a more refined edge.

5. Longer and Narrower Body: Increased every fourth row (instead of alternate), and made long enough to reach mid hip.

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6. Polished Edges: Hems and cuffs are neatly turned with a purl ridge and sewn down. The edges of the cardigan have a double-knit tube for stability. The ribbing is finished with a tubular bind off.

7. Less ‘Raw’ Looking Garment: The original pattern looks like a delicate scrap of crumpled tissue paper. It’s a pretty look, but not one I’m very fond of — I much prefer refined and finished to raw and ethereal.

Specs
Pattern: Whisper Cardigan, Interweave Knits Spring 2009
Yarn: Berocco Ultra Alpaca Fine; 50% Wool, 30% Nylon, 20% Alpaca; 396m = 100 grams; Light fingering wt; “Tiger Eye”; 2.5 skeins.
Needles: 2.75mm for rib, 3mm for everything else.

Serial Monogamy…

… is no longer working for me.

Up to now, I freely admit, I’ve been that rare cuckoo who worked on one project at a time. I don’t have a stash — I do buy several sweaters’ worth of yarn together but with a definite project in mind for each. And then mostly don’t buy more yarn till the planned projects are done (I only allowed myself a treat and bought yarn for no reason when I had a tooth extracted). Yeah, I’m that type and mostly proud of it. It’s not that I don’t want scads of lovely yarn; just that I feel itchy and unsettled if I have lots of stuff lying around, purposelessly. And that feeling is intensified when there are UFOs – part of my mind and attention are constantly on them, a nagging feeling of incompletion. I like to immerse myself in a project and come out triumphant, waving an FO.

However, that’s just not working any more. I’m so much a product (as opposed to process) knitter, I want to produce more and more! But very often now, I come home exhausted, and can’t deal with the calculations, swatching and casting on needed to start a project. Result: days wasted with no knitting! I need to have several projects swatched, initial steps calculated and cast on already, so I can just pick them up and knit. And I’m going to get over the too-many-UFOs discomfort by telling myself that these are really not even UFOs, they’re just potential ideas, Not Yet Real.

The ways in which we have to cajole our minds, to get things done!

So, finally, to the point of this post: Pretty pictures of the Not Yet Reals:

1. Whisper – turned from NYR to current UFO

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2. Aidez – cast on, tensing its muscles at starting block

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3. Ambrosia – cast on

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Whisper-ish

Here’s the first sleeve of the pretty Whisper cardigan from Interweave Knits, Spring 2009:

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And because the yarn colour is “Tiger Eye Mix“, I’m naming the project Tiger Whisperer.  Try and stop me!

I’m planning tons of mods — of course! I get lots of questions on Ravelry about my modifications to projects, so let’s do a pattern analysis, it’s been a while since the last one.

What is the construction? 
A tubular shrug knit cuff-to-cuff with a ribbing added around the bodice opening. And then, a cardigan back attached to the bottom of the ribbing.

Pros

  • Easy and flattering shrug construction — keep.
  • Light and delicate effect — keep, but knit with warm yarn so that it’s not useless as a cardigan.
  • Extremely flattering ribbing around body and neck opening — keep! Enhance by making it in twisted rib with a tubular or picot BO.

Cons

  • Fabric looks wrinkly and raw — I know many people loved precisely this about the pattern, but I hated it. I’m going to knit with a drapey yet warm yarn, at a gauge where stitches will look like fabric and not tissue paper.
  • Edges look raw — hate it! I’m loath to break the delicate lines of the garment with a rib or turned hem, so am going to try twined knitting at the cuffs and bottom of the back. At least, that was my intention when I drafted this post. Having tried it, I can state with great confidence that twined knitting most certainly does curl! So I’ve left the cast on provisional for now, and will probably do an i-cord BO at the end.
  • Short belled sleeves — very unflattering on me. I’m reducing the bell and making it longer. I’m a shivery person, particularly in air conditioning, and so have a strict agreement with my body against exposure on all peripherals. I keep it comfortable and it allows me to work without misery. Since the neck and front of this cardigan are open, I’ll need full sleeves.
  • Short wide body — looks like manta ray fins. No, no, no! Will elongate the body, make sure it’s attached further out in front to the ribbing and increase sides gently. Also, will add a rolled slip stitch edge for structure.

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In short: The cardigan was designed as an breathy whisper. I’m going to turn it into a confident undertone.

Ginger Lizette

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Another FO, in Cascade Ultra Pima! This time round, it was pattern lust combined with long flights and jet lag that allowed me to finish this so quickly. That is, finish all the knitting quickly and wait forever to sew it up.

I’ve set myself two rules for plane knitting: First, no metal needles. You never know what security’s thinking at any given time, so why take chances? And second, knit simply, preferably something that can be worked by touch.

Last month, I broke the second rule badly, calculating and executing a complex provisional CO (a deviation from the pattern) at Narita airport, after boarding had already started for my flight. Oh and surrounded by several toddlers in various screaming modes too.

It worked out fine, and while the toddlers made valiant efforts to auditorily puncture my eardrums, none of them attempted to grab my yarn, which filled me with such gratitude and good feeling that I even helped the embarrassed mother of one of them to push the empty pram along, while the brat writhed and screamed on the floor.

Anyway, on to more interesting topics, how and why did I deviate from the pattern? Let’s first look at how it’s intended to be constructed:

(i) Work back hem band, pick up stitches along one long side, make entire back working back-&-forth.

(ii) Work front hem band, pick up stitches along one long side, work b&f till skirt is finished, shaping arched top with short rows. Cut yarn, leaving live stitches on arched top.

(iii) Provisionally CO for bottom of bodice front, make bodice (splitting for neck), after shoulders are finished continue with neck extensions till they’re long enough to meet at centre back.

(iv) Make icord for certain length, continue with icord but this time work last stitch of icord with one stitch each from arched top of front skirt and bodice bottom (thereby joining them), continue with simple icord after front pieces are joined.

(v) Make sleeves and then sew it all together.

While this is a brilliant and fun construction, I feared I might not have enough yarn; knew I had to add more fabric to the bodice; considered longer sleeves; and definitely wanted to knit my skirt in the round.

To make sure I wouldn’t run out of yarn, I had to start in the middle and work outward. So I CO provisionally at waist level, worked a few rounds straight, shaped the top of the front into an arch, then finished the back working b&f. Then I made the front bodice, joined shoulders and neck extensions and attached front pieces with icord. After sewing up the sides, I had a sleeveless bodice, with the original provisional CO at waist level. From here I worked the skirt downwards in the round.

