Joan Crawford - Design For A Silk Jacket

I am very pleased to report that my design for the Joan Crawford jacket has been reformatted and is back up on both Ravelry and on Etsy.

Image courtesy of Alastair McAskill

This is a design I came up with while shooting the photographs for A Stitch in Time Volume 1 with Susan Crawford. It was heavily inspired by the silver screen glamour of the 1930s, and, in particular, the style of Joan Crawford. Her character 'Crystal' in 'The Women' was influential, along with her off-screen style throughout the 1930s. The yarn choice was easy. Pure silk. For the drape as much as for the indulgence.

Image courtesy of Alastair McAskill

I wanted to create a very feminine, but not too fussy jacket, but I also really wanted to incorporate a peplum into the design. So I decided to keep the main body in stocking stitch so as not to detract from the design details. I didn't want the peplum to taper at the back, I wanted it to be quite short and flippy, with a slightly raised waistline.

Image courtesy of Alastair McAskill

The decreases in the peplum became design features when spaced evenly and the picot edging adds interest to the hem. And I cannot resist a good bow, so that took centre stage on the petersham ribbon belt.

The shawl collar I kept quite small and neat, knit in one piece and tapered at the ends, so that it would tie gently in front.

I couldn't stick just to stocking stitch, it was just a tad too dull, so I introduced moss stitch with the bow, sleeve cuffs, shawl collar and the front bands. I decided to omit buttons altogether instead using press studs, as I knew they would draw the focus away from the shape of the garment, and the discreet design features.

Image courtesy of Alastair McAskill

And the sleeves? They had to be full and feminine, with a slight gather at the shoulder. Three quarter-length seemed just right. They are knit from the top down.

 Image courtesy of Susan Crawford

This design was first featured in the Glamour issue of knitonthenet (along with A Posy of Violets). It was Susan's first website, before she established Susan Crawford Vintage, and it showcased lots of independent designers.

Image courtesy of Susan Crawford

I have to say a huge thank you to Susan Crawford for encouraging me to release this pattern, and for the multi-sizing she did for it.

Image courtesy of Susan Crawford

Here's a bit more info on the pattern:

Materials
1500 metres of 4 ply in either silk, a silk mix, or cotton.
1 pair 3.5mm US 4 needles
1 pair 3.75mm US 5 needles
Length of petersham ribbon
8 press studs

The silk used above is discontinued now, but the red silk I bought is available from Knitshop. I have seen it done in other yarns too, (see version on this Ravelry page), which looks wonderful. I would also love to see how it looks in a silk and alpaca mix. Or bamboo. The drape would be lovely.

Sizes
34 (36, 38, 40, 42) inches

Actual bust measurement
36 (38, 40, 42, 44) inches

Tension
23 sts and 32 rows to 10cm/4 inches measured over stocking stitch with 3.5mm needles.

I hope you like it, as I can still remember throwing it across the room on two separate occasions while it was still on the needles. Ah, the design process...

Theodora.

My journalistic debut for In Retrospect magazine

Image rozrussell.com

I have become a 'reader' at the British Library, and a 'writer' for In Retrospect magazine.

The former feeds my need to look at vintage knitting patterns all day long. (It doesn't fulfill my need to own them, but I'm hoping that will follow, before I have to re-mortgage the house to pay for them).

The latter is something I have never done before, and it was one of the hardest things I have ever undertaken. Anyone who thinks writing is a doddle is either a natural, a genius, or has never tried. I have so much respect for good writing. Many of my friends make it look effortless, from music journalists to novelists.

Mat Keller asked me to write a piece about the music of the 1930s after hearing me play it at my house when he came to interview and photograph me for his Southern Retro series for In Retrospect magazine. He had also seen the Shellac Sisters in action at the Rivoli Ballroom several years ago. I kept jumping up and changing the song every 3 minutes, and I expect my passion for the hot dance music of the 1930s became apparent, if somewhat annoying. It was really important for me to have the music I love playing while being photographed wearing clothes from that time. (It helped with the nerves, as it was still too early for cocktails!)

Image Mat Keller for the Southern Retro Collection

Naturally I chose to wear knitteds. This is my cable jumper, a Copley's pattern from 1940, worn over my now threadbare 1940's day dress.

