Bridget's Blunder!

Its difficult at the moment to share much of what is happening as such a lot of what I am doing is checking and rechecking and measuring and calculating so I thought I would share this little poem with you which I found at the back of a 1940s pattern booklet, promoting the famous 'Patonised' wool of the time, and its called 'Bridget's Blunder'

Bridget's Blunder

My story tells of Bridget Whitting

Who loved both plain and fancy knitting,

But though she worked by day and night

Her efforts seldom turned out right.

Friends would say, "Cor! That jumper's posh!"

But when she'd given it a wash,

Instead of snugly fitting Bridget

It seemed more suited to a midget.

One day, when off to see her draper

She saw announced inside her paper

A brand-new wool; was she elated!

For bold as brass the maker stated:-

"This wool's the best that can be got,

It will not shrink, no matter what!"

So Bridget told her woolshop flat,

"I'll have a basinful of that."

And hurried home with glowing cheeks,

But couponless for weeks and weeks.

Soon willing Labour bore its fruit -

A salmon-pinky jumpersuit,

Which Bridget wore with pride o'er-weening

Till, solied and creased, it needed cleaning.

Said B., "It won't take half a wink,

the makers say it cannot shrink."

(But they forgot to say - the wretches! -

That wool made shrinkless sometimes stretches).

'Twas washed; the outcome nearly killed her,

It went three times round Aunt Matilda!

And looked in shade like Aunt Euphemia

Who suffers from acute anaemia.

"That's finished it," wept B., "I'm quitting,

I'm through for good and all with knitting;

I'll write at once to my MP,

about this dire clamity."

Her tale was penned 'midst groans and hisses,

- The MP showed it to his Mrs.

Who said, "That girl should be advised

to stick to wool that's Patonised,

Which, used with reasonable care

Will wash and wash, and wear and wear;

Trust P&B, the leading spinners

Only to turn out certain winners.

Just tell her she's a chump to quit

When there's such lovely wool to knit."

B. took the tip, no longer weeps;

that MP's in his seat for keeps!

I hope you enjoyed Bridget's tale. 

for now

Ruby xx

Why are so many vintage patterns only in one size?

I would very much like to introduce you today to Jen Arnall-Culliford. 

Formerly employed by Future Publishing, Jen is now working as a freelance tech editor and has very kindly taken on the task of tech editing A Stitch in Time Vol 2 for me. It is a mountainous task but Jen is the sort of girl who loves a challenge! We work very closely together on every pattern, in our efforts to give the knitter the best pattern possible, without radically altering the design. Jen has agreed to write some blog posts explaining some of the more challenging situations we are encountering and how even so, we are managing to maintain the integrity of the original designs. So over to Jen...


So, why are so many vintage patterns only in one size - or, the challenges of vintage patterns…  This is the first in a short series about technical editing of complex knitting patterns.

My background is in chemistry, and one of the things I love about working as a knitting technical editor, is the amount of problem solving, pattern spotting and maths involved. People often think I have a peculiar career path, but to me it makes complete sense! Straight chemistry didn’t provide enough variety for me, but many of the skills I learnt are directly useful in knitting. Writing lab reports so that another chemist can repeat your work uses exactly the same skills as writing a pattern so that another knitter can create the same garment. And likewise, the problem solving that you use when trying to make a natural product in the lab are the same as the problem solving that you apply to charting or grading a knitting pattern. They are, really!

Many of the patterns that will be featured in A Stitch in Time Vol. 2, were originally published in just one size. Susan is working hard on rewriting these patterns to give a range of sizes better suited to modern knitters (this process is known as grading). In most cases, this involves adding extra stitches to widen a piece, and extra rows to add length. For colourwork patterns, this is usually a straightforward process – adding extra motifs to the bands, and then rows between to lengthen. Cable patterns aren’t too complicated either, although sometimes the repeats are wide, and compromises need to be made to allow width increases of less than one pattern repeat. You will no doubt have seen patterns where extra small cables, moss stitch or ribbing are added at the sides of larger garments.  It is generally lace patterns that pose a particular problem, and sometimes in these cases, grading a pattern in the traditional way just isn’t possible. The designs use the shape of the stitch patterns in such a way that it is vital to respect the way in which the stitch pattern evolves if you wish to grade larger (or smaller) sizes without losing the most important design features. A stitch pattern that has sloping sides may be used to create any of the shaping that the garment requires, for example at the waist, bust, armhole or neck opening. If you change the point in the pattern where this shaping occurs, then a vital part of the original design is lost.

