Free Pattern Friday - 'Corrugated Stripes'

This pattern is from the Woman's Journal 7th Book of Knitting and Crochet from 1935. (I think).

This is a scanned pattern from the British Library's archives. Actually it is a picture from my phone, as I forgot to scan this magazine, and quickly took some pics before having to give it back. I hope the text is clear enough.

I chose it because it is a very simple design, suitable for a beginner. It has 'magyar' sleeves (I love that word), which means the jumper is knitted up and over, with the sleeves cast on as part of it. Which also means no sewing up of shoulder seams, or sleeves eased into armholes - hooray!

I have only knitted one jumper in this style before, and loved it. I have also done baby matinee jackets and jumpers in this 'magyar' style, as it was very popular in the 1930s and 1940s.

Image courtesy of Alistair McCaskill

This is a pattern from a Beehive booklet from the 1930s, suggestively named 'Interlude'.

The pattern for ' Corrugated Stripes' is a simple 6 row repeat, with just knit and purl rows. The yarn used is equivalent to a modern 4 ply going by the tension. For a larger size, you could try using a DK weight, but go up a needle size too.

There are so many lovely patterns I want to share from the British Library, but I am finding the scanning very tricky, as Caroline (The Sunny Stitcher) has mentioned before. It is hard to get the bound copies to lay flat without damaging them, and I am so loathe to do that, as many are already in such a fragile state. There is also a problem with glare from the scanner, which affects the text, but by tilting the magazine it seems to help. It is a trial and error process, which I will persevere with; weighting the pages down with tiny sand bags, beads and my hand obscured under black paper!

I hope you like it.

Theodora.

Rendezvous at the Russian Tea Rooms

I've been invited to the launch party for a book called Rendezvous at the Russian Tea Rooms by Paul Willetts.

Image courtesy of Paul Willetts

The book tells the story of a little-known yet significant espionage episode, most of which took place between May 1939 and May 1940. It focuses on three central characters: Anna Wolkoff was an haute couture fashion designer whose clients included the Duchess of Windsor, and who was also a spy for the Nazis. Tyler Kent was a womanising American diplomat who also doubled as a Soviet spy. Maxwell Knight was an urbane and eccentric spy hunter with MI5. The lives of these three characters became entwined as they moved amongst London's elite society during the first part of World War II, jeopardising the secrets of the wartime government.

Back in January, the book's author, Paul Willets, contacted me about being the model for the cover of the book. Unfortunately, I was in the midst of a horrid chest infection (which has left me with permanent damage to my lungs). I was in total denial about how sick I really was until just before the shoot was about to take place. I let him down terribly at the last minute, with only a weekend to find another model (which, thankfully, he did). I loaned him some dresses that belonged to an actor friend, Emma Bown (below). When he stopped at the house to pick them up, he brought me a huge box of chocolates. Instead of being cross - which he had every right to be - he was so thoughtful and kind. A true gentleman.

Image courtesy of Guy Myhill & Paul Willetts

This is Emma Bown, and she is in the trailer for the book, here.

I'm looking forward to dressing in something from the late 1930s, and having a fun night out. My good chum Simone will be accompanying me, and undoubtedly she will be dressed beautifully, as always. I predict by the end of the evening we will be in Cahoots!

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.

New Hat Designs on Etsy

With the E17 Autumn Designers' Market coming up in early October, I have been busy making hats and brooches to sell.

I have now put up some more patterns on Etsy. Here's the link.

 Pom Pom Hat

 Moss Stitch Beret

A Draped Beret

I was a bit nervous about A Draped Beret as it is my first design for a beret in crochet, but I have been rigorous with the testing, and the checking of the pattern (over and over), and it is ready.

My little shop is starting to take shape, I just need to add a few more brooch patterns, and I'll be happy with it.

Have a look, and let me know what you think. (If there are glaring errors, eek)!

We had another Mixtape last night, so I need to lie down now and try to recover from the wine.

Theodora.

Free Pattern Friday - a prize winning jumper

This pattern is from The Needlewoman magazine from July 1934. Worked in 'Viyella' laceweight wool in red, white and blue. To fit a 34 inch bust. (The pattern is at the end of the post).