Image Mat Keller for the Southern Retro Collection

The hat is a design I haven't released yet, called 'Hat with a Tilted Brim'. It is crocheted in Fenella 2 ply wool, by Susan Crawford Vintage.

Image Mat Keller for the Southern Retro Collection

The wool cupboard, in its untidy state. (Did you notice the moth killer at the back? Oops.) Here I'm wearing a 30's full length floral dress, which is a favourite, and goes very well with my 'Draped Beret'.

Image Mat Keller for the Southern Retro Collection

Here I am on a typical day, lounging on the sofa, reading The Needlewoman, and deciding where to lunch (I wish). I'm wearing The Rose Jumper from A Stitch in Time Vol 1.

I got very nervous when the magazine arrived, but my article was there, as well as the Southern Retro interview. There was a lovely article by Miriam McDonald about vintage caravans, and why they make such a great holiday choice for accommodation. I also enjoyed her piece in the last issue about Jazz Age holidays, which included the hotel I long to visit - The Burgh Island Hotel.

It was grand meeting Mat, and we had a good chat about everything from babies to bakelite, and, of course, 78s and vintage knits.

Theodora.

The Shellac Sisters - a 78 rpm adventure in pictures

Jenny, Virginia, Jane and Theodora

The Shellac Sisters celebrated ten years of spinning 78s together at the end of 2014 with cocktails and dinner at The Gilbert Scott, part of the St Pancras Renaissance Hotel. I've been meaning to put up a blog post and a page about The Shellac Sisters for a long time, so here it is. 

The Shellac Sisters (with cocktails) at The Gilbert Scott Bar
Mine's a Corpse Reviver No.2.

The Shellac Sisters began DJing with gramophones in 2004, after a birthday picnic that summer when one of the sisters brought a gramophone and a handful of 78s along. It sounded great, and filled the picnic spot with sound loud enough to dance to. It didn't take long before we had all 'found' a gramophone (or two).

One should never dress down to a picnic.

It's been an amazing ten years, with gigs varied and exciting. Take a look at the page if you want to see more, but here are a few of my favourite pics from the past ten years.

On a platform in the middle of a man-made moat at

The V&A

This has to be one of my absolute favourite gigs of all time: A private party for a publishing company, which had the fantastic idea of hiring the V&A for a summer party. They flooded the outside area, and we had to jump on the platform before it got too high! We were then stranded there for the whole performance. Or, at least I thought so. Thankfully Jane had had the forethought to purchase some wellies in advance. Mine were leopard print.

Tate Britain 

I don't know who took this photo, but thank you whoever you are. My hubby doesn't dance much anymore, so this is a very precious picture. It was a Late at the Tate night, and we drew a huge crowd of Lindy Hoppers.

 I Knit Day 2007

I shouldn't have been at this gig, as it was on a Saturday when I work. It was for the wool shop I Knit in Waterloo. A whole day of knitting workshops, stalls and a talk by Jane Waller, whose 1972 book 'A Stitch In Time' I'd long coveted. It was a real turn of fate that got me here - one of those days when everything changed for me.

It wouldn't have happened if I hadn't been scratched by a cat in my garden a couple of months before. I got a really bad infection in my hand that needed surgery (Cat Scratch Fever)! I couldn't work for about six weeks, so at the last minute my mum and hubby convinced me to go along to this gig, as it wouldn't be too strenuous. That was the day that I met Susan Crawford and Jane Waller. Jane was talking about the re-issue of 'A Stitch In Time', with Susan, and when she saw The Shellac Sisters she offhandedly asked us if we would model for the book. I immediately said 'Hell yeah!' I wore my knitted dress that day, which later came to be featured in the book.

I've thought about that day many times since, and what got me there. It sounds a bit trite, but out of something awful, really awesome things can happen. Well, they did for me on this occasion.

The V&A

Another V&A shot, with both of us beaming with happiness. A very gallant gentleman kindly waded out and supplied us with refreshments of the bubbly kind, which may help explain it.

This was shot in an alleyway next to The Rose & Crown pub in Walthamstow for a newspaper article. I honestly can't remember which newspaper, though I've got a copy somewhere. I nearly didn't go, even though it was only up the road from me. It's not that I'm lazy (though I am!), just that I was feeling a bit sorry for myself. I was five months pregnant and feeling sick all the time. In retrospect (and in spite of the look on my face), I'm glad that I went.