Looking at the project gallery, I knew I had to add some short rows to the front since the bustier knitters ended up with the i-cord cutting across the bottom of the bust — quite an unflattering look. So while working the medallion  chart, I added a couple more cable repeats in the centre. It sounds complicated to describe, but was rather intuitive while knitting; I extended the medallion outwards along its outer edges for some more rows than in the pattern, while continuing with the decrease/yo combinations which fill most of the medallion. Oh and I worked one of these extra repeats in short rows, to add fabric to the front of the bodice and not the sides.

And I think that’s all I have to say; it’s a beautifully designed and very flattering pattern, and a really wearable and wow-ish addition to the wardrobe.

Details:
PatternLizette by Ann Ginger, Twist Collective Spring 2011
YarnCascade Ultra Pima; 100% Cotton; 201m = 100gm; DK weight; 4 complete skeins;  ”Ginger 3769″
Needles – 3.5mm

 

Blood Red Delysia

Done!

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While I like the pattern, I am in love with the yarn. Did you ever see such a deep, glowing, intense red? Look at at the sheen, and feel the softness! Cascade Ultra Pima is a yummy DK weight, with none of the wrist-breaking proclivities often seen in cotton yarns. And it feels soft too, a dense, creamy sort of softness. Definitely an aristocrat among fibres from Kingdom Plantae!

The pattern, Delysia Camisole, is basically a tube top with eyelets to allow threading a ribbon through, thereby also attaching the straps. Clever!

I modified it — of course — thus:

1. Bottom up, since I find it easier to shape this way.

2. No ribbing at bottom — makes for nasty tummy cling — added folded hem instead.

3. Added a lot of body shaping via decreases and increases, all positioned to be hidden behind the straps.

4. Added extra short-rowing to each half-front, to create a slight sweetheart shape to neckline.

5. Omitted button band overlap – I worked a few stitches in stockinette and sewed on buttons for a faux button-band.

6. Increased width of straps by a couple of inches from neck to shoulder, to enhance the sweetheart-ishness of the neck.

7. I also didn’t lay the straps exactly on top of the eyelets created in the body; instead I lay them in what seemed to me a more flattering line and wove the ribbon directly through the knit fabric of the body in some sections.

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I have one whole skein left, and want to bite it, just for the colour. I NEED its vivid glow next to my face and neck; isn’t it a most jewel like colour? I’m thinking, When Sampson met Lila, with the body in grey or navy blue, but am worried the red will bleed into the other colour… what say?

Details
Pattern: Delysia Camisole by Jordana Paige, Brave New Knits
Yarn: Cascade Ultra Pima; 100% cotton; 201m = 100 g; 3.05 skeins; DK weight; “Wine 3713″
Needles: 3.5mm circular.

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Paisley Back-Wrap

I made a dress, which almost did me in. Not the dress itself, of course, but because I had a foolish amount  of optimism about an untested idea, and worked myself up into such intense commitment — a dress implementing that idea, or no dress at all! – to it that I couldn’t let go.

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See the dress itself is simple. I’d been considering a wrap dress for a while but mulling over how to deal with gaping in front. So I decided to make it a back wrap. That part was also straightforward:

(i) placed the half-front pattern on folded fabric to cut a single complete front
(ii) placed the half-back pattern on folder paper to cut full back, cut the full back pattern diagonally from shoulder to waist for a single wrap half-back pattern, used that to cut two back pieces from fabric.
(iii) Cut a waistband and ties.
(iv) Cut one front and two back pieces using my skirt pattern.

Then I made some minor fitting adjustments and then cut everything in lining as well. So far so good. Not exactly tube top simple, but nothing brain-breaking, right?

Ah but we haven’t yet come to the Idea: piped scallops around the neck and armscye!

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I’ve never made scallops before. And never ever piped around the outline of a garment. But did that stop me? Did I have even a moment of sanity? No. I tried to find more info on the internet but there’s a sad paucity of information on piped scallops (On the other hand, the world seems to be obsessed with piping scalloped edges on cakes).

But please, kindly follow the progress of my obsession below, repress your shudders, and enjoy a good laugh:

1. Trace scallops around a template onto the RS of the fabric.

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2. Cut piping into short lengths, about 1 inch longer than each scallop.

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3. Cut out and discard 1/2 inch of piping cord from each end.

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4. You should have a length of piping, empty of cord at both ends. Fold the ends over.

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5. And place the piping piece on your traced line, on the RS, with raw edges of piping and dress pointing in the same direction.

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7. Sew the scallop in place, right next to the cord.

Yes, this has to be done for each scallop.

Now do you comprehend the depths of my obsession?!! Not only is the procedure horrendously tedious, but creates so many layers of cloth as to make the simple act of sewing fiendish torture. And this process has to be done over and over and over and over…

… till, well, I just gave up after doing the front neck and armscyes. On the top back piece (which wraps over the lower back) I just traced a gentler, more undulating scallop and attached the piping in a single piece.

I also inserted piping at the top and bottom of the waistband, and made welted pockets. And lined the bodice.

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Now that I look back, it seems to me that I could have omitted the piping cord to make the scallops easier to sew. But I wanted the piping to be stiff and hold the shape by itself. Oh well, lesson learnt.

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Also, I am so grateful to all the bloggers who share their knowledge for free! Here are links to techniques used:

1. Lining and shaping scallops
2. Adjustments for sleeveless tops
3. Waist ties
4. Lining a bodice with Centre Back open
5. Welt pockets

Was it worth it? Hmmm, perhaps. If only to learn what is not possible with stiff piping! And yes, if anyone knows an easier way of doing it, please feel free to fill my heart with bitterness gratitude by telling me. Really, please do!

Specs
Pattern: bodice, waistband are self drafted (process here) and Sew U skirt
Materials: Japanese cotton print fabric, about 2m (the inner skirt piece has a seam up the middle, to save fabric in the layout), bit of green cotton for piping, lilac rayon for lining, piping cord

In Haste

I am knitting a Delysia:

delysia lace

 

I finished sewing another Truly Myrtle Box Bag:

02 - LavenderPink

I adore making this pattern. It’s neatly geometric and logical, produces a useful object, comes together with the precision of origami, has just the right level of complexity and ease, and – most of all – is made up of rectangles, unlike a !!^$^%$^ living body which has bumps and contours and undulations!

Having spent most of the last week fitting something around the said living body, I did manage to create something decent, but am too traumatized by the effort to talk about it now.

scallops

Soon!

Annis Shrug

Here’s the Brat with me, a few months after she was born.

Brat

Here’s the shrug the Brat wrangled out of me, by saying wistfully, “You never knitted me a tube top. ”

shrug

The Brat is particularly talented at sweet wistfulness.

The simplest shrugs are just rectangles sewn into a tube, with a patch left open in the middle to cover the back. But I dislike that kind of construction; I find the strip across the back looks ridiculously narrow, like a bandage. On the other hand, if you make the initial rectangle broad enough for the back, the arms become extremely large, plus there is a rather weird acute-angle opening at the underarms.

