Art Deco Knits E-Book

Jemima Bicknell

• Herausgeber: Crowood
• Kategorie: Lebensstil
• Sprache: Englisch

Seitenzahl: 273

Veröffentlichungsjahr: 2019

Beschreibung

The jazz age of the 1920s and 1930s is a particularly inspiring period in fashion design, well-known for its intricately embellished fabrics and elegant detail. Art Deco Knits aims to inspire the modern knitter who wishes to create a vintage-inspired wardrobe, or simply add a touch of Art Deco glamour to their knitting. Featuring valuable information on styles and silhouettes, fabrics and finishing techniques, this beautifully illustrated book celebrates the joy to be found in creating knitwear inspired by this most popular of eras, when fashion and self-expression became accessible to more women than ever before. Topics covered include tips on choosing yarns and adapting patterns to fit an Art Deco aesthetic; a collection of Art Deco-inspired stitch patterns; beading and embroidery techniques for creating uniquely embellished knitted fabrics and finally, finishing tips and techniques. Nine original patterns are included, each inspired by a particular facet of 1920s or 1930s style.

Leseprobe

First published in 2019 by

The Crowood Press Ltd

Ramsbury, Marlborough

Wiltshire SN8 2HR

www.crowood.com

© Jemima Bicknell 2019

All rights reserved. This e-book is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorised distribution or use of this text may be a direct infringement of the author’s and publisher’s rights, and those responsible may be liable in law accordingly.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN 978 1 78500 550 3

CONTENTS

Acknowledgements

Introduction

SECTION 1 – STYLE AND SILHOUETTE

1.The 1920s – Bright Young Things

2.The 1930s – Emerging Elegance

3.Hand-knitting in the 1920s and 30s

4.Vintage Style for the Modern Knitter

SECTION 2 – TECHNIQUES

5.Basics and Materials

6.Embellishments

7.Creating Art Deco Fabrics

8.Edgings and Hems

9.Finishing Techniques

SECTION 3 – PATTERNS

10.Josephine Sweater

11.Parelli Shawl

12.Olive Sweater

13.Frances Sweater

14.Barbara Gloves

15.Beckett Mitts

16.Margaret Cardigan

17.Garbo Cowl

18.Brooks Hat

Abbreviations

Resources and Further Reading

Index

ACKNOWLEDGEMENTS

I am so grateful to the many people who helped to bring this book into existence, both directly and indirectly. Firstly, special thanks are due to three amazing women: Rachel Atkinson, Susan Cropper and Juju Vail. To Juju, without whom this book would not have happened, to Rachel, who showed me a career with sticks and string was possible, and to Susan, for offering me my very first job in this knitting business – thank you so much. Thank you also to the Loopettes (and Loop Lad!), past and present, and to all of my knitting friends and colleagues. I couldn’t have done this without your support over the years.

Thank you also to my technical editor, Laura Chau, for her eagle eye and careful pattern checking, and to my wonderful mother-in-law, Kate Stanley, for providing her family photographs for this book.

More thanks are due to my husband than is possible to express here. He has worn many hats during the creation of this book – photographer, proof reader, therapist – and I am so grateful.

Finally, I’d like to dedicate this book to my knitting partner-in-crime and my number one cheerleader – Mum, this book is for you. I hope you like it!

INTRODUCTION

No other era captures our imagination quite like the ‘Jazz Age’. Nearly every generation has reinterpreted the era’s style, fashion and mood in some way, and creators in all areas of design return to it again and again, drawing fresh inspiration each time. Art Deco, the wide-ranging style that left its mark on everything from architecture to fashion, is continually appealing. Decorative, but not fussy, clean, but not boring, Art Deco design was wildly popular during the inter-war period and continues to be drawn upon today.

For those creators interested in making beautiful clothing for their own wardrobe, the 1920s and 30s can be a particularly inspiring period, as it marks the beginning of fashion as a desirable and accessible pastime, no longer limited to the richest section of society. Cultural change shapes fashion, and few periods contained as much cultural, social and economic change as the two decades between the First and Second World Wars. The clothes women wore represented (and sometimes asserted) their increasing social freedoms, including the growing acceptance of female suffrage and greater (albeit still limited) opportunities for women to earn an income. Clothes could now ‘make the woman’ and an increasing supply of sewing and knitting patterns meant that women could now make the clothes – not just as a practical fulfilment of domestic requirements, but also as a source of joy and self-expression.