I chose this design because it took first place in The Needlewoman competition, but also because they name the designer. '...an original design by Miss E. W. Fisher...'

The 'house' designers working for magazines had no such fame, they anonymously toiled away, churning out designs week after week, unaware that their work would be so highly regarded 80 years later, (by me at least). I would absolutely love to know who they were, what they thought of their job, and how much they were paid in comparison to clothes designers. The couturier Schiaparelli occasionally designed for The Needlewoman in the 1930s, to great acclaim.

Schiaparelli - The Needlewoman

It is a very structured jacket, but I personally don't think it is as attractive or imaginative as the jumpers being designed by people who worked for the big knitting magazines like Stitchcraft, Good Needlework & Knitting, and Woman's Weekly. It is just a tailored jacket in knitted form. It was popular for that very reason; it successfully resembles a jacket sewn in fabric. A jacket smart enough for a lady to go riding in.

I have also included the page on which the runners up and their designs are featured. It is fascinating reading (for vintage knit geeks). First prize was three guineas, and the 'consolation' prize one guinea. This competition was so close for runner up that a third place was awarded for the 'Harlequin' jumper, also an original design. It was let down only by the neck shaping and fit. I would have awarded it first place! It is by far the most fun.

What I also find interesting is the design that took second place (below), designed by a 'mere male!' This is actually the jumper I would be most likely to knit, but the 'Harlequin' jumper is still the most fetching, with it's contrasting bow neckline and belt.

Here is the pattern for the prize-winning jumper.

I hope you like it.

Theodora.

Summer knitting and crochet

We're back from our holiday in the US, and I'm being kept busy with the children on school holidays. My boy starts Year 1 in September. I am quite sad for him that his Reception year is over. It was just a whole year of pure play, with a bit of fun learning thrown in. Now it's down to the real thing.

I didn't get much knitting done on holiday, surprise, surprise. I did start a crochet hat from a 1930s Leach's Sixpenny Series booklet though. I found it on Ebay, but it was a booklet from the USA so it was much cheaper to post it there than here. It is a reproduction, but I am so pleased with it. It has a glossy cover, and the magazine is reproduced in its entirety. I shouldn't have taken it to the beach though, as it is full of sand now.

I made a start on the hat below, originally intended for raffia, I'm using crochet cotton in a teal shade.

The brim is worked back and forth, and turned up. The only thing I don't know about the booklet is the year it was published, but it looks like early 1930s to me.

I also picked up six balls of Copley's 'Excelsior' 3 ply wool in navy, that I found from a seller in the US. Which is odd, as Copley's was a British company. I have a few Copley's patterns which used Excelsior wool, so I shall have to go and find them to see if any take my fancy. 

We stayed in Kennebunkport, a pretty seaside town, so here I am outside the Clam Shack! My husband and I had a couple of evenings out, so we did the sensible thing and went thrift shopping. We bagged some bargains, including several pairs of sunglasses, a 1980s trouser suit, and a huge full-length faux fur coat! It was a challenge getting that on the aeroplane. I think I will do an outfit post on some of the things I bought. It will be fun, and ridiculous.

Dig for Victory

The kiddies had fun on the beach. My son particularly liked exploring in tide pools where he found a small lobster, a sea urchin and lots of hermit crabs.

I am on the sleeves of my Stitchcraft cardigan now. I am knitting them at the same time, as so often I get second sleeve syndrome, and this will hopefully rectify that.

I am off to Rainham Marshes with the children next week, to do some pond dipping and bug hunting!

Are you having a good summer?

Theodora.

Fashion on the Ration exhibition

I made it there eventually, and it was worth it. I didn't want to go in the school holidays, but I knew if I didn't go now, I would never get there. The Victoria line is closing at my end over August, so I will be trapped in the Stow.

Image IWM

I took my boy with me, who was a little angel, and enjoyed the whole thing.

My little fashion historian

Tank Boy

He loved seeing the Spitfire suspended from the ceiling, and a huge tank.

