July 1961: Overview

IMG_2650The motto of the July 1961 issue is “Sew through the Summer” and indeed, there are a lot more sewing projects than one would normally find in Stitchcraft, summer being a time when many people do not want to hold wool in their hands or think about colder weather to come. There’s more emphasis on homewares and small, fun projects to make and use on holiday. The farm photos were taken in Hertfordshire and the boating photos in “the heart of London’s Little Venice”. Doesn’t that sound like fun? Let’s dive in!

Our cover photo, taken at the Hertfordshire farm, featuresIMG_2654 a really pretty basketweave blouse with that V-neck-plus-collar design that we saw so much of in 1960 and the last years of the 1950s, not to mention just last month on the cover of the June 1961 issue. Personally, I love this style and I’m glad it stayed in fashion for so long. Except for the basketweave, this top is very similar to the blouse I made from the July 1960 issue, and probably not the last one of its kind that we’ll be seeing.

The other summer garments for adults are “cool in 3 and 4 ply” tops for women — one of them machine knit — and for boating or cooler outdoor nights, there’s a cardigan in double-knit Rimple, a little short-sleeved jacket in bulky Big Ben, or a man’s sweater in larger sizes in Totem double knitting. The cardigan “does duty as a sweater”.

On that note, a quick quiz:

  • What is the difference between a jumper and a sweater? (Hint: this is a British magazine that uses both terms, so “jumper is British and sweater is American” cannot be the only answer.)
  • If a jumper is a pullover in a lighter weight/more dressy style, and a sweater is bulkier/warmer/more casual, why is the elegant, fine-knit short-sleeved top on page 12 a jumper (top left photo above), the elegant, fine-knit short-sleeved top on page 13 a sweater and/or shirt (top right photo above), and many elegant, fine-knit short-sleeved tops from other issues considered to be blouses?
  • On that note: Why can a cardigan double as a sweater, but not a jumper?
  • Bonus question 1: What is the difference between a cardigan and a jacket? (Okay, this one is easier.)
  • Bonus question 2: Is the blue-and-white garment on the front cover a jumper, a sweater, or a blouse?

The answer to the first two questions is, as far as I can tell, that there is no answer. “Jumpers” per Stitchcraft tend to be long- or short-sleeved, fine-knit, elegant pullovers, while “sweaters” per Stitchcraft tend to be bulkier, more casual, long-sleeved and looser-fitting pullovers, but every time you think you’ve figured out the system, they use the word you wouldn’t expect. “Blouses” tend to be, logically enough, tops (either pullover or cardigan style) that one would wear with only undergarments underneath, and put a suit jacket or other overgarment over. Following that logic, I guess the cardigan on page 21 does duty as a sweater and not a jumper because it is warmer, heavier and meant to be worn outside without a coat and with a blouse or something underneath it. Still, there is no real consistency that I can see. I would love to be able to ask “editress” Patience Horne what system she used.

For the smaller members of the family, there’s this lovely baby’s dress, featuring the most absurd baby photo ever (previewed in the June 1961 issue). I still don’t understand just why I find this baby so goofy. She is utterly cute but somehow, her face is too old for her. That combination of lots of hair and the knowing, watchful look in her eyes makes her look like someone pasted a grandmother’s head on a baby’s body. Anyway, the dress is wonderful. Older girls get a striped jumper with a collar and “gay bobbles” to tie the neck. Let’s hear it for gay bobbles! I’m not sure what today’s 6-, 8- or 10-year-olds would think of the bobble ties, but I think it’s a cute jumper.

The emphasis of this issue is on easy-to-make, no-stress homewares, starting with felt place mats and coasters appliquéd and embroidered with traditional inn signs. Make them for your Pride celebration, for they are “as gay as possible”! Fans of easy embroidery on canvas can make a cushion with purple thistle flowers in cross-stitch or bathroom accessories featuring this month’s Zodiac sign, Cancer. I don’t know about you, but I don’t want to step on a crab, even if it’s only a cross-stitch picture of one on a bathmat.

More ambitious embroiderers (I guess Stitchcraft would call them embroideresses) can make a really pretty fire screen with a modern vase-and-flower motif. I wish they had a colour photo. Even more ambitious knitters can make some beautiful lacy doily mats, and those who prefer to “sew through the Summer” can make a little laundry bag for used dusting cloths, or some easy items to sell at the “needlework stall”, church bazaar, etc. There’s a tea cosy that looks like a cottage, a beach bag with penguins, or an apron with a teakettle pocket.

I am woefully behind on projects, having not even finished my supposedly quick and easy blouse from June 1961, and with two other projects from that issue (the child’s beach dress and the embroidered-appliqué bird picture) still “in the queue”. But someone is always having a baby and that little dress is really sweet and should knit up quickly, so I’ll probably make that and try to work on the remaining June projects at the same time.