This book aims to encourage this joy and self-expression in the modern knitter who is drawn to the glitter of the 1920s and the elegance of the 1930s. It is split into three parts. The first section, ‘Style and Materials’, introduces the fashionable silhouettes and design details of the 1920s and 30s, and shows how they were interpreted in the knitting patterns of the period. This section also gives helpful information on the basics of a successful knitting project, including tools, materials, how to read your knitting and the importance of tension. The second section, ‘Techniques’, covers everything you need to know to create beautifully patterned and embellished fabrics, and includes a stitch dictionary of Art Deco-inspired stitch patterns. Finally, there are nine patterns inspired by various aspects of the period. These patterns are designed as a starting point for your own creativity, and each includes ideas and tips for tweaking them to create your own unique projects and, ultimately, build your own vintage-inspired wardrobe.

SECTION 1 - STYLE AND SILHOUETTE

CHAPTER 1

THE 1920S- BRIGHT YOUNG THINGS

The silhouette of the 1920s woman is instantly recognizable. Ask someone to describe her and the ‘flapper’ will quickly come to mind, a wild party girl wearing a loose, fringed evening dress and long strands of pearls, with bobbed hair and a cloche hat completing the look. The flapper girl is certainly an important and enduring facet of the 1920s look but the classic style did not appear immediately and throughout the decade fashionable silhouettes morphed and changed to reflect the cultural developments of the time. This variety is helpful to keep in mind when we are looking to the 1920s for inspiration as specific design details from the period can be adjusted to suit your body shape, while still maintaining an overall vintage look. There was more to 1920s clothing than shift dresses and fringe!

The straighter, simplified look that we associate with the 1920s actually had its roots in the Edwardian period. The silhouette had already begun to loosen over the course of the 1910s, in part due to the new physically demanding roles filled by women during the First World War. Corsets – at least the rigid, whale-bone enforced kind, as fashion had by no means finished with the use of underwear to shape the female body – had already started to fall out of favour as freedom of movement and comfort became more of a concern to the fashionable woman.

As the decade began, dresses became loose and shift-like and the waist began to drop lower on the body, towards the hip. The general silhouette was intended to be long, lean and tubular in appearance, giving the wearer a boyish look without visible curves. These slim lines were encouraged with elasticated undergarments – the (slightly!) more comfortable successor to the corset. For the first time in history, hemlines began to creep upwards – reaching calf-length in the first half of the decade and eventually rising all the way up to the knee. Although relatively demure by today’s standards, this was a radical departure from Victorian concern over visible ankles from only a few decades earlier! Sport and leisure activities such as golfing and tennis were increasingly popular, and these energetic new pastimes required comfortable clothing that allowed for easy movement.

This simplification of the silhouette introduced ‘fashion’ to a far wider audience than ever before. In contrast to the careful fitting and complex construction of garments in previous decades, a fashionable dress now consisted of only a few pattern pieces, required simple fitting techniques, and could easily be sewn by the enterprising home seamstress in an evening. Fashion and style were now accessible, desirable, and within reach, a development that went hand in hand with the growth of the glamorous new world of Hollywood and cinema. The ‘silver screen’ offered plenty of fashionable inspiration and women could emulate the wardrobe of their favourite actress relatively easily.

Of course, while the basic silhouette was simple, the fashionable wardrobe of the 1920s was certainly not plain. A minimalistic shape allowed for a greater focus on design details at the hip, hem and neck or shoulder, which were often emphasized with pleated or gathered fabric, artificial flowers, and embroidery. Unusual collars or necklines were also common and featured bows, cut-out effects or contrasting colour details. Sleeves were usually either slim fitting, or loose and gathered into tight cuffs at the wrist. Design details might also be placed at the cuffs with beading, buttons or embroidery. Further interest could be added to the basic garment shape by dividing it up into sections with horizontal stripes, bands of pattern or sections of embroidery. These bands of embellishment would sit low on the hip or at the hem of the garment to emphasize the straight lines of the torso and skirt.