Image - the boy

I wore my only piece of CC41 clothing - a tailored navy jacket, with what I think are the original buttons. It is a little snug now, but looks just as good unbuttoned, and to go with it I wore my Victory Jumper and Moss Stitch beret.  I am also wearing a couple of brooches, a bakelite flower in a yellow/gold shade, and one of my knitted brooch patterns - A Posy of Violets. This is partly because they are pretty, and partly to hide the moth holes. Still, it hasn't done badly considering it is over 70 years old.

The exhibition is broken into six sections: Into Uniform, Functional Fashion, Make Do and Mend, Utility Clothing, Beauty as Duty and Peace and a New Look.

The Make Do and Mend section was a real lesson in recycling.

'Everyone should understand that it is patriotic to wear old clothes. That does not mean of course that you have to look shabby. You always look neat if you keep your clothes clean and well repaired.' (From Can I Help You on the Home Service, 10th March 1942).

There was a patchwork dress and housecoat made from scraps of fabric, lingerie made from silk maps originally used by the RAF, and lots of ingenious ways of re-invigorating a tired wardrobe. The poster that helped promote this was 'Go Through Your Wardrobe', (one of which I had to purchase).

The Utility Clothing section, which was given the name CC41, has a large and comprehensive collection of clothing from that time. Everything from underwear to a red wool overcoat, with dresses in myriad colours and fabrics.

Image IWM

Image Getty

If I hadn't known it was utility clothing, I would never have thought anything other than how chic and beautiful it was.

Beauty as Duty was a fascinating look at the lengths women had to go to, to look half decent. As makeup became scarcer and scarcer, women became increasingly desperate, and turned to homemade preparations like beetroot water to stain their lips red! I have to say this particular propoganda does rankle me a little. While the men were off fighting, women were told they just had to try and look pretty. In fact, it was their 'duty' to. Lots of cosmetics companies pushed this idea in their advertisements:

'We cannot leave men to fight this war alone. Total war makes heavy demands...The slightest hint of a drooping spirit yields a point to the enemy. Never must careless grooming reflect a 'don't care' attitude...we must never forget that good looks and good morale are the closest of good companions. Put your best face forward.' (Yardley advert, 1942).

On the knitting front, there was just one case, with some wools, patterns for knitted underwear, and some lovely fair isle knits, a matching beret and scarf.

I thoroughly enjoyed it, and the new look Imperial War Museum. I hadn't been since well before my boy was born, so it was great to see all the new galleries. The staff were on hand to give much needed expert knowledge on every exhibit in the museum. It was particularly helpful when my son asked where the bombs were put in the Spitfire, (I didn't know they sometimes carried them), and as I said this a chap jumped in and told him all about it. Marvellous.

On my knitting front, I am planning my holiday projects. We fly to the States on Monday for a week and having just had a phone call from the airline I was able to ask directly if I am allowed knitting needles and crochet hooks on board - and it was checked, and I am. Hooray!

You may have noticed I was working on a holiday piece, a crocheted beach T-shirt thingy from Inside Crochet magazine.

I went a bit crazy with my colour choices and it has turned into a bit of a beast. I have attached the front and back at the shoulders, so it looks a bit like a poncho at the moment, which would be fine if I were going to a Mexican fiesta. My husband said it would look great with a sombrero, and even better if I were holding a taco in each hand. Now I do intend to eat tacos on holiday, but perhaps not while wearing the 'Fiesta' poncho. Grrr. The original is so chic too. I might rip back the top which has closer spaced stripes and just continue with white. And do the sleeves in white.

Image Inside Crochet

I will be taking my Stitchcraft jumper, from the cover of March 1941.

I am on the second front now (ooh, sounds a bit military), just the sleeves to go. Oh, and the front bands, and the belt, and the collar. Then the sewing up. Hmm. I want to take some crochet projects too, but need some time to decide on the right ones. I might also take some yarn for projects I plan to sell at the next E17 Designers Fair in October. Some brooches and a beret or two. I will mainly be selling the patterns, but I think it might be nice to have the knitted pieces available too, for the non-knitters. I can only try.

What are your plans for the summer?

Theodora.

