May 1962: Overview

IMG_3237Handknits For Your Holiday! If you are planning on taking a holiday in 1962, that is. In that case, I would recommend going to the Algarve in southern Portugal, which, based on the pattern of the window shutters and blanket in the background, is where I am guessing this magnificent cover photo was taken. Sadly, my time machine is out of order and May 2020’s motto is (Lots Of ) Handknits For No Holidays This Year Or Probably Anytime Soon.

I bought my copy of this issue on Ebay, but apparently it originally came from “The Knitting Centre” on Field End Road in Eastcote near London. I actually checked to see if it still existed but sadly, it seems to not be there anymore, nor is there any other knitting or craft shop in the area as far as Ravelry and the digital map can tell me. It would have been fun to be able to trace a 50+-year-old knitting magazine issue back to its origin!

Like most of the late-spring or summer issues, this one has a mix of quick, warm, bulky sweaters for holidays in northern climes and some finer, dressier items for that special going-out evening. “The boy friend” can get wild in a colourful, oversized mid-weight sweater, while “you” enjoy your evening in a bobbled jumper. For casual outings, there’s a raglan polo-neck and the “latest look in twin sets” — a short-sleeved jumper in lighter-weight wool with a heavier V-neck top worn over it. (The donkey seems to like it.)

The “cooler trend for summer” includes a pretty short-sleeved blouse and a fine-knit jumper with a lacy yoke as well as a cute dress and cardigan for a small child, made in terry-cloth Rimple yarn with fluffy appliquéd chicks.

Older children get their own holiday hand knits and nothing says “1962” like this little girl sporting a spectacular up-do, thick warm cardigan, knee socks and basically nothing else on her body. How is she supposed to play badminton in a skirt that doesn’t even cover her bottom when she’s standing still? Her tomboy sister gets a much better deal in her knitted shirt and shorts. White and pale colours are always on point for summer and lemon yellow is the new colour trend.

The homewares department is quite boring this time, but there is a reason for that, as “editress” Patience Horne explains on the facing page:

After our end-of-the-year check through our embroidery and tapestry features, it is clear that designs of the more traditional type head the list — others in a modern style are way down and definitely have more limited appeal. I think this is because more traditional designs never date and seem to fit in well with most homes, whereas a completely contemporary design requires almost its own special setting.

Well, there you have it. Readers usually had to send away for the embroidery transfers, so it must have been easy enough to determine which designs were most popular, and the most popular embroidery designs of 1961 and the most popular embroidery design of 1960 were “peasant motifs” and two Jacobean cushions, so we can expect more of the same. The May 1962 Jacobean cushion is certainly very pretty and there’s also a cutwork tablecloth, other table linens and a “Chippendale” tapestry stool.

There’s also a “cushion for the car” with the cryptic motif “II3LMF” on it. I assume it must be a reference to some sort of gearstick / gearknob / automobile part code, but I can’t interpret it and Internet searches for vintage gearsticks led me nowhere. Are there any vintage car aficionados out there who can tell me what it means? EDIT: Gretchen aka Stashdragon solved the mystery for me in her comment below. The centre panel is a customisable area for the car’s registration/license plate number and the chart gives you all the letters and numbers you might need to personalise it. Guess I should have read the pattern text! Thanks, Gretchen!

That’s all for now. My May project will be the 3-ply jumper with the lacy yoke. Get well and stay well!

February 1962: Overview

IMG_3048Put on your best traveling suit, pack your Aeros and have your Kodak Instamatic in hand, because it’s February 1962 and Stitchcraft is going to Paris! This month’s issue  features Paris-inspired designs (whatever that means) and extra pages in colour to show off the latest knitwear against a backdrop of Parisian tourist classics.

Travel from London to Paris in the early 1960s was, of course, not on the speedy Eurostar or even quicker cheap flight of our modern times. Commercial air travel was a luxury for the well-to-do and the only way to cross the Channel by train was on the Night Ferry, which ran from London Victoria to Paris Gare du Nord and back. The overnight journey took 11 hours, of which three were spent on the water;  the entire train was loaded onto a ferry for the Channel crossing. I really recommend clicking on the link, which leads to the Wikipedia article. There’s a lot more information about the Night Ferry there, and even a short list of books and films set on or inspired by it.