Evening wear also featured a loose, straight silhouette, but reworked in the most luxurious of fabrics. These dresses could have exquisite embellishment, with dense beadwork and embroidery adding interest to the clean lines of draped and pleated fabric. However, the new dance crazes required that evening dress be practical as well as beautiful, allowing plenty of room for movement – arms were often left entirely bare and dresses could be cut very low at the back. They were short, falling to the calf or knee, and many featured surprisingly modern-looking uneven hemlines with shorter skirts at the front or sides. Evening dresses might also have more fullness at the hem than day wear. This was particularly true in the second half of the decade, when ruffles and panels of extra fabric were added to the lower part of the skirt, often asymmetrically. Shoulders could also be asymmetrical, with a single shoulder emphasized with large bows, flowers or lengths of draped fabric. Beaded overlays were loosely attached over the main fabric and tassels or long lengths of fringe might be sewn at the hip. These tactile, textured embellishments were perfectly designed to catch the light as the wearer danced the night away.

The 1920s silhouette was simple, loose-fitting and comfortable, reflecting the enthusiasm for sports and dancing.

For the 1920s woman, a slim, boyish shape was preferred, with curves suppressed as much as possible. Deep V-necks and horizontal bands at the hip accentuated the tubular look.

1920s silhouettes at a glance

• Loose-fitting skirts or dresses with a calf- or knee-length hemline

• Either no waist (shift dresses) or a dropped waist, pulled in at the mid- or upper-hip

• Narrow, close-fitting sleeves, or draped and gathered at the wrist

• Embellishment details placed at the hip, neckline and shoulders, including sash belts or unusually shaped collars

• Pleated, gathered or draped fabric

• Sportswear influence

• Outerwear trimmed with fur

Accessories

Few items are as potent a reflection of the 1920s as the cloche hat. Equal parts elegant and rebellious, these stylish hats were worn pulled down low on the forehead, shading the eyes and framing the face, and are an iconic feature of the decade’s fashion. Hats were an important part of the fashionable lady’s wardrobe and were often made eye-catching through the use of intricate design details such as ribbons, bows and trims. Hats might be in a neutral colour and an interesting shape, designed to be worn with several different outfits. It was also common in more fashionable circles to match the hat to the garment. Cloche hats could vary considerably in design – the brim might be worn turned up at the front or side, the crown could be rounded, fitted closely to the head, or large and angular. Wide-brimmed hats were also worn, although these were less common. More exotic styles of headwear appeared for evening wear, with jewelled turbans or headbands becoming popular. Long, thin scarves might be tied around the head, either over a hat or alone, with the ends tied in a bow or allowed to fall down the back.

Scarves and shawls were hugely versatile and could be worn in many different ways. Small neck scarves might be tied tightly around the neck beneath a matching cloche hat. Alternatively, scarves might be tied in a bow beneath a large collar or added to the front of a dress to soften a neckline. Sometimes scarves and shawls would be integrated completely into an outfit. Large plain or embellished shawls might be tied as a sash around the hips to shape a dress, or long scarves could be attached to one shoulder and wound once about the neck before joining the draped fabric of the dress, falling in soft folds to the hem. Scarves and shawls might be carefully matched to an outfit or worn in a bright contrasting colour with a black or neutral-coloured garment. Thick fur stoles, cuffs and collars were also popular.

Gloves and cuffs were worn for practical reasons and as extra decoration. Leather gloves were common for day wear, particularly with the increase in leisure activities and interest in driving. For evening, bare arms would be complemented by short, detached cuffs in a delicate fabric, often alongside jewelled bangles and armbands. The look could be completed with a small beaded evening bag.

Accessories were an important part of the 1920s wardrobe. Close-fitting cloche hats framed the face and brightly patterned scarves would add colour to a practical outfit.