  • Bonus Answer 1: A cardigan definitely has buttons/fastenings and a knitted jacket often doesn’t. Unless it’s a suit jacket, then it does. Or whatever.
  • Bonus Answer 2: The garment on the front cover is a “cool, casual shirt-sweater”.

 

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June 1961: Overview

IMG_2563I love this cover. The yellow stripes on the hats, the yellow trim on the sweaters and the yellow sans-serif lettering all harmonise perfectly with the off-white garments in the center focus. Even the models’ hair colour looks like it was chosen to match the wooden wall. And we can see that typical 1960s hairdo coming into fashion, with more volume on the top and curled ends.

The rest of the photography in this issue is amazing as well. Let’s start with little Georgina in her beach dress, striking a Napoleonic pose from the back of her inflatableIMG_2566 elephant! The dress is totally cute and definitely on my project list for this month, for my friend’s kid who just turned three. Those are seahorses, in case that wasn’t clear (the ones on the front panel of the dress and matching sunsuit look weird to me — I think I’ll fill in the bodies to make the shape more clear.)  The sunsuit and dress are made in wool-nylon blend Nylox, but I’ll be making the dress in cotton.

IMG_2585(Speaking of tiny children in goofy poses, am I the only one who finds this advertisement for next month’s Stitchcraft strangely funny? What is it about this baby that comes off looking so weird? Too much hair? The quasi-adult-looking face? The indescribable expression?)

 

Back to this month’s issue, somewhat larger children can get a pretty summer dress with an embroidered yoke. It wasn’t necessary to order a sewing pattern, as the skirt of the dress was really just a square with a little cut-out (shown with scaling grid in the issue) and the yoke outline was included with the embroidery transfer. Larger children than that (age 6-10) get a warm “Continental playtop” with a big collar in double knitting.

 

 

Big collars are still fashionable for adults, too, as we can see from the women’s version of the cover sweater or the “Husky Sailing Sweater” in bulky Big Ben wool. White or off-white and yellow are trending colours. The men’s garments both have round necks — I’m guessing designers assumed men would be wearing collared shirts under their pullovers no matter what they were doing, and “layering” big collars over each other didn’t happen until the 1970s. For warmer days or more elegant occasions, there’s a short-sleeved cardigan-jumper in 4-ply and a lacy cap-sleeve top in 3-ply wool. The cap-sleeve top is yellow and the buttoned blouse has a collar, so we’re right in fashion here too.

 

 

Homewares are fantastic this month as well, starting with some really easy garden cushions (padded with plastic foam to try and make them more damp-proof). We are still  in the year of the embroidered Zodiac signs, and June brings us a Gemini-themed beach bag.

 

 

IMG_2625And then there’s this incredible birds-in-a-tree number, to be worked either in wool on linen for a firescreen or in felt appliqué with wool embroidery on linen for a picture. I’m normally not so crazy about 1950s and 1960s neo-Jacobean designs, but I love this one and definitely want to make the felt appliqué version as a cushion (with a more greeny green for the tree and not quite so much brown-orange-yellow in the appliqué work.) I imagine it might be tough without a transfer, but they gave us two very clear photographs including one in full colour, so what could go wrong?

IMG_2588Last but not least, there’s a lovely, elegant two-piece suit in nubbly Rimple double knitting wool, featured in the most magnificent photo I have ever seen in any magazine, ever. If I remember correctly, I saw it in one of those Internet lists of “best/worst/weirdest knitting pattern photos” long before I started collecting vintage patterns. It’s definitely at the top of my list and if you haven’t seen it yet, you saw it here first!

There is nothing I can possibly add to that, so I’ll just get to work on that cap-sleeve jumper… and the little girl’s beach dress … and the garden cushions… and the Jacobean appliqué… Happy June, everyone!

May 1961: Overview

IMG_2509Time for the Summer Forecast! “Editress” Patience Horne writes that it is “a lovely sunny day in March” as they go to press for the May issue. It’s freezing cold and pouring rain where I am on May 2nd, so my summer forecast feelings have been literally dampened.

Still, there is a lovely assortment of projects in this month’s issue, of which the prettiest (in my opinion) is featured in colour on the back cover: this beautiful summer twin-set in   “Nylox” (a synthetic, Bri-Nylon yarn) with a diagonal stripe pattern on the sleeveless top that is repeated on the lapels of the solid-colour cardigan. I love the pairing of the elegant line with the fun pattern, which reminds me of colourful rows of paper bunting strung diagonally.

Our front cover has two more of the classic, bulky, rather plain casual pullovers made in Big Ben (super-bulky) of Rimple (nubbly double knitting). For men, there’s also a classic “tennis sweater” in white with blue stripes, made fancy with a different sort of cable pattern that I don’t think I have ever seen before. It seems quite easy, as the cables never travel far and also never actually cross (so maybe technically not a “cable” pattern, but I don’t know what else to call it — you do use a cable needle to move the stitches out of line and back again.) Our model is very happy with his sweater, and his tennis game.