Thus my pattern changes. I started with the Annis lace pattern for the cuff, then increased to shape the arm till the underarm. There, I provisionally cast on an inch worth of stitches at each end, and knitted the back as a rectangle. Once the rectangle spanned the underarm-to-underarm width (about 16 inches since the Brat is tiny), I left the same number of stitches on scraps and reversed shaping for the second sleeve. Since the Annis pattern forms bottom-up, I then made the second cuff and grafted it to the end of the knitting.

After blocking, I used yarn tails left at the beginning of each Annis cuff to sew up the sleeves and graft together the live underarm increases.

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This creates an intriguingly seamless shape, with no beginning or end to the torso! Finally, I cast on again for a large swathe of  Annis  lace in the round and sewed it around the opening for the collar.

seamless

This had used up almost every bit of yarn, so I omitted the nupps in the collar and, towards the end, skipped the alternate plain rows, working only the lace rows.

neck

And here’s how to calculate how many stitches to cast on for an Annis edging (my numbers, as a worked example, are in red):

a) Cuffs: counting the live squares in the first and last row of the pattern, we see that Row 1 has 7 + 12x + 8 stitches, and Row 18 has 5 + 8x + 6.
So we need to end up with 5 + 8x + 6, which is basically 8x + 11.
Ie, we need a multiple of 8 plus 11, just before it transitions to stockinette.

Now, using stitch gauge, find out how many stitches are needed at the start of the stockinette section (52)
Add or subtract a few stitches to make it a multiple of 8 plus 11. (The closest I can get to 52 is 51 = 40 + 11)
And break the 11 up, to get 5 + 8x + 6 ( 51 = 5 + 40 + 6)
Which means, at the end of row 18, I have 5 + 8*5 + 6
So, my x = 5

But remember, to get 5 + 8x + 6 in Row 18, we have to start with 7 + 12x + 8 in Row 1.
So my CO number is 7 + 12*5 + 8 = 75

b) Body opening: this is much simpler since it’s knitted in the round and there are no partial edge repeats.
We need to end up with 8x, by starting with 12x.

Find the number of stitches needed at the end of Row 18, according to stitch gauge. ( 150)
Add or subtract a few stitches to make it a multiple of 8. (The closest to 150 is 144, which is 8*18)
Thus, my x = 18
So, I need to cast on 18 * 12, and work the pattern in the round.

Specs:
Pattern: Annis from Knitty
Yarn: Lana Grossa Chiara; 70% rayon, 20% mohair, 10% nylon; 50g = 189m; 3 skeins. The yarn core looks fingering weight, but it should be knit at a looser gauge to allow the mohair halo to develop.
Needles: 3.5mm straight and circular
Mods: well, yes! Return to top of post, please.

Old Loves

The beginnings of Things that Become Important are usually not notable.

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Years ago, I bought some pretty yarn, Lana Grossa Chiara. It had a silver rayon core with coloured mohair halo; it was smooth and fuzzy and drapey and warm and light and utterly delicious. And also expensive, for a sweater’s worth. I took a long long time over my decision, because I needed the yarn to be bouncy enough for ribbing and yet be able to hold a block for the lace section (I was going to knit an Arisaig).

Scouting around the internet for information, I kept bumping up against the Ravelry home page, and turning back resolutely. Rav was, at that time, being described as a “Facebook for knitters”; and since Facebook was extremely annoying at that time, I balked at the idea of joining a similar site.

However, the Chiara was expensive, and I really needed to know whether it would work for an Arisaig. Reluctantly, I joined Rav, explored a little and promptly fell in love! So well thought out, so brilliantly organised! What makes Rav so utterly useful is it’s astounding level of cross-referencing — I’m sure no other craft has a site quite like it.

Let’s say you’re a wood-worker (and keep in mind I really have no experience of woodworking, so am pulling these analogies out of thin air!). What would the wood-working equivalent of Rav have to have?

You would begin with a page with photos of all your personal projects, each of which would link back to a detailed page about that particular project. A viewer would be able to see the photos and your own notes for each project, and then follow a link to a page about the Instructions – which publication they appeared in, recommended materials. From here, a viewer could see all the other Instructions in that publication; OR, scroll through all the projects made using any particular Instruction, sorting them — if desired — by colour they were painted, or by ‘most liked’ or ‘helpful notes’. For any particular Instruction, there would be a tab showing the various kinds of wood that people had used in their projects. On a page for any wood, there would be people’s comments, plus links to all Instructions that people have ever used for that wood. And this would be just the beginning…

… but I have to stop now, because it’s really difficult to describe in words or sentences — which are linear – a massively cross-referenced network structure.

Another delightful thing about Rav is how it is designed to serve the way knitters think. You could approach the Search with:

“I have 1000m of worsted weight yarn, want to make an adult V-neck pullover, seamless, with cables on a stockinette fabric.”

Or:

“I have ABC yarn in the Bright Sunset colour and am thinking of making a flowing stockinette cardigan — does the colour look subtly variegated or blotchy when knit up? Does it drape or look structured?”

And sometimes, people just want to look at beautiful projects too, you know? The search/browse feature can do that too, allowing for results to be sorted by colour, most popular, etc.

Now I’m sure I’m preaching to the converted, but working with Chiara again brought back good memories of being seduced by Ravelry’s utter functionality! For the first two years, I was easily devoting a couple of hours each day to Rav, and getting withdrawal symptoms when travelling. Yes, I was quite Rav-addicted — and not ashamed to admit it!

Here’s another photo my latest Chiara project — it’s almost done now!

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Navy and Lace

After the moderate success of my blouse, I wanted to try a dress. So traced my modified pattern onto a new sheet, and sliced both front and back pieces at the empire waist line. Then I extended the neck of the front piece diagonally, so that two front pieces could overlap.

Using the modified pattern, here’s my faux wrap dress!

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The fronts are a faux wrap – they don’t really open. The waistband and ties are made following this tutorial, with the obvious exception that they are attached to the middle of the garment rather than the top of pants. For this reason, I just made the waistband out of simple rectangular strips, no curved waist shaping. The skirt is a rectangle, as wide as my hips plus ease, with pleats on top to fit the waistband.

I couldn’t find a zip, so added snaps along the side, spaced about 1 inch apart. They are sewed on to extension plackets.

I like it, though the fit isn’t perfect. Mostly it pleases me that I’m getting to the point where I can fit clothes to my body while sewing as well as in knitting!