1920s accessories at a glance

• Close-fitting cloche hats, plain or embellished with ribbon

• Silk neck scarves tied closely around the neck or head

• Large scarves tied under the collar or wrapped around the neck

• Short close-fitting gloves for day wear

• Detached cuffs in delicate and embellished fabrics

• Fur stoles and collars

• Small beaded evening bags

Fabrics and Colours

Thanks to the colourful art movements of the previous two decades, bright colours were already being used for fashionable wear by the 1920s. High-end evening wear could be particularly vivid and featured a wide range of bright jewel shades. Very fashionable day dresses might also be colourful, but muted or neutral fabrics were generally more common for day wear. For women with lower incomes, day dresses tended to be worn in darker shades and lifted with brightly coloured accessories. Black was popular and worked particularly well for evening when embroidered with gold and silver thread and beads. Black was also frequently used as part of bold colour combinations and might be paired with bright pink or red.

Garments and accessories would often be worn together in a single matching shade, with particular design details picked out in a contrast colour or fabric. Sportswear influences manifested in crisp white fabrics with bright trims. Although less common than solid colours, prints were also used for day wear and were usually bold, graphic and slightly abstract. Stripes and plaid patterns might also be used.

In high-end fashion, the fabric itself would often be the primary focus of the outfit. Combining simple shapes with heavily beaded and embroidered fabrics, designers would draw on Art Deco influences and cover dresses with embroidered fish scales, feathers, angular linework, and stylized floral motifs. Whether through printed patterns or embellishment, fabrics often reflected the fashionable preoccupation with ‘Orientalism’ – a kind of romanticized, fantastical exoticism that drew on sources as varying as Russian embroidery and Ancient Egyptian hieroglyphs.

Luxurious fabrics such as silk, velvet and shiny metallic lame tended to be used for high-end evening wear, with jersey, crepe and rayon (the emerging ‘artificial silk’) worn during the day. Drape was of paramount importance for both day and evening fabrics, in order to achieve the desired silhouette. A simple design could be enhanced through the use of contrasting fabrics, with pieces of matte and shiny fabrics placed together on the diagonal or thick stripes of print alternated with a solid colour. Evening dress featured similar contrasts, with fine translucent voile sleeves ending in solid fabric cuffs. Fur gave a luxurious texture and was used to trim the hems and cuffs of both dresses and outerwear or worn as thick collars and stoles.

This mid-1920s outfit combined a bold pattern with a solid colour. Fun square buttons added extra decoration.

1920s fabrics at a glance

- Solid colours with contrasting colour or print design details

- Luxurious silk, velvet and lame fabrics for evening

- Jersey and crepe fabrics for day wear

- Comfortable fabrics with excellent drape

- Bold, abstract and stylized prints

- Heavily embellished fabrics with intricate embroidery and beadwork

- Contrasting textures and finishes

- Black or bright jewel shades for evening

- Neutrals and muted shades for day wear

CHAPTER 2

THE 1930S- EMERGING ELEGANCE

In terms of garment shapes, the 1930s can be a much more approachable style to incorporate into the modern knitter’s wardrobe than the 1920s. As the decade progressed, waistlines returned to their natural position on the body, trousers were introduced into women’s wardrobes, and the production of knitting patterns exploded. Although in some ways the 1930s can seem a quite conservative time in fashion (especially when compared to the rapid changes in culture and fashion seen in the previous decade), the blend of simple, flattering shapes and innovative detail is both inspirational and wearable. When looking at the 1930s silhouette, you can see that the flapper girl of the 1920s had ‘grown up’ into a sophisticated and elegant woman and her wardrobe had matured to match.

The 1920s had been all about the straight silhouette: shift dresses, boyish figures, and very few curves. However, as the decade came to a close, waistlines had already begun to rise again. A slim, defined waist at the natural waistline soon became a feature of the 1930s silhouette and this shape has seldom been completely out of fashion since. Many sweaters were neatly fitted at the waist and were fairly cropped, making them a perfect match for high-waisted slacks and skirts. In the early part of the 1930s, garments were still worn loose around the bust, giving a bloused effect above the close-fitting waist. This silhouette bridged the gap between the loose, relaxed shapes of the 1920s and the more tailored looks that would begin to appear in the later part of the decade and into the 1940s. Longer blouses, sweaters and dresses were also worn, but these might be belted to further emphasize the waist and give a neat, close-fitting shape.