Besides the twin-set and the cover pullover, women’s fashions include a little short-sleeved jacket in double knitting and a cute cap in Big Ben, plus a “longline” jumper and buttoned cardigan in 4-ply wools. I love the way the pockets are integrated into the striped ribbing of the cardigan. Wide collars, shawl collars and V-necks continue to be popular.

Stitchcraft doesn’t usually have sewing patterns, but this month they’ve teamed up with Vogue to offer a flared or full-circle skirt of the type that was ubiquitous in the later 1950s and reached the end of its popularity around this time. Readers can order the Vogue pattern via Stitchcraft in their preferred size. The flared version is embroidered with “Tyrolean motifs” which can also be embroidered onto “pretty summer aprons”. How cute! Just don’t try to play the violin the way our little Tyrolean motif fiddler is doing it, or you and the instrument will both be unhappy.

(Nota bene: some folk-fiddle traditions, as well as European medieval and Renaissance vielle/violin technique, do involve holding the instrument under the shoulder on the upper chest or upper arm instead of under the chin as in modern classical violin playing. Still different from what is going on here, though.)

School-age children get some nice, basic pullovers and cardigans in washable Nylox or fun Rimple. I don’t know what’s going on with the Humpty Dumpty giant egg doll, but this seems to be a theme with Stitchcraft — I remember seeing more than one knitted or sewn or crocheted giant Humpty Dumpty mascot pattern somewhere in my collection. Check out the cute illustrations and the little castle in the air on the top right of the painted backdrop.

Homewares tend towards the fun and easy, with a “Victorian” floral ribbon design for an embroidered cushion, tapestry cushion or tapestry handbag as well as some assorted cross-stitch or drawn-thread table mats and traycloths. Oh, and also some “his and hers” bath mats. May’s Zodiac sign is Taurus the bull, which you can cross-stitch onto a fluffy-fringed lampshade. I would love to see a picture of a Stitchcraft living room with all twelve Zodiac-themed designs in one place — the lampshade, the chairbacks, the waste-paper basket cover, et cetera (spoiler: sadly, we’re not going to get one.)

That about wraps it up for May! I would love to make the twin-set, but I have such a backlog of projects that I know I won’t have time to get it done, so my project will be the tapestry handbag. I’m very excited to work with tapestry for the first time.See you soon!

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April 1961: Overview

IMG_2438April showers bring May flowers, or so they say. I’ll just say that, after the last couple of weeks of March, that umbrella on the cover of this month’s issue looks really familiar. As does the model on the right — she was featured (with a more flattering haircut)  in many issues throughout the 1950s.

April’s theme is “Holidays Ahead” and if you are planningIMG_2440 to spend your holiday in April or May on the British isles or the North Sea coast, you will definitely want to wear one of the warm, bulky wool garments from this issue. “Jenny”‘s thick, double-knit Norwegian-style jumper and hat, described as “dazzling designs to cut a dash on the beach this summer”, tells you everything you need to know about that.

The adult garments continue the warm, bulky and casual trend with a men’s “crochet-knit shirt” and “country-style cardigan” in double knitting weight. Knitting pattern stitches that look like crochet crop up every once in a while and it’s certainly an intriguing idea. That said, I don’t think this jumper particularly looks like crochet — it’s yo, k2tog on every right-side row and purl on the wrong side in staggered rows, which is just a simple lace pattern. I’m guessing they thought the word “lace” was not manly enough… The cardigan is made in three-colour slip stitch and is probably very warm and “squishy”. I like the neat, almost hidden pockets and the narrow edging band.

The women’s garments offer two more elegant, but still casual blouses, the two jumpers with fun collar details featured on the front cover and a relaxed “holiday cardigan” in double knitting. Patons “Totem” crepe wool appears in 4-ply (the blouses) or in double knitting weight (the cardigan). “Crepe” in this case meant that the wool was spun very smooth and tightly plied to minimise “fuzziness” and give raised stitch patterns a crisp, precise look. The jumpers from the cover are designed for ever-popular Rimple wool, a crinkly wool-synthetic blend intended to look like towelling fabric. Fans of truly bulky knitting can make this his-n-hers set (well, not really a “set” as they are two completely different designs, but featured together in the photo spread). Her sweater is made in fisherman’s rib stitch and if it looks that bulky on the petite, fine-boned model, I can only imagine it would make anyone else look elephantine — but good for sailing and/or April beachwear, I guess.