Many of the lace patterns chosen for A Stitch in Time Vol. 2 use complex motifs where the stitch count changes as the rows are worked (creating a shaped pattern). This makes it almost impossible to change any of the garment dimensions in less than a whole pattern repeat. And pattern repeats can be quite large! Imagine, for example, an original garment to fit a 32in bust. The front measures 16in across, 12in to the armholes and then has an armhole depth of 8in. The stitch pattern has a diamond shape, and measures 4in wide by 4in tall, and stitch counts change on almost every row, making it necessary to keep shaping for armholes in the same relative position on every size. If you want to make the armhole depth more than it already is, you would need to go up to 12in, which is much too deep for any size. Likewise, to decrease the depth, you would need to go down to 4in, which is too small.

In some patterns, it is possible to work half pattern repeats, which give a smaller increment in which to work, but that’s not the end of the problem, as working a half repeat may well necessitate writing a whole different set of instructions for the shaping. Given that some of the patterns already take a large number of pages in just one size, adding extra pages isn’t a printable option. And remember that more written instructions increases the probability of errors. So the more instructions there are, the more checks and tests need to be performed to remove them. In science this is often possible as the risks and rewards involved are high, so budget is available for lengthy and rigorous testing. In knitting, these same risks and rewards are lower, and as such it isn’t normally possible to have more than 3 levels of editing of a pattern, without increasing the cost to the consumer dramatically. Most patterns and pattern books don’t sell in anywhere near enough numbers to cover the cost of professional test knitting of every size of a garment, followed by multiple levels of technical editing.

Given these challenges, it isn’t surprising that many older patterns were printed in only one size, and explains why some of the patterns in both volumes of A Stitch in Time are graded using needle size changes and yarn weight changes instead of pattern instruction grading. When a designer has gone to such lengths to use a stitch pattern so creatively, it’s wonderful to be able to offer that design in a wider range of sizes, whilst preserving the very design features that make the pattern so special. With careful choice of different weights of yarn, you can grade a pattern in the best possible way – the finished garment will look the same as the sample, just larger. How often have you seen disappointing patterns where the proportions have been destroyed with acres of extra filler stitch pattern in large sizes? Using needle size and yarn carefully avoids this problem, and gives larger sizes the same cleverly designed proportions as the original.

Next time I’ll take you through how we chart a pattern with changing stitch counts, and hopefully get rid of some of the confusion surrounding “no stitch” symbols.

For more technical blether, I can be found on Twitter @JenACKnitwear and on Ravelry also at JenACKnitwear.

I do hope you've enjoyed today's guest post. Jen will be back again in a few weeks with more insights into what goes into the making of A Stitch in Time.

but for now,
Ruby xx

Images courtesy of Jen Arnall-Culliford

Revised Publication Date Information

I recently emailed all the pre-order customers of A Stitch in Time Volume 2 to explain my decision to amend the publication date on the book. I am hoping that everyone has received and has had time to read the email and would like to share it with you now:


"As you know, A Stitch in Time Volume 2 was due for publication on 31st March. However I have had to revise the publication date due to a number of factors that I have been trying to deal with, but ultimately by rushing the book to meet the original publication date, I believe errors etc will creep in and I really don't want that to happen.

An unusually high number of the original vintage patterns being used in the book have been found to be incorrect on knitting up and I have had to spend more time than expected correcting the patterns before they could be knit again. More than expected have proven so inaccurate that I have had to remove them from the book and replace them with alternative patterns. This means even more knitting and checking.

With to the high level of inaccuracies in the original patterns I have taken the decision to introduce a further level of independent technical editing which is expensive and time consuming but I am sure you will agree, well worth it, if it removes errors in the new patterns.