What I’m actually proud of is that I figured out how to make a continuous lining for this wrapped style. Because the front neck edges cross each other, I initially thought I would have to line each piece separately. But I really wanted the lining to be a separate, individual layer inside, so here’s what I did (sorry, no pics):

1. Sew lace all round RS of neck, matching raw edge of neck with bottom edge of lace.

2. Cross the bodice fronts and adjust to desired position. The raw diagonal edge of  the top layer is visible.

3. Pin the two layers together, placing pins on top of the sewing line of the lace on the top layer.

4. Turn it inside out so that the WS of the garment is visible.

5. Very carefully , going one pin at a time, remove a pin, flip the raw edge which shows on the RS towards the WS, and pin along the same line again.

 6. Sew along the pinned line, removing pins as you go.

 7. Trim excess overlap on the WS.

 What now remains is, in effect, a v-neck front cut out of a single fabric, rather than two overlapping layers. So now a single layer of lining, cut in a corresponding V-neck shape, can be used.

 Pattern: Sew U top, now modified beyond recognition.

Fabric: An ancient, nearly 15 years old navy charmeuse I had lying around. Actually, I remember buying this with my sister when we were both in college, with the vague idea of having silky trousers stitched. We got the fabric very cheap since it was a remnant in one of Delhi’s giant wholesale cloth dealers. Oh for Delhi’s wholesale textile markets! Where clothes – export rejects, the upcoming season’s offerings from multinational retailers which have not yet been released to the world – are sold by the kilo, and fabric shops beg you to buy their remnants at ridiculously low prices just so they can find space for incoming materials!

Anyway, nostalgia apart, this also explains the sedate tones of this material. It was bought in the 90′s, when fashion law decreed one must pair chintzy florals with combat boots, or dull and grungy navy blues, browns and greys. However, it is pretty good quality – it has a heavy and silky drape, makes an elegantly subdued and oddly satisfying sound when cut with shears, and needed only a quick whoof of steam to close old sewing holes in a section which had to be redone.

Overall, in terms of finish, fit and usability, I would rate this dress 7 out of 10, which makes me quite content. And yes, I will try to take progress pics next time; my comfort level with sewing is growing, so I can actually spare brain-space for thinking about the blog’s needs at the same time!

As for the knitting, it’s still going on, I promise! But since it’s so much slower than sewing, I don’t have any update posts. And, errmmm, I may have discovered that I had one full skein less then I thought, so some adjustments may be taking place.

Project Bag

There are these frightfully organised knitters, who keep everything to do with one project – yarn, needles, notions, pattern – in one bag. The bag is usually pretty (no discarded grocery bags!), with coordinating linings and pull tabs and handles. I wanna be a frightfully organised knitter too!

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So I made this box bag using this tutorial. There’s really nothing more for me to add; the tutorial is very well written and detailed. There is one part where you have to cut out squares of fabric and lift the cut edges together – incomprehensible while reading, but makes perfect sense when the bag is in front of you. I didn’t interface because I didn’t have any. The main fabric is leftover material from my skirt, the lining from the buttonband backing of this cardigan.

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Wait, did I say I had nothing more to add? Actually, I do have an embarrassing confession: up to now I had no idea what pull tabs were for! Of course I saw them everywhere (except garments) and the name itself is rather a big clue. Pull tab; pull tab; p.u.l.l.t.a.b… what on earth could it mean?

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Until today, when, guided by some unkown force, I grabbed the zipper with one hand and the pull tab with the other, moved my hands apart and… got it!

Dahlia Sleeve Caps

Or, how to make short-row top-down sleeve caps.

This is a genius method for people who hate setting in sleeves. I don’t, I rather enjoy it, but might switch to this one for sheer convenience! There are tutorials (written and video) on the internet, but I never found all the information I needed in a single place, so I’m adding mine … along with some bitter lessons learnt (BLL) and a rather wonkily drawn rainbow of rows.

Steps 

1. Measure around your bicep. Ie, let your arm hang down vertically and measure a horizontal circle round your arm just below the underarm. Add your preferred ease to this measurement. Multiply by stitch gauge to get total number of stitches to pick up = T.

 BLL: Do not be tempted to measure around the actual path of the armscye! Ie, do not measure up the shoulder, above the shoulder, down the shoulder and across the underarm. This measurement will incorporate the skeletal structure of the shoulder (a complex area of the anatomy if there ever was one!) and using this as your beginning measurement will give you a gigantic sleeve.

2. Measure the length of the horizontal BO at the bottom of the armscye and multiply by stitch gauge to convert its length to number of stitches  = UA (underarm)

3. Calculate C (cap) = T – UA

4. Divide C, as evenly as you can, into six sections. If there is a remainder, distribute it among the ‘middle’ sections. Here’s my Dahlia example to explain what I mean:

a) T = 78

b) UA = 10

c) C = 78 – 10 = 68

Dividing 68 by six  I get [11, 11, 11, 11, 11, 11]  and a remainder of 2.

So I’ll distribute the 2 stitches in the middle of the brackets to get: [11, 11, 12, 12, 11, 11]

This is all the calculating you need to do!

5. Pick up and knit stitches, using the numbers you calculated above. Specifically:

a) Pick up and knit UA stitches along the horizontal underarm BO (between blue pins)

b) Divide the rest of the armscye into six equal sections, using stitch markers or pins.

c) Pick up and knit C stitches from the rest of the armscye, distributing them as calculated in the brackets. In my example, I picked up 11 stitches between each pair of pink pins, and 12 stitches between each pair of white pins.

dahlia pickup

d) Knit one round, ending at underarm.

 6. Start short rowing.

BLL: Do not over-think this and lie awake at night wondering why they are called short rows if each is longer than the previous, and if you’re doing something wrong. They are called short rows because you’re never knitting all the stitches around the armscye. But each individual row will be longer than the previous.

Note: I’m not going into the actual mechanics of creating a smooth, invisible turning point since there are so many methods out there. When I say “turn” in the following instructions, use your favourite method for creating a turning point. I love this one.

a) Work 2/3rds of the way round the armscye, to the end of the 4th section. Turn. (Blue line)

b) Work back to the end of the second section. Turn. (Purple line)

c) Work to previous turning point, incorporate wrap, turn at the next stitch. (Pink line)

d) Working to turning point, on the other side, incorporate wrap, turn at the next stitch. (Red line)

e) Continue in this way, increasing the size of the rows by one stitch each time, till you’ve created turning points at the ends of the 5th and 1st sections.

 dahlia rows

In the diagram, the lines indicating worked rows are concentric, to fit them onto a flat picture. In real life, they are stacked on top of each other, creating a perfectly shaped sleeve cap.

 7. Start working full rows (Yellow line). Work in rounds and knit the rest of your sleeve. (Or, split at underarm and work the sleeve back and forth).