The return to feminine curves reflected a general shift towards prettiness in fashion, with bows, ruffles and flowers becoming more common in both day and evening wear. Hemlines dropped again, returning to calf length for day wear, and skirts often featured inset panels and gathering or pleating towards the hem. Although trousers were worn, they were usually cut very loose and maintained the softly feminine silhouette. Greater emphasis began to be given to the shoulders, with puffed sleeves, ruffles and even oversized ‘leg-of-mutton’ sleeves becoming common as the decade progressed. The use of boleros or short jackets layered over the shoulders and bust further emphasized the top part of the torso. Alternatively, the shoulders might be slim and close fitting with large bell sleeves gathered into a tight cuff.

Necklines became even more varied, with a huge range of different shapes available. Blouses could be high-necked, with small, neat collars or large lacy fichus that lay like capes over the upper shoulders. Lower necklines could be square-cut, V-necked or draped in a soft cowl, and might be emphasized with embroidery, bows and ruffles. Cuffs were often also emphasized and might be worked to match a brightly coloured collar on an otherwise plain dress.

For evening wear, elegance was key. Dresses were cut on the bias, creating a beautiful draped column of fabric that fell all the way to the floor and gracefully skimmed the body. The front neck might have a loosely draped cowl neckline, or it might be cut high with a dramatically low back. Strands of diamante might be added across the back for a touch of sparkle. These simple dresses were not necessarily plain – printed fabric began to be used for evening wear as well as day wear during the decade – but they were usually less embellished than the party dresses of the 1920s had been, with an emphasis on cut and drape rather than beadwork and embroidery. Although arms were sometimes left bare, interesting sleeve shapes also began to appear in evening wear. Sleeves were sometimes even detached from the dress, worn separately on the upper arm and leaving the shoulder bare. Small matching capes might be worn over dresses, covering the shoulders and featuring fur- or diamante-trimmed collars.

Prettiness and femininity reappeared in the 1930s with delicate florals, puffed sleeves and small decorative bows.

No longer hidden beneath boxy shift dresses, women’s waists could be accentuated with deep sections of rib. Necklines were interesting and feminine with large bows or collars.

Garments might be sleek and close fitting in the body, with large statement sleeves and eye-catching diamante fastenings for a glamorous evening look.

A belt could be added in a matching or contrast fabric to accentuate the waist on longer sweaters.

1930s silhouettes at a glance

- Slim-fitting or bloused shapes, nipped in at the natural waist

- Skirts or dresses with a calf-length hemline for day, floor length for evening

- Wide-leg trousers/slacks with a natural or high waistline

- Interesting necklines, particularly cowl necks, bows and collars

- Puffed, gathered or slim-fitting sleeves

- Outerwear trimmed with fur

Accessories

During the 1930s accessories became even more varied and widely worn. With the recent recession making it difficult to afford the latest fashions, fashionable women could update their look much more economically by adding a new hat or scarf. Accessories were increasingly bright, fun and feminine and could be mixed and matched easily to create new outfits. Cloche hats continued to be popular, although the brim now lifted slightly further away from the face and was often folded up at the top or the side to reveal the forehead. Some hats were very small and performed a purely decorative function – they could be worn at a jaunty angle on one side of the head, allowing the wearer to properly display their perfectly finger-waved hairstyle on the other. These small hats would often feature embellishments such as ribbons, feathers and artificial flowers. Turban-style hats continued to be worn and smart little knitted or felt berets were popular. For the brave trend-setter, increasingly interesting (and perhaps, for some, slightly difficult to wear!) hat shapes appeared, with pointed crowns decorated with buttons and tassels. Hats might also have a small lace veil attached to them to cover the eyes.

Gloves became increasingly popular during the 1930s. During the day, short leather or fabric gloves would be worn, sometimes with decoration at the cuff. Gloves were now also worn with evening wear. These tended to be long, reaching to the elbow or beyond, although short lace gloves might also be seen. Long cuffs (what modern knitters might call wrist warmers) were also worn on the forearms, usually in a delicate or embellished fabric that complemented the fabric of the gown.