Housewares include the continuation of the “Zodiac” theme with an Aries motif, a traycloth in cross-stitch, a cross-stitch and pile rug, “amusing” aprons for the whole family (the father looks utterly un-amused at having to participate in the washing-up), a village townscape needle etching, a cross-stitch cushion… i.e. the usual fare. You can also make a toy “Wag” puppy for fans of the children’s comic from the last few issues, “Wendy and Wag in Wallpaper Land.” I don’t mind telling you that it had a happy ending for everyone. And with that, happy April and see you next time!

P.S. There wasn’t any project in this issue that really called to me, so I’m going to finish up a project of my own design that was inspired by this Stitchcraft children’s jacket from March 1960 that I made last year and write about that. Stay tuned…

 

March 1961: Overview

IMG_2399Are you ready to “Rendez-vous with Spring”? I sure am! This month’s issue has a lovely extra “centerfold” spread in colour, showing off Spring 1961’s latest fashions.

That said, no especially new looks, wools or techniques are introduced. The partner look is still going strong, as you can see from the his-n-hers Aran sweaters on the cover. They both have boatnecks, popular for a little while in the late 1950s and showing up again here. They are not shaped at the front neck at all, so I imagine them to be uncomfortable and awkward to wear.

Nubbly Rimple and thick, bulky Big Ben wools continue to be popular, featuring in almost all of this month’s adult garments. Big collars are still in, but one jumper utilises a contrast collar design in a different wool, with an interesting shape and ribbed texture. For larger sizes, there’s a cardigan skirt suit in purple plaid — bold colours and jewel tones are in fashion for all sizes and make a great centerfold picture all lined up together.

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In the homewares department, we’ve got another beautiful “peasant” design (they really love that word) for a cushion, a decorative wall tapestry with pictures of chipmunks, some flower embroideries for cushions or a tray cloth, this month’s Zodiac symbol to embroider on whatever you want (Pisces), and a really difficult-looking crocheted cushion cover.

The highlight of the homewares patterns has got to be this incredible “Willow pattern” latch-hook rug. I had heard of “willow-ware” porcelain (remember that scene from one of the Anne of Green Gables books, where Anne or Davy or someone accidentally breaks Aunt Josephine’s blue and white willow-ware platter, then Anne sees a similar one in someone’s house, climbs up on the roof of the barn or something to look at it through the window, then falls through the roof and gets stuck, having to wait in a rainstorm until the owner gets home and then explain the situation?) and I have seen this type of pattern on porcelain china, but never knew that the one was referring to the other.

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Stitchcraft‘s description of the rug refers to “the 3 figures in the Willow Pattern story.” I had also never heard of any Willow Pattern story, but my good friend Wikipedia told me all about the history of the Willow pattern and the associated legend (spoiler: the “legend”, like the pattern, was a 100% British invention made up to sell more porcelain goods, not any kind of authentic Chinese folk tale). Both the pattern and the associated story served as inspiration for further literary, media and commercial works. You can read all about it here.

Finally, it would not be Stitchcraft without a page of little items “for sale-of-work” at church bazaars etc., or to surprise your family on Easter morning. The continuation of Belinda the doll’s knitted outfit is quite cute, but what on earth were they thinking with these egg cosies?!? They look positively psychotic. If I were a child and my mother served my Easter morning Easter egg in one of those things, I would be surprised all right… and probably wouldn’t sleep for a week.

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Speaking of children, here are some who weren’t scared off by their egg cosies and were rewarded with bright, sunny “play sweaters from Vienna” in spring colours of lemon yellow and white. The caption on the page opposite is “Gay as a See-Saw!” I’m sure there are a lot of jokes one could make about gay and see-saws, but I won’t. The kid’s comic in the back pages has the usual continuing story — Wendy and her dog Wag are having some fun adventures in Wallpaper Land.

IMG_2423The ads are for the usual knitting machines and sewing fabrics… except for this one, for “Cooper’s moth proofer” spray, presumably made of DDT  or some other extremely toxic insecticide that kills “ants, beetles… these and other crawling insects die on contact — even months after spraying.” Just the thing to use in your enclosed, airless closet space!

With that, I wish you all a lovely, non-toxic, gay as a see-saw rendez-vous with spring. My March project will be some version of the flower embroidery.

 

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!

December 1960: Overview

IMG_2214This year (1960 or 2018, take your pick) draws to a close with Stitchcraft’s “Christmas Issue”, which, as you may expect, is full of holiday-themed novelties to decorate and give.

That said, the hoodies on the cover are surprisingly modern and not “Christmas sweaters” in the sense we usually think of them at all. If I just saw a photo of them without the festive vintage backdrop, or the “DEC 1960” in the cover corner, I would be hard-pressed to say from what decade they came from. You could sell them in a regular modern store today and nobody would think they were a vintage design! I love the little tuft on the kid’s hood, too. They are made in nubbly Rimple yarn, still a hit and always featured somewhere in each issue.