So what does Paris fashion 1962 have in store for us? Dresses, strong dark colours and smooth crepe wools are all “in”, with a special trend for fringes and bobbles. The two-piece dress on the cover is made in fine bouclet wool and photographed against one of the little bookselling stands that still line the roads along the Seine today. Fine, red crepe wool is the choice for the similar two-piece outfit with fringey bobbles on the front of the jumper, photographed in Montmartre. Are the bobbles supposed to suggest the legs of the painter’s tripod, or an upside-down Eiffel Tower? The dress on the facing page (Sacre-Coeur in the background) is also made in smooth crepe wool, this time in somewhat thicker Totem Double Knitting.

Fringe makes additional appearances in a lemon-yellow jumper with the newly fashionable high neckline and extra collar (Place de l’Opéra) and in the dark green and black plaid-effect longline jumper on the inside front cover (which appears to have been photographed in a Métro station, though I can’t immediately place which one.) Even without fringe, large collars are still going strong, as seen in the belted Rimple jacket. “Chunky” bulky wool makes an appearance in the beret and oversized handbag set (Capucines). The bag is reinforced with strips of cardboard along the top edges and a woven fabric lining to prevent otherwise inevitable sagging.

With all these lovely large projects and the special Parisian focus, it’s not surprising that the rest of the designs in the issue are unspectacular. There are some easy knitted classics for men and children, the usual “Victorian” and “Jacobean” tapestries for the home, and some fun little crafty projects like these “mats with hats” coasters. In the “Little Bobby” serial comic, John and Jane both have a cold. That’s February for you!

I have so many unfinished projects, including the January 1962 jumper, that my February project will be something small and easy. Maybe not the mats with hats, but probably a little embroidered lilac sprig (flower of the month) on a vegetable or project bag. In the meantime, watch for updates on the January project — it’s knitting along quite quickly — and a special 1950s “blast from the past” post.

January 1961: Overview

IMG_2256Happy New Year 2019! Or 1961, if you prefer. January 1961’s issue “starts with a swing” with “lots of colour” and “tip-top designs” like the gorgeous Greenlandic-style sweater on the cover.

Looking through the issue, I feel like this is the point in time where the 1960s started, fashion-wise. The closely-fitted, fine-knit, waist-length jumpers of the 1950s have made way for bulky, quick-to-knit garments, and nylon-mix wools like Rimple are more common.  Skirts are still long and hairstyles modest — we’re not in the “Swinging Sixties” yet — but colours are bolder and the whole look seems fresher, somehow.

The little girl’s outfit on the inside cover definitely embodies the new look. Yes, her legs are still going to freeze, poor child, but her little red Rimple outfit is swingy and fun. And look at that wonderful cap and muff! The decorations are made by cutting the bobbles out of a length of bobble fringe and sewing them onto a crochet chain made in contrasting green or red wool, then sewing the bobble chain onto the cap and muff. Mum and daughter can both sport the latest in “Paris Hat News”, which seems to be a sort of turret tower worn on top of your head. The loops on the bottom part of the adult hat are made by pulling loops through the knitting ridges with a bodkin or blunt tapestry needle and holding them in place with your thumb until they are all made and the wool fastened off.

Women’s and men’s fashions feature loose-fitting garments in bulky wools, either hip-length and unshaped like the Greenlandic sweater or the embroidered Viennese cardigan on the inside back cover, or “cropped and bulky” like the “slick jacket” made in thick Big Ben wool. For a more elegant look, you can knit a suit in double knitting weight and top it with a detachable fur collar.

In addition to the little girl’s sets, babies and children can enjoy a warm cape or dressing gown in Rimple yarn, or a pram blanket in brushed, bulky Big Ben wool. The brushing felts the wool for a true blanket effect. It was done with a teasel, which is a metal brush that breaks up the fibres and lifts the nap of the fabric. Readers are instructed to send the finished blanket to Patons and Baldwins in Scotland, who will brush the blanket for you “at a very reasonable charge.”