With so many patterns in the book, it is proving a momentous task to get all the patterns written. There is also an additional section on fit and finishing to help choose and complete the right patterns, which I'm writing at the moment. I think it will be a great addition to the book and a valuable tool when knitting from any vintage pattern, and I don't want to miss it out just to save time.

These books really are a labour of love. With just Gavin, myself and my mother in law permanently involved on the project at all levels until it goes to be printed, this is what self publishing is all about, but it does mean that you have to do everything yourself. I wouldn't have it any other way but it does create additional pressure and time constraints.

In addition to this there have been delays in the arrival of Excelana, which was being used for a number of patterns in the book. As it is my own yarn, I really want it to be featured in the book, but I only received the final batch last week, which has dramatically delayed things. Also, the lovely firm, JC Rennie went into liquidation very recently, which means several garments that were knitted in their yarns are having to be reknit in a yarn that will still be available when the book is published.

I am so grateful to every one who has pre-ordered the book, as without you it probably would not have been possible and I appreciate your commitment to the project, and am determined to communicate fully and explain what is happening. Realistically, with the number  of setbacks and delays we have experienced and also additional work needed, I think it would be safest to move the publication date to the end of June and then if it is ready early, it will be an unexpected bonus. I hope this isn't too disappointing,  but I am convinced that the finished book is well worth the wait. (We are currently looking at over 75 patterns and around 400 pages of wonderful vintage gorgeousness presented in a beautiful hard back book). I will continue to release images and details of projects in the book without giving the whole game away and will communicate as regularly as possible to advise of any developments. I am also looking at the early release to yourselves of a single pattern from the book as a thank you.

Pre-orders will continue to remain available at the discounted price, along with all the extra goodies, for the forseeable future. If you are unhappy to wait please do contact the shop and your order can be cancelled and a refund arranged but I do hope that you will bear with me these extra couple of months to make sure you all get the book you want.

with kindest regards
Susan Crawford"


I hope it fully explains the huge task involved in putting this book together. I have received some lovely responses from customers offering moral support in this huge task, and these responses have really helped. Thank you everyone.

for now
Ruby xx

Behind the scenes of a Stitch in Time Photoshoot

Whilst work on A Stitch in Time Volume 2 continues day and night I thought I would share some images with you from the most recent photoshoot.  We had a great day and were very fortunate to have the whole day filmed for a future short film which will be released a little later in the year. But in the meantime here's a little glance behind the scenes of just one of the many photoshoots that go into the making of A Stitch in Time.

The Location (Image Courtesy of Ingrid Murnane 2011)

 

 

 

Hair and Make Up (Image Courtesy of Ingrid Murnane 2011)

Setting up a scene (Image Courtesy of Ingrid Murnane 2011)

 

 

 

 

Taking a photo (Image Courtesy of Ingrid Murnane 2011)

Cover Girl Theo resting between shoots (Image Courtesy of Ingrid Murnane 2011)

Props (Image Courtesy of Charlie Moon 2011)

Pretty Shoes (Image Courtesy of Charlie Moon 2011)

Lighting in the strangest places (Image Courtesy of Charlie Moon 2011)

The Finishing Touches (Image Courtesy of Charlie Moon 2011)

What you don't see! (Image Courtesy of Charlie Moon 2011)

Another sneeky peek (Image Courtesy of Charlie Moon 2011)

My Latest Camera (Image Courtesy of Ingrid Murnane 2011)

for now
Ruby xxx

Excelana unveiling!

I have just got back from having a thoroughly lovely time at Unravel in Farnham, Surrey. I have done the show for the last three years but what made this one rather different is that it was the official unveiling of 'EXCELANA' our beautiful new vintage inspired yarn.

 Excelana is 70% Exmoor Blueface/30% Blue Faced Leicester and the sheep who kindly provided the fleece all live on Exmoor less than 50 miles from the mill where the fleece is spun and processed.

Here is a picture of our lovely ladies on the hills of Exmoor

courtesy of British Wool Marketing Board

The British Wool Marketing Board and the Campaign for Wool are both supporting the brand and I hope that we will be able to see the yarn in shops around the country and all around the world. In the meantime, the yarn can be bought through my website or directly from the Excelana website that we've set up.