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There are “gay ideas” for festive party table decorations of all types: a floral tablecloth for  a tea party, a merry-go-round tea cosy for the “Nursery Party” and table sets with playing cards as napkin holders for the grown-ups. “The last minute novelties” take on a fairy-tale theme, with a Red Riding Hood doll, a Noah’s Ark nightcase, a friendly draught-stopping snake and — for your holiday Dickens bedtime reading — a tea cosy that looks like a plum pudding, complete with attached crocheted plate! More pious readers can make an appliqué wall hanging of the Three Wise Men and heathens can make an embroidered wastebasket cosy with a Sagittarius theme (this month’s astrological sign).

Of course, one never has enough time in the holiday season to make everything perfectly,  so if you are “really stumped for time” you can make the wall hanging “in bright, shiny papers” (instead of felt), “cutting out the shapes and sticking them down, then adding cut-out strips, etc., for the finishing touches.”

For those who have the time, or don’t go all-out for holiday decorations, there are the usual assortment of knitting projects, starting with a lovely warm dress-booties-mittens set for a baby. I do admire her elegant mitts, but I’m guessing that in real life, they don’t stay on a baby any longer than it takes to take a photo. Older kids can get a striped jumper in a fantastic, very modern colour combination.

Teenagers haven’t been forgotten either, and can enjoy these Italian-inspired colour designs with added embroidery on the young woman’s jumper. I really like both of these designs! The young man’s jumper is fun without being too flashy, and with a little tweaking, would work well on a woman’s figure, with the dark colour band starting just under the bust line. There’s even a little extra “how-to” lesson on embroidering knits, which is still perennially in fashion at this time.

IMG_2219Adult women, having hopefully embraced the “new length” (long) and “new sleeve style” (3/4 or 7/8) from last issue, can get ready for Paris’ “new necklines” — a high turn-down-and-rib combination or a buttoned-up turtle (polo) neck. No turn-down collars this time — are they on the way out? There’s a new yarn to go with them, Cameo Crepe, which is smooth and less “hairy” than other wools, for good stitch definition.

All this new fashion detailing can be admired in the two-colour twin set from the inside back cover, and to go under it all, why not knit yourself a lovely warm woollen vest (camisole)? I don’t mean that sarcastically — they are really the best! I made a woollen lace under-dress (slip) last year and it is heaven in a cold, damp climate.

It’s hard to decide what to make from this issue. Lots of the items are cute and fun, but nothing jumps out at me that I absolutely have to make. The plum pudding cosy is so silly that it’s cool, but I don’t use tea cosies and it would be a lot of work for a gag. The snake is cute and useful, but I don’t have odds and ends of double knitting at the moment and I do  in fact already have a stuffed snake who occasionally gets put to work plugging a “leaky” window. I also have plenty of jumpers and even wollen underclothes (s. above), so don’t need more. I do have a hundred grams of very nice, hand-dyed green fingering wool in search of a project, so maybe I’ll make the baby dress.

In the meantime, Happy Holidays to all my readers! May everything you celebrate be jolly and festive.

 

November 1960: Cloche Cap

IMG_2176November’s project was a little cloche hat, made out of leftover wool from July’s Charming blouse. I loved the little buckled brim and the sort of mushroom shape, though I found that the hat looks better if I pull it down over my forehead like a 1920s cloche hat. Either the picture in the magazine, taken from an angle over the model’s head, doesn’t really give a true impression, or our heads are differently shaped, or both.

Speaking of differently shaped, the hat is meant for an “average hat size”. That’s… not very specific. I do have a bigger head than average for modern days, but the wool (Juniper Moon Farms’ Herriot Fine) is mostly alpaca, so stretchier than the synthetic Rimple that the pattern is written for. To be safe, I made the buckle strip for the brim a little longer, but in the end that wouldn’t have been necessary. The buckle brim band (good name for a band!) is made in garter stitch, which is really not the most suitable for hat brims, as it stretches too much and doesn’t hold the hat on your head. Though of course, if you pull a hat down over your forehead, it’s not going to go anywhere.

Not that I need any more hats, but it’s cute and warm, so I’m happy.

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November 1960: Overview

IMG_2168Brrrr! November 1960’s Special Bumper Issue” brings us “Colour for the Cold Days” and an extra 16-page pull-out booklet of baby woollies. Sadly, so sadly, the booklet from my copy of this issue has been pulled out long ago and is missing.