This is from a picnic, and one of V's photographer friends took a couple of shots of us for promotion as we really needed them in the early days. I don't know why the other ladies' faces are cut off though. It wasn't me, really!

 The National Theatre

A nautical themed party for the National Theatre. We were on the roof, the deck, with views over London and the river. It was summer, an English summer, so there was a torrential downpour. Like the hats? They are all made by Jane (in the red hat), who is a milliner.

Gotta love that moat!

Theodora.

We're Gonna Hang Out The Washing On The Knitted Line - Part 2

Bored of the knits yet? I'm not. In fact these posts have made me realise I haven't got nearly enough! And these aren't even all of them, but the others are either duller colours, or cardigans (which are tricky to hang on a line).

I've been longing for some colder weather, and at last I can start wearing my woolens again.

I'll start with 'Embroidered With Tiny Flowers', from, you guessed it - A Stitch In Time. I knitted this before the new edition was even photographed. In fact, I finished it just before the first shoot in February 2008, and took it with me. It was a hit with Susan Crawford, and it ended up in the book. I knit it in the first (and only) size from the original pattern.

Unfortunately, you can't always rely on vintage patterns being free of errors, which is one of the reasons I now prefer to knit patterns from updated versions of vintage knitwear. To put in excess of 40 hours into a jumper, then for it to turn out the wrong size is a little infuriating. That's not to say you can't ever work from an original pattern, and even size it up or down, you just need to know what you're doing. I still have a recent example of this on the needles (When Jumpers Go Bad, from June 8th).

The tiny flowers were the first embroidery I had attempted, and they were sweet and fun to do at first. However, after a few hours I realised I wasn't even halfway through. Still, it got done, and I was thrilled with the result. I used Drops Alpaca which is super cheap, and made it for less than £20! Alpaca gets bloody hot though; I've worn it dancing, and I bake.

Here is 'Such Flattering Puff Sleeves', in Jamieson & Smith 2 ply jumper yarn.

This strong mustard shade for 'Such Flattering Puff Sleeves' is long discontinued by Rowan now (Scottish Tweed 4 ply - I was lucky to get it in the sale). One of the simplest knits you could ever undertake, which makes it a really satisfying beginner project. I would strongly suggest knitting shoulder pads in the same yarn, or all that knitting will be wasted without the puff. Also, unlike so many vintage patterns from the 1930s which require 3 ply wool, this calls for a 4 ply. A plethora of yarn choices!

The beret in the middle is the pattern I mentioned being photographed in my last post. It's now almost ready to go, if I can stop stressing about any mistakes and the layout of the pattern. It's not like it's a new design - it's from 2006! It will probably take a bit longer. Grr.

Onto the 'Eleanor Sweater' from 'The Corticelli Sweaters for Spring' booklet. It is one of Iva Rose's copies. I made this with some coned pale grey cashmere. The pink is angora, from Orkney Angora.

I have to eat my words about not trusting original patterns, but then I had no choice, this was made pre-Stitch In Time. I had to hunt around for button moulds, but they really set off the jumper. Such a simple design but so pretty. I haven't worn it that much, as again the heat factor is off-putting. It is the first and last time I have knitted with cashmere. Give me breathable wool please. Cotton's good too...and silk...

Next is my leafy green 'It Cannot Fail to Please'. I've talked about this in a previous post, so I won't go on about it. The pale green beret next to it is rather a good shade to tone with it, though. Knitted in an aran weight alpaca and silk mix, it has such a wonderful sheen and drape, even after years of wear.

Let's look at the Copley's wartime jumper again. The pattern calls for 3 ply 'Excelsior' or 'Climax' wool. I'd certainly get excited if I could get my hands on that wool now! I knitted it in 'supersoft' lambswool from the Handweaver's Studio. It's not actually soft - it's quite scratchy, in fact, but I don't mind. It holds its shape better than softer yarns. The colour I used is no longer available, and I recently bought some to try out the tension for a skirt. It's not strictly a 4 ply, but nearer a 3 ply. I wouldn't recommend it without stringent tension swatching. You have been warned.

It comes on cones - what is it about me and cones? I couldn't get enough of them back then. I took along my 1940s floral dress to the shop to match the colour so I could pair them up.