There are lots of variations on this technique – some will have you continue short rowing till the edges of the UA stitches are reached – but this one works for me. Experiment!

Banana Republic Takeover

My last shirt making adventure still lies incomplete. I could sense something was off but didn’t know how to fix it. And that is frustrating! I’ve become so used to knitting garments that fit me, it’s a shock each time I sew to realise that it’s a new skill, at which I’m actually not so skilled!

My frustrations were chiefly with the enormous amount of ease in the pattern (Sew U – Wendy Mullin). The darts were placed more-or-less correctly on my pattern size, indicating that it was meant for someone with my frame, but that ease! Six inches or more of fabric flapping around!

Last time I made some attempt to reduce the expanse, but the fit ended being not quite right. Before starting again, I made a mental list of what I would have to do. Reduce back width, avoiding darts, but what happens to the darts then? Should I use those to reduce the width? But then, the shoulders will remain wide and if I adjust them what about the armholes? And on the front, how do I change the width without making the darts point in all the wrong directions? But wait, don’t I have to do a Full Bust Adjustment (FBA) anyway? So should I do that first and then reduce the width or the other way round? Aaargh!!

Wait, deep breaths. I’ve already gone through all this in knitting, right? Never being able to get gauge, then deciding to work with my own gauge and calculating dimensions of the original pattern to find how many stitches I needed with my gauge, then realising I wanted different dimensions for my cardigan anyway so why was I referring to the schematic? !

And that, my friends was the Aha! moment in my knitting. From then on, I learnt to capture the essence of a pattern: a lovely stitch, gorgeous cables, unusual construction, unique design element… and fit that into the basic template of my shape. Since then, almost every bit of knitting has been enjoyable and ended up mostly flattering.

I suppose the sewing equivalent of that would be to draft my own pattern. But I’m not quite ready for that yet! What I did was to apply the succussful strategies of knitting to sewing.

The first fix: remove four inches of ease. Since the pattern pieces are in quarters (half back and half front), 1 inch needed to be removed from each body piece.

I started with the back, since it’s simpler. I removed half inch from the centre-back line, and from there, measured out to how wide the widest point needed to be (at underarm level). Using that point, I redrew the armscye and side seam, by echoing the existing pattern lines inwards. I changed the neck (which had become narrow with the removal from the CB line)… and that was it! The back was done! I cut it out of this fabric which has woven stripes, so that the grainlines were obvious. Already, I knew this approach was going to work. The back piece looked like something that could fit me, and not my horizontally stretched cartoon self.

At this point, I was steeling myself to tackle the front. I took a break. I thought and pondered. And then, another knitting epiphany struck me. I knit my front exactly like my back, except for added increases and short rows.  So my front was just a back, with FBA!

Very excited, I made the FBA to the back piece (Google it, there are lots of good tutorials). I cut the front pieces out, sewed it all together… and it fit!

The only thing left now were the sleeves. I reduced width. Also, when I used the pattern previously, I got ugly diagonal wrinkles across the sleeve cap. A quick internet search showed me that the solution was to increase cap height. So I just drew a taller bell curve, not really bothering to match anything. After all, a cap has to be eased in anyway, so a little bit here and there isn’t a problem.

I tried it on, tweaked the darts a little bit, and there it was. The best fitting mono-sleeved, raw edged shirt I ever owned. I forgot to take a picture in the excitement. Then, I ripped it out, cut it along the final sewing lines, stablized the edges with fusible stabilizer, drew in the darts with a ball point, and declared I had the Perfect Sloper.

Which got used to make this:

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I like, I think. The fit isn’t perfect – far from it – but absolutely better than anything I can buy, since it fits my shoulders without gaping at the chest. I made a V-neck and self facing on top. Since the fronts weren’t wide enough (more on that below), I made sure they abutted, and sewed in a rectangle between the front and facing on the left side. This flap is the home of some neat little hook loops. The hooks on the other side are sewn in before the facing is finally closed, so that all threads are invisible.

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The cuffs have slits. Tutorial here.

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Seams are finished by turning the raw edge under and sewing. So much better than zig-zag stitching!

I didn’t use any fusible interfacing for the button bands. All the sewing blogs I’ve been reading despise fusible interfacing, so I shall join the gang and despise away! Anyway, you don’t really need it with a good solid fabric.

And finally, the fabric. It’s a Banana Repbulic mens’ size L shirt. That’s why the fronts only abut – after my FBA, my front pattern pieces were pretty wide and barely fit into the front of the original shirt. And that’s why the sleeves are short. I only had so much left of the sleeves after the cuffs and placket were cut off from the original shirt.

Specs: 
Pattern: Sew U Shirt, Wendy Mullin
Fabric: Banana Republic shirt pinched from my husband
Mods: err… see entire post.
Cost: minimal, only for hooks and thread.

PS: As you  can see, my camera’s misbehaving in the presence of red, again!

Eating Frogs

Wise and esteemed time management experts tell us to begin each day by “eating the frog”. In other words, the phone call you’re dreading, the cluttered drawer which makes you want to chop onions instead, the long overdue apology? Do it first thing in the morning. Then you will be super charged and super motivated the rest of the day, since the thing which was gnawing your insides for weeks is finally done. Obviously, the snappy name of this strategy takes no cognizance of cuisines where frog legs are considered a delicacy, but I digress.

Blinded by the optimistic daze of a new year – I will knit 13 sweaters in 2013! I will sew one office wearable garment each month! I will tackle every NWG in my cupboard! I will exercise! – I did eat my frog a couple of days ago.

I picked up my finished-but-for-pocket-linings Nanook. The frog spawn which had crept into the cardigan was entirely my fault: I had created pockets by splitting the body into three sections – fronts and back – along the vertical ‘side seam’ lines, and knitting each separately before joining them in one long row. The fronts are garter and the back is stockinette; can you sense the tadpoles wriggling now? Of course the stockinette back dangled lower than the squished garter fronts. “Blocking will solve that”, I thought, refusing to see that the tadpoles were losing their tails and developing tiny limbs. Finally, I created a neat hem for the stockinette section. There! I had even provided a supply of mosquito larvae to my frog!

 Eating it wasn’t so bad, especially when done in a new year’s daze. I undid the hem and ripped out the stockinette till it was the length of the fronts, this time matching the lengths visually instead of by row count. Then I re-did the bottom and quickly worked the pocket linings.

And look!

front

I love this already. The colour is gorgeous, the pattern simple and striking. I’ll probably not do any buttons, so I can pin it to whatever degree of closure I want. This is the sort of fitted, yet roomy jacket I really need – despite living in humid Bangkok! – because my office can be freezing.