There are still plenty of lovely cold-weather fashions and interesting homewares to make, starting with the comfortable, matching “his and hers” sweaters from the front cover. Green checks continue to be in fashion, this time made with a complicated slip-drop-and-pick-up-later stitch pattern in two colours of Rimple. The idea of the “partner look” is just starting now, but will carry on throughout the 1960s into the androgynous 1970s and even the oversized-sweaters-for-everyone 1980s. Both fashion and gender roles were still quite rigidly stratified in 1960, but I see a parallel between the gradual softening of gender-based norms and the increased interest in gender-neutral “partner” garments that both started around this time. The two sweaters in this issue are both loosely-fitted, shaped (or not shaped, as is the case) the same, and available in overlapping sizes. The only proportional differences are in the shoulder width and sleeve/overall length, and the only cosmetic difference is the collar.

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Women’s fashions without men’s versions include a “sports” sweater with coloured lines made from a bobbled two-colour stitch pattern and added embroidery, a “top-fashion” jacket with a wide collar, a belted jumper and a cute hat with a buckled brim. Waist-length and closely fitted is definitely out, and the long-line with minimal shaping and a collar is definitely in. Men’s fashions are similarly long and loose-fitting, with dolman sleeves and interesting yoke details, and there’s a fantastic twin-set for young girls aged 5-9.

IMG_2172Homewares are still in a weird phase. The working woman or baby-boom mum (and those were overlapping categories, then as now) of 1960 didn’t have the time or patience to make too many elaborate Jacobean embroidery pieces or huge, detailed tapestries, especially not right before the great rush to get Christmas presents under the tree, so the focus is on quick, easy-to-make novelties for gifts. The aesthetic sense does seem to get lost a bit, though, if you ask me.

Of course, if you do have the time and leisure, you can go ahead and make a piano-stool and cushion set in Victorian-style tapestry, or a large room-divider screen with colourful parrots. Truly modern and up-to-date novelty lovers can continue the Zodiac series with a Scorpio motif for cushions, chairbacks or waste-paper baskets.

IMG_2178(I notice that Word Press does not recognise the word “chairback”. They have been out of fashion for too many years, I guess, having fallen victim to cheaper furniture, more frequent hair-washings and less Brylcreem. Pity that no one likes them now, as they do seem kind of fun.)

In the back pages, Jill Browne is still happily endorsing Patons Big Ben wool, and a lovely new children’s serial, “Wendy and Wag in Wallpaper Land” has started. Note the printed ruler at the side of the page, included in each issue as an easy way to measure your tension swatch. Also, there’s a rug reprint, a toy pig made of pink felt, a panda-bear motif and gay pot holders. What more could you want? My project will be the cloche hat, and I’ll consider the belted jumper if I have more time.

 

 

September 1960: Overview

IMG_2045September 1960 is supposedly a “Special Number” of autumn knitting fashions. I’m not sure what exactly makes it so special, since it doesn’t seem to have any more, or particularly different, projects than the average issue. I guess it’s special in that September is finally a bit cooler weather-wise, so you can start to make some nice wool garments for the colder months — very appropriate in 2018, where we had the summer to end all summers. Things have cooled down a bit now, so I’m looking forward to wearing my (still unfinished) projects from July and August soon.

But back to September 1960. “You must include some heavy-knits for the really cool days out of doors, but for the milder days, a fashion feature to note is the use of finer knitting,” Patience Horne tells us, and this month’s issue gives a good mix of finer and bulkier garments for adults and children. The 4-ply women’s sweaters (why sweaters and not jumpers? I still can’t figure out why they sometimes use one term and sometimes  the other for the exact same type of garment) have those big square collars that we’ve seen on other 1960 designs, with or without buttons. The pink sweater is made in super-fine-ply Lucelle at 10 stitches to the inch! If hand-knitting in fine yarn is too time-consuming for you, you can make a lacy cardigan on your machine.

Moving up the bulkiness scale, we’ve got the lovely skirt suit on the cover, made in Rimple, a sweater in “overblouse style” and a “raglan golf sweater” for men in green plaid. Green checks continue to be in fashion!  The “young sports fans” in the family get comfortable jackets in double knitting weight, “made to match for brother and sister.” Can you spot the difference between the boys’ and girls’ versions? (Do you remember those “can you spot the 10 differences between these pictures” puzzles in the kids’ comics section? Do they still have those?) If you can’t, I won’t tell you, but try buttoning a cardigan made for the “opposite” sex if you need a hint.

Fans of Big Ben bulky knitting can make a Viennese design with added-on embroidery in duplicate stitch, or a trio of crochet items in “crunchy Pineapple-stitch”. I love the pram cover, bound with blanket edging, but I wish I could see the bonnet from the front.

Homewares are well represented by a stool cover in Florentine tapestry, a great embroidered cushion in blackwork design, traditional and “modern” pile rugs and some interesting tablewares — tapestry table mats with pictures of “3 famous castles” and crocheted raffia drink mats for your cocktail party. Cheers, everyone! My September project will be the blackwork cushion, and I hope to finish up the knitted blouse from July and the cardigan from the August twin-set.