So what got me started on this mission? John Arbon, who owns and runs Fibre Harvest in North Devon, has long wanted to use the Exmoor Blueface sheep for a knitting wool. But the fleece of this particular sheep does not usually get used in this way and John has had to jump through many hoops to get to the point where we would be ready to do so. John and I met through A Stitch in Time, when he bought a copy for his wife to be Juliet. We have all been firm friends ever since. John and Juliet are both in love with the 1940s and 1950s and loved the idea of a vintage inspired yarn. So we set to work!

My requirements for a truly vintage wool were -

For it be extremely stretchy with good recovery

To be lustrous with a soft handle

To drape well but to have body

To have good stitch definition

For the stitches to bind well to each other

A yarn that takes colour well

To have the right feel

A colour palette with individually beautiful colours that combine to work perfectly together.

I studied a lot of sources for my colour palette but one of main references was this amazing shade card from the 1930s which showed a wide and stunning range of wools available.

Image copyright Arbour House Publishing 2009

Eventually I made my decisions - 7 colours plus a natural undyed and waited for the work to be done and to be able to see and touch the finished yarn.

And here they are, eight beatiful colours

Image copyright Arbour House Publishing 2011

From left to right we have: Persian Grey, Nile Green, Cornflower Blue, Powdered Egg, French Rose,
Ruby Red, Alabaster and Saharan Sand. To purchase you can follow the link below or click on the button in the side bar.

And here are a few of the colours when knitted together

image copyright Arbour House Publishing 2011

The stitches really cling together well which is just what you need to knit fairisle.


Initially we only have 4 ply available but it will be followed by DK, Aran and yes, 3 ply and hopefully more colours in forthcoming seasons. Obviously the yarn has to sell for this to happen so do keep your fingers crossed for us, do buy the yarn if you are so disposed and ask your local wool shop if they would think of stocking it.

Wholesale enquiries are all done via the contact information on the Excelana website and there is pattern support in A Stitch in Time volume 2 as well as a forthcoming Excelana booklet.

And that, for today is that. My lovely technical editor, Jen, is with me for a few days as we go through more patterns than you can possibly imagine and in a few days time we'll have another reveal from A Stitch in Time Volume 2.


for now
Ruby xxx

Paris in Springtime!

Admittedly a little bit of artistic licence with regards to Springtime but I'm happy to pretend it is, as tomorrow afternoon I set off for a few days in Paris. This makes me happier than I can possibly describe, especially as it is three days of haberdasheries, yarn stores, button shops, fabric emporiums, flea markets a little sightseeing, drinking hot chocolate with friends and l'aguille en fete, the major needlecraft event in the french calendar.

I've been invited over to visit the event, and have also been commissioned by The Knitter to write up a little piece about it too. I will also get the chance to spend some time with my lovely friend Helene Magnusson, otherwise known as the Icelandic Knitter, who is exhibiting at the show and also a former Paris resident.

One of the major reasons for going to Paris though is buttons. I haven't had a big button shop for some time and I have used up a lot of my collection recently. So the hunt is on. I'm looking forward to sharing the results of my foraging when I return.

I won't be able to tweet or reply to emails while I'm away as I'm turning off the roaming etc on my phone so if your blog comments don't show up for a couple of days please don't worry. They will as soon as I get back.

for now, au revoir
Ruby xx

Buttons and Bows

To celebrate the weekend I thought I would reveal another of my favourite patterns from A Stitch in Time 2. 

This adorable sweater was originally published by Golden Eagle knitting wools in the 1940s, and was knitted in 3 ply 'Polynit'. You can see that the pattern is in quite a state of disrepair, which has helped me make decisions quite a few times when picking the patterns to be included in Volume Two. If a pattern or magazine is 'on its last legs' I feel its important to try and pass on its legacy before anything too terminal happens to it. The pattern states that the colours used should be deep blue, hyacinth, silver grey and cerise. I haven't managed to get exactly those colours but I think we've got quite close with a similar colour scheme of teal, fuschia, silver grey and pink.