Of course there are pocketsessss!

pkt inside

Four stitches worked in rib along the opening, to prevent stockinette curl and give a neat finish to the garter edge. The purl stitches of the rib have receded, giving exactly the stable stockinette look I wanted.

 pkt edge

PatternNanook by Heidi Kirrmaier

Sweater Yarn: Berroco Ultra Alpaca; worsted wt; 50% wool, 50% alpaca; 197m/100g; 5 skeins; “Blueberry Heather”. If using a similar fuzzy yarn, be aware that it’ll obscure the pretty radiating increases on the back. In a smooth yarn, they are a design feature in themselves.

Pocket Lining Yarn: Tiny amount of Berroco Ultra Alpaca Fine.

Needles: 4mm for cardigan and pocket linings.

Mods: Details on choosing correct size here. There is NO BUST SHAPING (gasp! gasp! swoon!). I did add a lot of shaping to the back, and increased the fronts gradually instead of decreasing them as instructed. Hemmed the back and cuffs.

I like this!

side

Dahlia Shaping

Dahlia is such a beautiful and interesting knit, but there are almost universal complaints about its front.

So here are my shaping notes for those who like things visual:

1. Dahlia Armscye
Since this is knitted sideways, I formed the shape by binding off about 5″ worth of stitches, then binding off one stitch every alternate row three times. To form the ‘horizontal’, underarm, section of the armscye – which, if I were knitting the cardigan normally, would be formed by binding off stitches – I just knit straight. Finally, I cast on 3 stitches every alternate row 3 times and then about 5″ worth. In the picture below, the length of the just cast on row looks inadequate; once those stitches were knitted, they expanded to the correct size.

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Up to this point, it could be laid nice and flat to take pictures. After this stage, I continued on up the held shoulder stitches. This completed the armscye.

 

2. Dahlia Body
One of the biggest problems with the pattern was the lack of shoulder shaping. I used short rows, arranged like this:

Old short rows

And then ripped them out. I hadn’t understood the purpose of making the bottom half the collar in stockinette and the upper half in reverse stockinette. After trying the unfinished cardigan on, it was obvious: the collar folds along that  line, so that stockinette is always visible on the RS. With my conical shaping, it was impossible to fold the collar over.

I ranted at fate a little bit, but eventually undid the back sections – they’re small, thank goodness! – and reshaped them by splitting the short rows so that the fold line is the shortest length. Essentially, I just made smaller symmetric wedges on both sides of the fold line, instead of large wedges spanning the whole back top.

new short rows

This shaping is repeated on the fronts. To keep the picture clear I’ve only shown one wedge. There are actually six wedges on each front and back. Similar, but narrower, wedges shaped the cardigan back bottom to accommodate butt shaping. I decreased just inside the seed stitch bottom edge of the front to shape it into a curve, and also added gentle short rows to keep the front bottom edge longer than the top. I’d originally planned to make it much longer, wrap length, but ran out of yarn.

Anyway, I was getting tired of how much shaping and calculations I’m needing to do. So I’m taking a break from knitting for the next few days. Absence makes the heart grow fonder and all that.

Have a very happy new year!

Another One?!

Yes, friends, I started yet another project. Those of you who have been following my blog for some time, will know that this is most unlike me. Am I not the obsessive finisher, the intensely monogamous, the utterly absorbed knitter? Have you ever known me to flit from project to project like a careless bee in a flower show?

And yet, my  Ravelry project list shows 6 WIPs. Six!! My projects! You all may as well prepare for the sun to rise from the west tomorrow and burrow into your shelters.

Or, perhaps, let’s get all calm and analytical about this. Let’s look deep into the heart of the WIPs and see what made them what they are:

1. Cabled Bolero:  Forewarned by many many Ravellers, I knew that the pattern would produce nothing like the elegant cropped cardigan in the photograph. So I looked through all the helpful notes, and then started on mine. I have a sneaking feeling that with all the mods I made, this will actually turn out fine. I also have a sneaking feeling that I’ve left it for so long, I will never find the yarn to complete the sleeves and border, and the dread of confirming that discovery has actually kept me from going to the shop and finding out. I feel this will remain a WIP for the longest time, until I gather courage to buy more yarn. That’s ok… having at least one WIP makes me feel more normal (*ducks*).

2. Seamless Hybrid: Discussed in detail here. Again, while knitting the sleeves, I had the sneaking feeling that the sweater was going to be unwearable for the recipient. So I’m glad I made the decision to turn them into leg warmers and re-start this project with soft yarn. Well, that was an easy answer! A few rounds of mindless ribbing and this can become an FO!

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3. Bottoms Up: I actually have made some progress on this. Right now, it looks like a floppy model of the female reproductive system. But alas, I had to put it aside again. It’s the combination of stiff mercerised cotton, worked at a fine gauge on tiny metal needles. And millions of twisted stitches, worked back and forth. Despite the delicious colour, I actually cannot bear to work on this more than a  few rows at a time. Maybe I’ll finish and wear this in 2013. I have a sneaking feeling that 1×1 rib might be hideously unflattering on my torso. I shall repress that feeling for the next few months.

Uterus

4. Delysia: I haven’t started this, but really want to make it. It’s simple and elegant and I have a mod idea to make it more wearable (ie, wear it without the annoyance of a strapless bra). And I have the most decadent red yarn for it. The only reason this is nagging me is that I created a project page for it without starting anything, so that WIP tagged project box is mocking me. Right, the last sentence makes me sound really demented. I’m off to remove it from my project page and back into my Queue. I cannot believe I actually dedicated an entire paragraph to this thought process.

5. Nanook: This is almost done! Only pocket linings left to go. I love the pattern, love the yarn, love the mods I made and it fits really well. Who wants to bet how much time it’ll take me to finish two 6″ squares of knitting?

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6. Dahlia: My dear, dear, Dahlia! Currently, you’re the only one justifying the P in WIP. Therefore, I shall reward you by dedicating the rest of this post to describing how I mod-ded you.

Let us commence Dahlia Analysis!

1 lace

See, the back of this cardigan is just gorgeous. And the construction is so intriguing! You first make that lovely lace square. In the final round, you BO opposite sides and keep the other two sides live. Now you provisionally CO along a line that goes down your spine from nape to the top of the lace square, and knit to the right side edge of the square. Then, you separately CO another provisional line of stitches, that lie along your spine from the bottom of the square to the bottom of the cardigan, and work these straight to the right side edge of the square. Then you knit one long line, from the bottom of the cardigan, across the live stitches of the square to the top piece. From this point on, you just knit a long rectangle (leaving a slit where arm stitches will be picked up later) to the front edges. The whole process is mirrored on the other side. Finally the BO edges of the square are sewed to the fabric next to them. Looking at blocking pictures, this construction is most obvious: it is just a rectangle with the arms sticking out of the plane.