 

 

July 1960: Overview

IMG_1879“Free and easy” is this month’s motto. Summer is here and nobody really feels like handling warm wool, so the emphasis is on “travel knits” (lightweight), “casual knits” (not too complicated) and “stroller styles” (loose and oversized). There is more embroidery and needlework than knitwear, and some easy sewing projects. Shall we relax and take a look?

The combination of dark and light green continues to be in fashion: we saw it in the great houndstooth jumper from January 1960 and it’s here again in this “casual car coat” and and the loose-fitting men’s checked shirt style on the inside back cover — “suitable for golf or to wear with beach shorts.”

IMG_1898I have to take a moment here to quote one of my favourite Roald Dahl stories, “The Boy Who Talked With Animals.” It’s about a little boy who saves a giant tortoise from the soup kettle, and Dahl’s description of the tourists waiting on the beach for the caught tortoise to be hauled in has, for some reason, stayed with me through the years:

The men were wearing those frightful Bermuda shorts that came down to the knees, and their shirts were bilious with pinks and oranges and every other clashing color you could think of. The women had better taste, and were dressed for the most part in pretty cotton dresses. Nearly everyone carried a drink in one hand.

I would hope Stitchcraft readers and their men would have had better taste, but I’m not always sure.

The other “free and easy” knits are mostly nice without being really special: a pretty cardigan with knitted-in pearls, nubbly Rimple, a short-sleeved blouse and some cute tops for teenage girls.

 

The “plus-size” (37-40 inch bust) cardigan blouse is really elegant, though, and has a feature that I have honestly never seen in any other mid-century patterns: short-row horizontal bust darts. But unlike modern methods of short-rowing where the turning stitches are wrapped or otherwise bound up with the stitch next to it, you just cast off the stitches and cast them on again, sewing the dart up afterwards as you would a sewn blouse.  IMG_1895

For the little ones, there’s a sun-suit, a fluffy top, and a waistcoat to sew and embroider. The waistcoat is a tie-in with the current comic, “The Magic Needle”, in which our tailor hero’s magic needle has just made a lovely embroidered waistcoat for Mouser the cat. In addition to the waistcoat, you can sew a stuffed toy Mouser, and while you’re at the sewing machine you can make this adorable gingham skirt to wear “over a frothy petticoat” and an amusing apron “for the needlework stall” (Stitchcraft often gives ideas for inexpensive projects that can be sold at church bazaars or other “sale of work” opportunities.)

 

IMG_1881You can also embroider a tablecloth, make tea-towels in huckaback, or attempt this fabulous tea cosy and/or evening bag in faux eighteenth-century tapestry. I so, so want to make this evening bag! I would love it and use it all the time. But I am too overwhelmed by the idea of trying to make a chart based solely on the photos — the design is fairly intricate — and having never before attempted tapestry work, I fear it would just be too much for a rank beginner. I will definitely file it away for future days when I know how to approach it better.

That’s it for free-and-easy July 1960! I’ll leave you with a parade of well-dressed cats, courtesy of Mr. Tuckett’s magic needle. My project from this month’s issue will be the lovely bust-darted cardigan blouse, and I’ll try to finish up the projects from April (!) and June.

 

 

 

June 1960: Overview

IMG_1805June, the month of leisure! Or at least, leisure knits — “Fashions for Sun and Sea.” Stitchcraft’s “editress”, Patience Horne,  reminds us that it’s important to have something to knit or sew while on holiday, as “it helps us to relax”, and points out that “A lot of knitting and embroidery is done in the deck-chair by busy housewives who never get time at home, and find it difficult to ease off suddenly.”

Honestly, I always had the impression that busy housewives were the ones who never got any time off, even when the family was on holiday. I guess it depends on where you went, what you planned on doing and what accommodations you had, but if I recall correctly, camping was quite popular in the IMG_18081950s and 1960s… meaning the housewife/mother of the family had to shop, cook and keep the tent or living space tidy just as she did at home, but in worse conditions (rain, mud, no proper grocery stores, camp stove, having to fetch water for cooking and washing up). Doesn’t sound much like leisure time to me! Of course, if you were rich enough to stay in a nice hotel and eat out for meals you might well have some time for handcrafts, but that wasn’t a possibility for all families, and Stitchcraft‘s target audience was more working-to-middle-class.

But knitting magazines have to be sold in the summer months as well, and there are some very nice things to make in this issue, cleverly categorised by activity. “Sun-seekers” can make pretty sleeveless tops (in wool or nylon) and one of the patterns has a cute fringed shoulder poncho thingy to change “from beach to promenade.” Two other tops are a bit dressier, in case you want to change again for tea. Obviously, the tops need to be lightweight, so all are made in 2- to 4-ply wool at 7 to 8 1/2 stitches per inch.