As in the 1920s, scarves were frequently incorporated into an outfit. Silk scarves might be tied under a neat collar, or a longer sash could be wrapped around the waist to create the fashionable nipped-in shape. Scarves could be bright and cheerful and might match the hat for a coordinated set. Fur continued to be a very popular accessory for both evening and day wear and was used as a trim along cuffs, collars and hems, as well as for luxurious stoles.

Hats became increasingly fun and varied in shape and were worn at a flattering angle. Thick fur collars and cuffs added a luxurious finishing touch.

1930s accessories at a glance

- Small cloche hats with upturned brim or neat berets, worn at an angle

- Silk neck scarves tied under collars

- Sashes tied at the waist

- Short gloves for day wear, long gloves for evening wear

- Wrist warmers in embellished fabrics

- Fur stoles and collars

- Boxy leather or fabric handbags, or clutch purses

Fabrics and Colours

The new appetite for prettiness was reflected in the colours and fabrics of the 1930s wardrobe. Pale pastels and muted shades remained popular, but many bright shades were now worn in both day and evening wear. Colour combinations could be bold and unexpected, with several primary colours combined in single garments. Black continued to be considered very chic and would be accessorized with pops of bright colour. Prints became very popular and were used in evening wear as well as day wear, replacing the expensive, heavily embellished fabrics of the 1920s. Prints could be large and bold or small, delicate and floral, reflecting the new feminine aesthetic. Stripes and plaid patterns continued to be popular and were joined by fun dotted prints.

Increasingly successful artificial imitations of luxe fabrics appeared, replacing the expensive embellished fabrics that few could now afford. The growing popularity of ‘art silk’ (rayon), alongside the simplicity of the new evening wear fashions, meant that glamour was now accessible to a much wider audience and no longer required a large income. Embellishment did not disappear completely though, and very high-end designs could feature sparkling diamante trims. Fur was also extremely popular as a trim, with cheaper varieties available as well as faux fur made from cotton pile.

Prints began to be used for evening wear, trimmed with bands of contrasting fabric. Evening dresses were long, with a simple silhouette and a focus on elegant cut and drape.

1930s fabrics at a glance

- Simple silk or rayon fabrics cut on the bias

- Pretty shades of lilac, pink and oyster

- Bright and bold colour combinations

- Plenty of prints in large, bold designs or small, delicate florals

- Fur and faux-fur trim at cuffs and collar

- Stripes, plaids and dots

CHAPTER 3

HAND-KNITTING IN THE 1920SAND 30S

Knitting in the 1920s

Great inspiration is to be found in this period for the modern maker, as it marks the beginning of self-made fashion. Before the 1920s, hand-knitting had been primarily a practical matter, with knitters producing vests, socks and other plain underwear items for their family. Knitting had been especially important during the First World War, when producing hardwearing knitted items for soldiers was both a necessity and a way to show love and support for the men away from home. Once the war was over, it would be understandable if this impressive production line of practical knitwear might have led to something of an ennui for hand-knitting. However, as the 1920s progressed and a greater variety of patterns and yarn began to appear, enthusiasm for the craft continued to grow.

Accessible Style

During the 1920s, home sewing machines and cheap printed knitting and sewing patterns became increasingly available. These new patterns often came as part of women’s magazines such as Woman’s Weekly and Woman and Home and brought the new fashions to the ordinary woman. Fashion was now accessible to many more people and couture looks could be emulated by those who could never dream of affording the originals.

This new interest in home-made fashion was helped by the simplicity of the new styles. The knitting patterns of the early 1920s followed the fashionable straight silhouette and were often tubular, loose, and involved little to no shaping. Instead, drawstrings might be used to draw the sweater in above the hips or around the neck. They were also generally worked in simple stitches such as stocking stitch, with perhaps some crochet or lace added at the hips or the neck for interest, and were often marketed for their simplicity and approachability, assuring the aspirational ‘bright young thing’ that a fashionable sweater could be worked in one piece, and made in a day.

The 1920s sweaters were loose fitting with minimal shaping. They might be gathered in at the neck and above the hips with drawstrings or accented with bands of decorative stitches.

Simple shapes and stitches would be embellished with touches of embroidery at the neckline or lacy patterns at the hip.