Copyright Arbour House Publishing 2010

I have used Biggan Design 4 ply which has got a terrific range of colours available making a garment of this type possible. Its 100% merino and all produced and spun in Australia. The company is based in Brisbane but I believe they are on high ground, are all ok and managing to do business! The main colour needs about 5 x 50gm balls depending on size chosen with just one ball of each of the three complementary colours. The little bows are knitted seperately and sewn into place, so the sweater could be made if preferred, without the bows and even in one colour. I love it just as it is though! The pretty gathered sleeve heads are accentuated with neat little knitted sleeve pads which give the sleeves that bit of oomph. The slightly squared off neckline is very flattering and quite unusual for the period. Finally, its all finished off with a cute little back neck opening with four dainty buttons sewn on.

Copyright Arbour House Publishing 2010

We decided on a bit of an Andrew Sisters vibe for these photos- doesn't Theo look fabulous? Don't forget you can pre-order your copy of A Stitch in Time Volume 2 here.

Have a lovely weekend
for now
Ruby xxx


All images courtesy Arbour House Publishing 2010
Colour photography Susan Crawford

More exciting new things!

Over the last few months I've been working on a new range of kits to complement the books and individual patterns. As always, I'm a little bit late launching them! I had hoped they would be online for christmas but ...

However I have finally got the website edited to include a page all about the kits here and I am in the process of adding all the products to the knitonthenet shop so that customers can actually purchase them. Some are completely new designs and some have been been available as patterns previously.

Each kit comes in a lovely little eco-friendly jute bag, perfect for carrying your knitting around with you, any needles required (tied with some specially designed Susan Crawford ribbon), the required yarn in a choice of colours, pattern booklet and any notions required, such as buttons, ribbon or elastic.

Greta Turban Kit

There are currently 10 kits in the range with more to come. I've been getting lots of requests for the kits from yarn and vintage shops too so hopefully these little red knitting bags should be popping up at a LYS sometime soon.

The first kit which is also a new design, or should I say an enhancement of an old design, is the Greta Turban.

Copyright Arbour House Publishing 2010

I brought out a similar pattern to this in the very early days of knitonthenet but always felt it needed improving. The stitch used has stayed the same and the basic principle of a shaped strip being knitted then tied with a knot also remains. The design has moved on though as the turban now has a crown, elastic attached at the back to hold it in place and a secured front knot, so much more a hat than a scarf. Perfect for those bad hair days or when you're in a Land Girl frame of mind!

Copyright Arbour House Publishing 2010

The kit includes 2 balls of Baby Rooster yarn, knitting needles, elastic, the pattern booklet  and project bag for £25.00

You can purchase the kit via the knitonthenet shop or see some more information at the susancrawford website. The pattern will also be available as a PDF download very shortly.

I've a heck of a lot of things to show over the next few weeks so I'm going to try and increase the number of blog posts but if I don't get there as quickly as promised please bear with me!

for now
Ruby xx

All Images Copyright Arbour House Publishing

Photographs by Susan Crawford

So let me introduce to you ...

Up to now this year has been all about getting organized behind the scenes so that the countdown to publication of A Stitch in Time Vol 2 goes as smoothly as possible. Every time I cook a dinner, I'm making enough for double servings so that one half goes in the freezer ready for the next few weeks when normal life will stop and an enormous amount of work has to get done in a very short space of time.  When writing and editing A Stitch in Time Vol 1, I really didn't think about how much it would impact on day to day life, but starting work at 8am and finishing at 3am was too much and this time I am determined to be more organized. I also forgot that I would need to stop and cook dinners and just couldn't find the time, hence the plan to have at least 30 evening meals, lunches, soups, breads and cakes etc all frozen and ready to be used each day.

One of my other plans is to introduce a new design  with each blog post, so without further ado, please meet "Blouse with a Gathered Neckline" from A Stitch in Time Vol 2.

This gorgeous little sweater is from the 1950s and features those quintessential style statements of high neckline, buttons at back neck, fitted close to the body, short sleeves, nipped in waist and fine, fine yarn. It was actually knitted in a 1 ply wool and would have been lightweight enough to be worn tucked into a pencil skirt without making lumps!

copyright Arbour House Publishing 2010

With this sweater I felt it was important to get as close to the original garment weight as possible to really show how delicate these sweaters were.  I therefore used Cecilia from Posh Yarns a 50/50 silk and cashmere yarn with 1300 yards to a 100gm skein. This fabulous top takes all of one skein!