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Jacobean embroidery, stitched hall rugs, and Victorian-style chair seat tapestry remain steadily in fashion, or you can embroider pictures of a kitten and puppy to hang on your wall. I don’t know about you, but to me they look kind of melancholic! This month’s Zodiac sign is Capricorn, and you can use it to decorate a pyjama case. In the children’s features, Wag and Wendy have tea with a toadstool fairy and kids can sew a simple tea-cosy set for their mother’s birthday.

My project will be the fabulous sweater from the front cover. I’ll be modifying the fit, though, as big and bulky is not my style. Thanks for joining me for the first year of this blog, and best wishes for 1961 — er, 2019!

February 1960: Chic cap and mitts

Feb1960_capmittsFebruary’s project was pretty simple: a crocheted cap and “mitts” with a cute bobble pattern. I couldn’t decide on the colour (lavender or purple) and didn’t have quite enough of either to make both cap and mitts, so I ended up making the cap twice and using up leftovers of both colours plus a little extra of a different purple yarn to finish the mittens.

Apropos “mitts” and “mittens”… Stitchcraft calls them mitts, though I guess these days most people would call them mittens. What we now call mitts, i.e. fingerless gloves, were not in fashion in the mid-20th century.

The cap is made in the round from the top down with double crochet and bobbles, then stranded with fringe around the crown, which in turn is held down by a plait (braid). The crocheting was easy even for a non-crocheter like me, but the fringe was really difficult to hold in place with the proper tension.

The mitt(ens) have a really interesting construction — back and palm done separately from the middle out. You make a chain and work on both sides of it, back and forth and back and forth until it is wide enough. The thumb is a sort of loop of chain stitch added on and worked in double crochet with the rest of the palm, then sewn up.

I used contrasting dark purple wool for the wrist and the making-up (the lavender was used up) and crocheted palm and back together on the right side for a decorative effect.

Here are the finished caps — both slightly different, both fairly imperfect, but I think the intended wearer will like them. Modeled photo to come when she receives them!

February 1960: Overview

Feb1960_coverFebruary 1960, the “Spring Knitting Number”, features an extra 16-page pull-out booklet with garments in Patons Rimple, a nubbly wool-with-a-bit-of-nylon yarn that looks like terrycloth toweling when worked up. The Ravelry yarn database has more information with pictures and modern projects. The wool itself gives so much texture that it would be pointless to knit intricate patterns or multi-colour pieces with it, so the “zippy designs” in the supplement are made on very classic lines: V-neck pullovers, a plain cardigan, a child’s cap and mittens.

The only slightly more ambitious design is this double-breasted A-line coat for a child.IMG_1488 The model, like all children of the 1960’s and earlier, must have very cold legs. Why children of earlier times didn’t wear trousers or warm stockings or tights is a mystery that an older person will have to explain to me someday. It’s particularly strange to see in a knitting magazine, as often the child will be wearing a thick wool jumper or even a wool pullover under a wool sleeveless dress with a knitted wool coat over it, plus a hat and mittens if outside… but nothing on their poor bare legs.

The non-Rimple knitted garments are long, like this “Fashionable Dress” in 4-ply fingering at 7 stitches to the inch, or the long coat in a two-colour slip stitch pattern. Even the dolman cardigan is hip-length. The embroidery and needlepoint projects cover various traditional styles with a Victorian ribbon-band pattern for a stool top, a cushion with Tudor-inspired pears and acorns, and a very zig-zaggy “modern” Swedish rug and cushion set. The Swedish rug has a neat three-dimensional effect thanks to tufting.

 

 

As the focus of the issue is the Rimple supplement, the other projects in the issue are fairly basic: cardigans for men and boys, a crocheted cap and mitts, an embroidered wall panel and counted-stitch cushions. The ads are for fabric, knitting and sewing machines, and “Cow and Gate” baby formula — all standards — and the two teddy bears in the comic are heading off on Magic Way in their enchanted toy village.

Rimple is not my style, so I’ll be making a small project this month: the crocheted cap and mitts with an intriguing bobble pattern and plaited crown.Feb1960_2