Fashionable practicality

As the 1920s progressed, the sweaters became longer, with the hem reaching the hip or below. This tubular knitted look was enhanced further as sweater suits became popular, with skirts and sweaters knitted to match each other and create a long line. Maintaining this fashionably clean silhouette remained an important aspect of knitting pattern design. In a 1928 issue of Woman and Home, ‘A Pull-over of Good Line’ was proclaimed to keep a ‘Smart Silhouette when the Wearer is in Motion as well as when she is in Repose’, a selling point that was particularly important considering the new active hobbies women were engaging in. Many knitting patterns were inspired by the new vogue for sports such as golf and tennis, as knitted fabric allowed a much more practical range of motion than woven garments. The practical and beautiful features of knitted fabric were also now fully recognized by couture designers, most notably by Chanel, whose use of jersey in her 1916 collection helped to place knitted fabric firmly on the fashion map. The endorsement of knitwear by the trendsetters of the day encouraged an increasing appetite for new patterns; knitters began to value the most up-to-date trends and styles over the practical items that had previously been the focus of pattern leaflets and magazines.

The confident knitter

The increasing desire for knitwear – and the confidence of knitters in replicating new styles – led to a greater variation in pattern as the decade progressed. Although the fashionable shape remained simple throughout the 1920s, touches of embellishment began to be introduced and patterns became more complex. Horizontal contrasting bands appeared in many knitwear designs, either through thick two-colour stripes at the hips, or sections of more complex lace or textured stitch patterns. Thick bands of ribbing at the hem of long sweaters would cling to the hips, leaving the waist loose. Embroidery was also common, either as a simple motif added to a pocket or more complex designs worked along button bands and necklines and above ribbed sections at the hip. A great deal of care and enthusiasm can be clearly seen in these new designs and women were eager to embrace this ability to create something fashionable and unique.

A craze for colourwork

Part of this growing confidence was reflected in the new enthusiasm for colourwork, particularly Fair Isle patterns from Shetland. The starting point for this craze (and possibly the resurgence of fashionable knitting in general) is often credited to the Prince of Wales, who was pictured wearing a Fair Isle sweater in 1921. This royal endorsement from a fashion icon caused a surge in popularity for knitted garments from Shetland, which ticked many of fashionable boxes for the 1920s woman: a loose, androgynous fit, bright and colourful patterns, and an energetic ‘sporty’ air (Fair Isle sweaters and vests were often worn while golfing).

Knitting in the 1930s

The economic crash in 1929 did nothing to slow down the popularity for hand-knitting – if anything, knitting and home dressmaking became even more popular during the 1930s as it allowed some distraction and control in an uncertain and difficult time. Patterns continued to offer access to the world of fashion and gave knitters a cheap way to whip up a new outfit.

Changing silhouettes

As the fashionable silhouette started to shift, knitting patterns quickly began to reflect the new shape. Sweaters became shorter, with hems creeping up to sit at the high hip. New designs were given a close-fitting shape through the waist with a deep section of rib before blousing into a loose fit around the bust. A greater variation in silhouette and style also began to appear. Whereas the fashionable shape of the 1920s had been fairly stable and ubiquitous – simple, straight, tubular, with as few curves as possible – the 1930s had a variety of different silhouettes depending on the preferences of the knitter. The new sweaters might be extra-feminine, with large frills at the neck and lacy all-over stitch patterns. Or they might be neat and close fitting, with a simple knit-purl stitch pattern and a tailored look. Sleeves and collars could be distinctive and oversized, or smart and subtle. The explosion of innovative designs and styles over this period turned knitting into a fun, easy and empowering way to express oneself – a feeling that is easily recognizable to the modern knitter.

Designs became increasingly challenging as knitters sought new and interesting patterns. This cardigan features a diamond lace panel, lines of delicate rope cables and a neat folded collar.

1930s knitting patterns reflected the new feminine aesthetic with all-over lace patterns and the addition of ruffles and frills at the neck and cuffs.

Emphasis was placed on the shoulders through the addition of large, cape-like collars and puffed sleeves. Party sweaters would be worn with sparkling brooches or sweater clips for extra glamour.