Free Pattern Friday - The Smartest Thing in Plain Knitting

Easy enough for a beginner and in a larger size

Thank you all for the comments on my last post about what 'women of a certain age' should or shouldn't wear. I cringe writing that phrase. There is so much more I want to discuss about this, so watch out for more posts on women daring to age in public. Funnily enough, I found another blog post about this issue, written a couple of days before mine, by Forever Amber. She had seen an article on Facebook - 24 Things Women Should Stop Wearing After Age 30. (I did NOT click on the link to read the article - I didn't want to be sucked into it. I've got enough to be angry about!). Amber commented on it in a way I would expect of any woman over 30. It is so worth reading; she is a fab writer.

The free vintage pattern this month is a very elegant long sleeved jumper/jacket, and I chose it because of the model.

'Jumper Jill' gracing the covers of my Good Needlework's

Caroline, The Sunny Stitcher, recently shared a vintage pattern featuring this model, and it seems we are both intrigued by this nameless woman. She has fascinated me since I got my hands on a copy of Jane Waller's 1972 edition of 'A Stitch In Time' in 2007, and for the purposes of this post I will refer to her as the name The Sunny Stitcher has given her: Jumper Jill. The earliest I have seen her is from 1932 in Woman and Home magazine, wearing With A New Cowl Neckline, which I modelled for the updated edition of 'A Stitch In Time'. Seeing her over and over in the jumpers that were to be recreated for the book, her face became so familiar to me, as did her expressions and poses. She is the complete opposite in looks to me, but I adore her. I think the main reason I collect these magazines is for her. I like to see how her hair and makeup changed over the decade. I'm a total fan girl.

Image A Stitch In Time 1972

Here she is in Stitchcraft magazine from 1933, in a very alluring pose, modelling lingerie. Called 'Step-Ins', I tried to step into a beautifully crocheted version to be photographed for the book and couldn't get them past my thighs. In fact, I ripped the stitching!

Image - A Stitch In Time 1972

(She looked just as elegant in a knitted dressing gown.)

She is the most popular model of the 1930s - and considering the explosion of knitting design that happened in that decade, that is quite something. I wonder if she was stopped in the street by women of all ages and mobbed for her autograph? I doubt it. I imagine she had a very ordinary life, although I would like to think that she went to wild cocktail parties hosted by Noel Coward, and danced all night with men who weren't her husband.

'Jumper Jill' graced the covers and pages of magazines including Woman's Weekly, My Home, Stitchcraft, Woman and Home, and Good Needlework and Knitting, which is one of my personal favourites. The patterns are very well written, always include schematics, and the best thing is the suggested colour schemes. They excite me more than they should, but it is a glimpse into fashion history. It seems so elaborate now to think of planning an outfit, an everyday outfit (not occasion wear), down to the shade of your stockings. And yet, women's wardrobes were so much smaller than ours - capsule in fact. The Girl With The Star Spangled Heart has done some great blog posts about capsule wardrobes, particularly the 1940s one. A suit for every season, a few day dresses, evening dresses, and maybe two coats? Oh, and tons of accessories. I would not be able to make that work - or would I?

I would really like to know about her, where she lived - London? How did she start modelling knitwear? What was it like working with the photographers then, and what was the studio like? Did the knitwear designers style the shoots, or were they just kept busy churning out new patterns every week?

I think she was married, I've seen a ring on her finger in some photographs. Did she have children? And what was her name? She reminds me of Mrs de Winter in "Rebecca". She was gone by the 1940s, perhaps her 'look' had dated, but I don't think so. We'll probably never know. If there is anyone out there who has any information about this lovely lady, I would love to hear from you.

The jumper below is knit in the elusive 3 ply wool, with 3mm and 4mm needles. The size given is about 38 - 39 inches across the bust, and 20 - 21 inches long. 'Definitely the jumper should be in every wardrobe'.

The pattern stretches over a few pages, and unfortunately I had make do with phone pictures as I had scanned them with a really high resolution, and was then unable to upload them. (After more than an hour, I failed). I think they are still readable in this format, though.

Suggested Colour Schemes - Eek!

Now back to channeling Jumper Jill.

Theodora.