However, reading through all the project notes, there are so many complaints about the front of the cardigan! The construction makes a beautiful back but a really uncontrollable front. Without shoulder shaping there is a huge amount of fabric flopping at the top. The unstructured armscyes slip all over the place.

Now I don’t know about you all, but I am not really such a Pied Piper of the masses that I can afford to look good from the back and not the front. Neither am I in the habit of ending fights with stamping my little foot, pirouetting on my dainty heel and walking off, leaving admirers with a stunning view of my back. So this cardigan definitely needs to look as good in front as the back.

Step 1: Fix the back shoulder. Short rows, duh! Keep the neck small and the other edge long enough to match up with  half the lace square. The green yarn is the waste yarn which holds the provisional CO from nape to lace square.

2 shoulder

Step 2: Fix the bottom. This isn’t a problem, but I wanted a longer cardigan. So I just CO more stitches. And added some mild short-rowing for butt shaping.

Step 3: Shape armholes. Instead of leaving just a slit, I bound off to form the vertical edge; then working only the bottom of the cardigan decreased one stitch at the armscye for 3 rows, then knit about 2″ plain to form the bottom edge, then increased and CO stitches to mirror the shaping for the front. Here’s the shaped back shoulder, shaped bottom of cardigan, and the shaped armscye. In the next row, I will CO stitches to make the front vertical edge of the armscye.

3 Sleeve

Step 4: Fix the front shoulder: Short rows again, duh! Mirrored the shaping of the back. That’s where I am right now. This picture looks complicated, but it’s just the cardigan from the front. So you can see the WS of the lace, the armscye along the side and the shaped shoulders (front folded on back) at the top.

4 front shoulder

Next, I plan knit each front piece longer than the pattern states, and gently curving the bottom edge. And pick up stitches around that nicely shaped armscye, and shape the sleeve cap with short rows.

PS: thanks to everyone who offered suggestions on what to do with the Seamless Hybrid yarn! I think I just need to put it away for a while and let ideas marinate in my brain.

Ancestry and Heritage, Part II

I finally sorted the rest of the pictures and loot from my trip home. So many delightful things!

First, this old (early 50′s) pattern book for sari blouses. Look at this menagerie! Crab tail, fish-tail, pigeon tail, bee’s wings…

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I wouldn’t wear the reversed style (lower right), unless hobnobbing with people who would recognize it as an attempt at stylishness. I bet most people would just wonder how I managed to wear it the wrong way round! I know I would, if I saw anyone in that blouse.

Further along the book there are some really intriguing styles. Really, what is the purpose of cutting the cups into a patchwork of tiny rectangles? Does it help with shaping?

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Intriguing as these details are, I found most of them rather matronly, perhaps a reflection of the wholesome, virginal (b-o-r-i-n-g), quality of the early 50′s. But zip along a few years to the late 50′s, and look at what we have here!

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Isn’t it gorgeous?! I love the styling suggestions – straw purse, white flowers in the hair, white sandals. See how she’s even got a bracelet of flowers? I wonder if they were real or made with pearls; utterly delicious either way!

I particularly adore how in just a few years, the matronly, keep-it-all-covered styles have shifted to recommendations to keep “the neck and shoulders as bare and cool as you can wish for”. This also makes it (gasp! shock!) a bra-less style. Were strapless bras available in India in the 50′s? Or would this blouse have required padding for support, like tailors still put into backless blouses? I love historical intrigues.

Another one from the same era, which recommends “a wide band of green velvet” to “frame the shoulders and low, V cut back”.  Perhaps the rest of the blouse is green with gold embroidery? And the sari a delicate gold chiffon? Ooh!

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The third blouse is so simple and lovely: tatted borders run up one sleeve, across the neck and down the other sleeve of the front and back pieces. The tatting is joined at the tops of the sleeves. And then the sari is adorned with small tatted floral motifs. Sigh…

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Meanwhile, the reverse sides of the pages are still entertaining. Eggshell dolls, anyone? And what on earth is “mercolized wax”? (Hey look, an ad for knitting yarn!)

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Finally, from the 80′s: Shabana Azmi modeling saris. Who knew? (Also, who knew that some of those typical 80′s print chiffon saris were from Japan?)

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The last loot from home came from these:

1. Exhibit A: a tin with English nursery rhymes featuring blond children and the Devnagri alphabet above. I feel there are seeds of an insightful lecture on colonialism here, but feeling too lazy now.

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2. Exhibit B: another tin with charming stylized animals.

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Both of them contained…

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Yesss! Plastic, wood, glass, pearls. Expect to see them featured in upcoming projects.

PS: while conceiving this post, I looked around the internet and found this wonderful site for old photographs of saris and blouses – vintagesareeblouse.tumblr.com

PPS: Ancestry and Heritage Part I is here.

Change of Plans

Remember these?

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And how I kept making tantalizing references to a giant project? Well, that project was DOOMED!!! It was the yarn, not me. We really tried to make our relationship work. We called in the assistance of vinegar, shampoo and hair conditioner. Repeatedly. But its abrasive personality remained the same. Finally, when the Experts from that megamind, the Internet, recommended ammonia, I put my foot down. We’re done, baby. 

It began innocently enough. Ravelry commentors and blogs said that Harrisville Shetland started out scratchy because of the coning oil, but bloomed into a much softer fabric. Based on these recommendations, I bought the yarn. It was scratchy, like string. I washed the swatch. Yes! Blooming and softening! I waited for it to dry and draped it round my arm. Shriek! It still felt like Scotch-brite! 
 
Now it’s only fair to say that the yarn makes no claims of being soft like merino or cashmere. Nor did I expect it to. It had a reputation for ‘rusticity’. I could take rusticity. Where I draw the line is at actual prickliness. It scratched and prickled, and I do not have sensitive skin. 
 
Then started a long line of internet searches (ask me all the various combinations of search terms for softening wool). Based on those, I washed it, soaked it in hair conditioner, wrapped it in plastic and left in a warm place, even added vinegar to the final rinse. I doubt I’ve ever done so much for the yarn  hair on my own precious head. But the swatch refused to soften to non-prickliness. 
 
So I tried imaginary microscopic analysis. Oh look at the tangled structure of the yarn. It is woollen spun after all. But what have we here? Stiff and hard plant shreds! I zoomed out of the imaginary microscope and picked out every bit of vegetable matter that those dratted sheep must have walked through. It remained prickly. 
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Thus, it was time for plan B. If the planned sweater had been for myself, I could have talked myself into respecting its rusticity and stubborn character, and how connected I would be to the living, breathing sheep that alchemized wool with their bodies, from the random molecules of the universe. But it was destined for someone with sensitive skin, who had, moreover, been traumatised by scratchy woollen garments as a child. Clearly, I had chosen the wrong yarn for my mission to reinstate wool back into his favour. Ok, so it was my fault, not the yarn’s. Fine! 
 