For “the young sailing fan” — or horseback riding fan — there’s the child’s cardigan pictured in the inside front cover and a horse-motif pullover, both in somewhat thicker Rimple Double Knitting. Though I don’t think the head in the riding motif looks much like a horse’s head — is it supposed to be a fox? These days, you could knit it in silver-gray with neon green eyes and call it an alien, if you wanted to. Rimple is also featured in a classic V-neck pullover for women and a stole, “for a touch of glamour.”

For “Tennis and Rowing” — the manly sports, I guess, since the girls sail and ride horses and the housewives are all too tired to do anything but sit in the deck chair and knit — there’s a pullover in double knitting with crew neck, sunglass pockets, and colour pennants where the knitter can use the wearer’s club colours. Bulky Big Ben wool makes an appearance in a slipover for men and a little cap for women.

If that’s not enough to keep you busy on your supposed holiday, you can embroider some cushions quickly in thick thread, make an intriguing circular table cloth with a peacock motive, sew a little dress for a toddler, or make lunch mats with holiday scenes on them in fantastic shades of yellow and purple. There are tapestry designs for a footstool, screen, book cover or “finger plate” as well.

Wait — what on earth is a finger plate? It looks like something you put on a door — but why? Wikipedia came to my rescue:

“A fingerplate is a plate that is fixed to a door near the handle or keyhole. It can be made of metal, plastic, ceramic or glass. It purpose is to prevent people’s fingers from smudging the door.”

This makes no sense to me, as I would think it would be easier to wipe off the door once in a while than to take a framed tapestry off of the door, wash and re-mount it, but OK.

Speaking of “what is this” and “OK” — you can also embroider a “novelty bathroom mat” where “suitable expressions” on the taps register hot or cold, and in the “Suggestions from Readers” column, we are informed that Mrs Ross of Berkhamsted cleverly adapted the tapestry townscape of Finchingfield “to bring in her husband’s interest in aeroplanes.” Behold, the Comet jet careening over Finchingfield, apparently about to make an emergency landing in the town square!

Let’s hope things end well for everyone involved.

My June project wasn’t pictured here, as it is just a little “extra” design element offered in the back pages — a little parakeet (budgie) motif for cross-stitch or knitting. I’ll turn it into something cute for two friends who are getting married in August.

 

April 1960: Overview

coverapr60“Already there is talk of holidays” says the introduction to the April 1960 issue, “and whether it’s to be the sea, country, sight-seeing or sailing, you can’t go without your holiday hand-knits.” At the same time, spring and April mean Easter, with lots of opportunities for hand-made accessories and knickknacks.

For knitters, there is a larger variety of wool weights and styles than in the last couple of issues. Houndstooth and checked patterns are still going strong — look at that great jacket on the front cover! — but lace and Rimple designs are offered too, and garments for babies, toddlers, and adult men and women.

For the patient, there is a cute 3-ply top and a shirt in cotton crochet yarn at 12 stitches to the inch. (This is the only type of cotton yarn I’ve ever seen featured in Stitchcraft, but usually it’s used for making doilies or other fine crochet items.)

For those who prefer to actually get their garment finished before the summer holidays start, there are “partner look” sailing sweaters, the houndstooth jacket on the cover, and pullovers in Rimple and Big Ben yarns. Rimple will continue to not be my taste in terms of texture, but isn’t the model cute?

Easter embroidery is big, and around this time, Stitchcraft started to include designs for church accessories — hassocks and kneelers in tapestry or cross-stitch. For those for whom Easter is less of a religious experience, there are some great “Easter novelties” (cosies for teapots and toilets) and who could resist those gay kitchen ideas? Standard needlework ideas for the home include a fitted chairback and a lovely Persian-inspired cushion.

One thing that is really different in this issue is a sewing pattern, common in 1940s and 50s Stitchcraft but rare in the 1960s. It’s a very simple nightdress (for Easter and/or your holidays, of course) that is recommended to be made in “one of the easily laundered non-iron materials”, i.e. nylon or early synthetics.

nightdress

April’s celebrity “plug” is given to us by Jill Browne, the actress who played Nurse Carole Young on the soap opera Emergency – Ward 10, which aired on ITV from 1957 to 1967.  I have to admit I have never seen it, but it seems to have been quite progressive for its time, with Joan Hooley playing a female surgeon in an interracial relationship that was sealed with a kiss onscreen.

starad

On the back pages, it is the end of adventures for Good Teddy Bear and Naughty Teddy Bear, but they got two gay jerseys knitted for them in the end, so I think everyone was happy. Plus you can make your very own teddy bear to commemorate the series! The ads are for the usual things, except for this gem of a potty-training stool called “Bambino”, appearing for the first time.

My projects from this issue will be the 3-ply top and the appliqué goslings on a tea cosy. Happy Spring, everyone!

 

 

 

 

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