Another Year Under My (Diamante) Belt

My 21st birthday wearing a Miss World (Hole) T-shirt

I turned 42 last week, and it got me thinking. In fact, I'm pretty much always thinking about it - getting older. When I read a recent post by Jessica from Chronically Vintage, it struck a cord. It was about fashion for the over 40s (specifically, vintage fashion), and as I read it I realized it was about me. My heart sank into my DMs. Should I still be wearing the clothes I have hoarded from the 90s? Skimpy slips I used to wear in a Riot Grrrl style with DMs or patent leather Mary Janes? On reflection, hell yeah!

Mary Janes from the nineties

I don't just wear trashy slips. I love the ladylike vintage clothes, too. And jumpers. And berets.

I guess I am aware that I haven't got that much time left to wear these crazy looks, so I'm just going to enjoy it while I can. My thirties blinked by, so my forties aren't going to be any slower.

I do feel like the old bird in the room a lot now. Not when I'm with my girls, but in the vintage scene. I took a long break from dancing and DJing when I had my son, five and a half years ago, so I feel a bit out of the loop. But being older means I have a lot more confidence, and a don't-give-a-shit attitude to most things. I guess I just want to look 30 (not 20, I'm not greedy), but be 40+, with all the wisdom acquired along the way. I could do without having to cover my grey hair every month, though. I found my first white hair at 19. As a feminist, I should probably let it show, but I just CAN'T. I know very few female clients in the salon where I work who have stopped covering the grey, but there are definitely more now than ten years ago. I totally support their choice, but I can't go there yet, or maybe ever. However, I've seen a lot of blue and pink rinses that I could rock.

On the way to Mixtape for birthday fun

Do I have any rules for what I wear now compared with how I dressed 15 or 20 years ago? I certainly don't take as long deciding, or trying things on. It was part of the fun back then. I don't go out nearly as much, so that means less chance of people seeing me in the same thing over and over. I went to Westfield shopping centre this week, and had a good look at the clothes in H&M, Topshop, etc, and as usual, was completely unimpressed. However, tt was worth the trip to see my daughter dance to Justin Timberlake's 'Like I Love You' in the mirror at Topshop.

I definitely dress with comfort in mind now - no squeezing into too-tight shoes and trousers anymore. I have a better idea of what is flattering to me, so shapeless shift dresses are out, along with hipster flares!

I love the vintage look, but I have to say I actually find it more ageing sometimes. The tight curls and shingled waves of the early 1930s, worn away from the face, are very severe, as are some of the clothes. Pallazzo pants though? I can't get enough of that action! And floor length bias-cut tea dresses? Bring it on.

I'd like to get a forties suit, as I think that could be dressed up or down, and is the perfect accompaniment to vintage knitwear. And the knee-length dresses from the 1940s are so easy to wear. But the heavy makeup look is not so easy on older skin. I've just started watching Agent Carter on television, and Hayley Atwell suits that look down to the platform wedges, and she can get away with the strong makeup, but I find it too ageing on me. That's why I veer more towards the 1930s, it had a more natural, feminine look, as long as you keep your hair soft, and your makeup light, especially the eyes. What I do like about the 1940s was that very few of the models looked like girls. They were women. If anything, they looked older than their years. Teen fashion hadn't been invented yet. Teenagers hadn't been invented yet.

So, I'm going for the look above, but I'm way closer in age to the woman below. Depressing much? Why did they frump up women this young? She's probably only 50, if that. OK, so 50 is not young, but really.

You'll notice I've not mentioned men, and their wardrobe dilemmas when they turn 40. That's because they don't have any. They're not under the same scrutiny as women, in that or any area of their lives, really. They can carry on wearing whatever the hell they want without worrying about being accused of looking like 'mutton dressed as lamb'. Still, I don't have to give in to these societal pressures to stay young - I'm just vain, I suppose. And I'm having fun. Dressing up to go out was always about so much more than wearing the latest fashion,. In fact, it was never really about that. Dressing up was, and still is an opportunity to become a different character in your life, be it a 1930s screen siren (Joan Crawford) or an angry feminist agitator (Kathleen Hanna).

I will continue to age. I just hope I can do it with grace and humour. And tiaras.

On the 29 bus to Camden Town, 1994

Theodora.