Plan B details: 
a) Knit sweater in soft yet sturdy merino blend. Line cuffs and neck with Malabrigo, so that the subject of the wool-love-mission is converted to a wool worshipper for ever. 
b) Turn the already knit sleeves into leg warmers for myself – just add ribbed cuffs. 
c) Since I actually like the fabric produced – only not next to my skin – and I have tons of yarn, knit a nice winter dress / tunic. It might take me a couple of years, but with the fabric’s crisp stitch definition and light yet wonderfully cohesive feelthere is a good opportunity to make something spectacular. We shall see. 
 
PS: I’m not planning to wear the tunic and leg warmers at the same time, obviously!

Roses and Welts

I made another skirt, a much better fitting one than the last two. It’s a basic a-line skirt from Sew U, but I made tons of changes. First, I left out the front darts to accommodate my tummy.  Then, I reduced the length substantially, and also lopped off about an inch from the top. I still marvel at the amount of ease built into the Sew U patterns – 4 inches of width removed from the bottom, and the skirt is still a-line. Finally, I added a hook and eye closure.

Oh but that’s not all! The skirt also has:

A lining: this rather bilious green fabric was what I had lying around. I used it since it’s going to be invisible anyway, and I love the heavy swishy drape and structure that a lining gives to garments. It feels like a Solid, Well Made Thing.

Piped Welt Pockets: Tutorial from here. They were much easier than expected. My only problem was: the zip foot, which came with my Brother LS2125. It has a very broad, wide, ‘heel’, which prevents the stitching line from snugging up to the piping. Well, that’s an understatement. It is inhumanly determined to not stitch next to the piping, and with grim persistence pushes the piping away no matter what you try (why yes, I did have to spend a lot of time re-doing the piping). So the curves of the pocket opening aren’t as perfect as they could be. While I’m all for making do with what one has — and not spending on extra gadgets — I think I really do need a foot that forms a stitching line along its edge. See, other people agree with me!

 

Three rows of top stitching, to prevent the lining from riding up.

 

Matched with similar, subtle, top stitching at the hem.

 

And now, my position on a couple of controversies:

Quilting cotton: Yes, this is quilting weight cotton. I would never make a dress or shirt out of it, but its stiffness is good for an a-line skirt. The lining helps make it comfortable too.

Lining hem: ok, this is a controversy only in my own mind. Should the lining hem be turned out (between the lining and the main fabric) or in (next to the body)? I’ve seen RTW examples of both styles. My reasoning is, that while all construction details (darts, seams) should fall between the lining and the main fabric (so that there is a smooth, neat surface if the garment is turned inside out) the hem is the only part of the lining most likely to be seen when worn. Therefore, it makes sense to turn it inwards (towards the body) so that it looks clean if the main fabric rides up while worn.

Meanwhile, Nanook still awaits pocket linings. But I did so much successful sewing this weekend, I didn’t have time to knit.

Ancestry and Heritage, Part I

On my recent visit home, I finally documented many delightful things lurking in the cupboards.

Chiefly, my mother’s and neighbour’s collection of knitting patterns and fashion spreads torn out of Indian and UK magazines. Before going any further, I should specify that that my neighbour is elderly; her collection is from the ’50s to ’70s. My mother, being of more recent vintage, provides us with glimpses into the ’80s.

I confess to some qualms about the title of this post – what do the British royal family and Roman pavements have to do with my heritage? Biologically and geographically, none at all, at least on the face of it. But like it or not, the Raj left a huge impact on India’s recent past and on the generation that grew up just after Independence. Many of the upper middle-class urban populace felt a faint embarrassment about all things Indian, because they accepted the colonialists’ worldview as normative. With the economic isolation of the early post-Independence decades, most of the foreign women’s magazines (by which I mean “magazines for women, published outside India”, not “magazines for expat women”) were British ones. Of course there were lots of Indian women’s magazines (in Indian languages and in English), but it was Woman and Home, Woman’s Weekly and others of the ilk which allowed Indian readers to peek into the lives of foreign women. And so, in that rather convoluted way, perhaps I can justify calling these magazines as part of my personal heritage, in that  people I know read them, stored them, saved patterns from them, and knitted me clothes from them.

(The irony of writing out these thoughts in English doesn’t escape me.)

Let’s start with the foreign magazines, since these are mostly about the pictures, which I just can’t wait to share! I’ll talk in much greater detail about the Indian articles in a later post, once I’ve arranged my thoughts a little.

1. A book by the Singer Sewing Co., around 1950. Pushing all sorts of extra attachments:

 

2. With a charming photograph of an early sewing machine.

 

3. CRAZY, insane dress! Look at the amount of hip padding, covered by a full, swingy, skirt; all knitted in 1×1 rib! Seriously??!

 

4. Whew, let’s calm down. Look, here’s the pattern for something I’ve made!

 

5. This is a lovely little cardigan. I think it’s classic enough to be worn even today without the slightest pretense at irony. Perhaps after lowering the neckline a little bit, though. Since  stranding produces a double thickness fabric, the cardigan will be much more practical as a longer sleeve, cold weather garment. I’m visualizing it in biscuit/ivory, mint/cream, turquoise/white, burnt orange/wheat, or scarlet/grey. Also, did you notice that the pattern perpetuates the myth of needing to weave yarns in stranding knitting? Nonsense!  In such a close-spaced motif, weaving is not only unnecessary but will also make the reverse uglier and the yarns more difficult to manage.

 

6. Here’s something that could be worn just as written, in a cool and refreshing shade of summer cotton yarn. Perhaps peach, aqua, pale watermelon, white (with sparkly silver threads incorporated), lilac, or cool grey.

 

7. Another one with miles of fine-gauge knitting. Since this one is so obvious (houndstooth = big outdoor garment!), I think this one will be much wittier in a non black-and-white combination.  Like aqua/sand. Or even green/gold.

 

8. Now this one is classic and gorgeous!

9. Not an ideal outfit for mixing concrete, but the dress itself isn’t bad.

 

10. Another cool, pretty, modern-looking top…

1

1. Oh, the lovely lines of this dress! I would never contemplate making it unless I knew someone with a knitting machine; but if I ever had the time…!

 

12. And just before entering hideous, oversized ’80s territory, this pullover which is bold and flattering.

 

The articles on the reverse sides of the patterns are intriguing and entertaining! Being UK magazines, there are the usual pieces about:

13. The royal family; and

 

14. Country life: here, a feature on a farmer who discovered a Roman pavement in his field.

15. And finally, an unintentionally hilarious one on foreign husbands! Men of America: did you know your USP was the ability to do housework??!

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