(Sorry, but this is one of the only pics I have of me wearing it!)

I knitted some shoulder pads for it, even though the original doesn't have them. I think
it suits the short-sleeved version. The velvet ribbon finishes it off (along with some badges).

To finish: 'The Rose Jumper', a very special knit for me, which features on the cover of A Stitch In Time.

The silk and big sleeves make it quite heavy on the washing line, but it is a beauty.

I'm a bit knitted-out now, so I need to rest before Saturday when I am going to a Joan Crawford dinner party - a virtual one! - to mark the launch of the Joan Crawford cookbook by Silver Screen Suppers. I'm particularly looking forward to making the Joan Crawford cocktail. And taking some funny pictures of the cooking and drinking while wearing my own Joan Crawford.

I hope you liked my knitted washing line. I've enjoyed doing it, and writing about it.

Theodora.

Knitty adventures at Monkley Ghyll

Susan and Gavin very kindly invited us up to the farm they moved into in March, (in fact the same weekend we moved into our new house). It's in an idyllic spot in Lancashire, about 20 minutes from the coast and Morecambe Bay. You will have read of their journey if you read her blog Just Call Me Ruby. We had the most wonderful time, as did the children. It was so good to squeeze one more trip in before school started.
 

 
These lovely creatures greeted us. I can't remember their breeds, I think the brown one is a Zwartbles? They were super soft, and greasy. We also met the chickens.

Miss B rolled her sleeves up ready to set to work.

We had a lovely day out in Morecambe Bay.

We had morning coffee at the Midland Hotel built in 1933.  

That morning I chose to wear The Frilly Jumper which I had finished years ago, but never photographed. Luckily it was from 1934.

I made it using some vintage cotton I found on Ebay years ago, by Bucilla, a 3 ply in pale beige and off white. I don't know when it dates from, I'd like to think the 30s, but more likely the 50s. It's one of the loveliest yarns I've ever worked with. It has a high twist, but is light, even though it is mercerised.

This is the ceiling of the hotel with the spiral staircase leading up to it.

The foyer and lounge area with the original rug.

We went to Brucciani's for lunch, another 30s gem, listed now and almost untouched ever since.

You can just see the mirror with ornate lamp above it.

Now I couldn't visit Susan without bringing some knitwear, in the off chance that she might photograph me in it. I have so many completed jumpers from both volumes now that I haven't had photographed. We managed one, but there are still lots to go.

                                                 Image courtesy of Susan Crawford

The Rose Jumper at last. Knit in the same yarn, in the smallest size. I'm very happy with the result. It seemed a little short at first, but has already dropped after just a few wears. That would be the silk.

                                                        Image Susan Crawford

Photographed outside Susan's front door, on a little stone wall filled with fragrant lavender. Everything was still in bloom.

                                                Image courtesy of Susan Crawford

I also took a few shots of Susan with my camera, a Canon 500D, with a 50mm lens. (In fact all the shots apart from the ones by Michael Demetriou and the ones in and of the hotel and cafe, which were taken with my phone, or Gavin or Susan's phone), are taken with this lens.

Susan also took a few shots of a couple of her designs, Nancy, which is available now, and Asthall, which will be released soon. They will be part of a collection called Knits for a Cold Climate.

As I may have mentioned, lots of the jumpers are being re-knitted in Fenella and Excellana, so I also got to model one of the re-knits - Could Anything Be Prettier, which I completely fell in love with. No photos of that yet though. The fit is almost exactly like the original version in the book, light and airy in Fenella, in the dove grey shade Columbine. Of course after wearing that I had to buy some Columbine along with Marriner to re-knit one of my designs, Bebe Daniels. It was originally knitted in Matchmaker 4 ply which is no longer available.
                                                                               

                                                         Images Michael Demetriou

I think it is going to look lovely in those two shades. Got to finish a few things before that though.                                                                       
                                                                         

Got my husband to take one of my boy and me on the old rusty gate opposite the front door. I was wearing my Blackberry Cardigan. It was so peaceful there, all we heard were the swallows above us, and the sheep bleeting in the field. The pigs got very excited if we went near them though, expecting food.

Filling up their water trough was tremendous fun.

Pottering.

Our last day, waving goodbye to the farm. He was so sad to leave.

So was I. Thank you Gavin and Susan.