Copyright Arbour House Publishing 2010

There is a repeat pattern throughout the garment which makes it a much more interesting knit than plain stocking stitch, the sleeves are set in with the added touch of a dainty picot hem to the cuffs. The collar is knit separately and again features the picot edge as does the feminine ribbon which is cleverly knitted and folded into a bow. The only change I have made is omitting the patch pocket, which although knitted, just seems to spoil another wise perfectly elegant line.

Copyright Arbour House Publishing 2010

With being fitted, short sleeved and bodied, it actually knits up really quickly for a lace weight garment and gives you the perfect excuse to indulge in a skein of something really, really special.

Don't forget, the pre-order offer is still available on the knitonthenet shop, with an ever growing package of goodies!

for now

Ruby xxx

All images Copyright Arbour House Publishing
Photographs by Susan Crawford

Season's Greetings!

Copyright Arbour House Publishing

Thank you all so much for all your support this year.

with lots of love
Ruby xxx

A Stitch in Time Vol 2 Available to Pre-Order Now

The last few days have managed to slow me down a bit, but ultimately we've only ended up about four days late with the exciting news that A Stitch in Time Vol 2 1930-1959 is now available to pre-order. YAY!

Copyright Arbour House Publishing

I've put together a lovely package of goodies to go with the book to thank everyone who pre-orders. There are mini skeins of yarns that are used in the book, including samples of the forthcoming Excelana. There is a fabulous project bag, discount vouchers for yarn shops and for Excelana. There will be a discount code to use if you wish to purchase the Crochet book when it is available and there is a printable gift certificate emailed to you in case you are buying the book for someone else.

The most exciting thing of all for me, is that the book will be hard back (or case bound) and will contain 75 patterns. So its grown a little since Volume 1. More of the designs from the book will be revealed over the next few weeks both here on the blog and on the susancrawfordvintage website. For the eagle eyed amongst you (of which I know there are many) the cover will be exactly the same as shown but without the words 'and crochet'. I'll have a new version of the cover up shortly.

I am always so grateful to everyone who pre-orders as it really helps get a gauge of the interest in a publication and therefore how many books to get printed. As self publishers you obviously choose to take the risk along with the benefits, but it helps tremendously to know there is a market for your product, so again I really appreciate your support.

I hope you love all the goodies offered with the pre-order and that Stitch in Time 2 makes you as happy as its making me!


for now
Ruby xx

The Real World

Having spent the last week at the Clothes Show Live at the NEC in Birmingham, I was painfully aware on my return home, of the real face of disposable fashion. Its very easy to hide away from it usually. I rarely go to the ‘high street’ and don’t really buy clothes from main stream shops. I endeavour to buy only second hand, make my own or buy from carefully chosen retailers or small companies. Occasionally I venture to the city centre but rarely if ever, come back with clothing from a high street store. So to spend a week, face to face, with cheap knock offs of what the high street do, was quite depressing. Stalls selling ‘hand knit’ cardigans, capes and christmas themed sweaters for less than £10 were everywhere. On the last day, dresses were being sold at two for £1.  In our area of the show, all the stand holders were there to promote hand made garments, jewelry, home furnishings etc. It was a hard six days with many of my fellow stand holders losing a considerable amount of money, after being assured by the organisers that there would be tens of thousands of people coming past their stands eager for something new and exciting. Of the few people who, despite the lack of signage, promotion and the complete lack of heating in our area, did venture over, many were very positive. Some however, were distinctly disappointed that I wouldn’t sell the garments from A Stitch in Time for £20 or £30. I explained many, many times about the time consuming nature of the knitting but how the end result was so worthwhile. Some people got it, some even bought the books as a result of this argument, more unfortunately just walked away as they couldn’t or didn’t want to spend the time knitting them.

Significantly, one of the most popular display garments on the stand was the Perfect Christmas Jumper, persuading many customers to start knitting again, or to challenge themselves with something more complex, or even to learn knitting so that they could work their way up to a christmas jumper for next year. This patience and lack of need for instant gratification is what I so wanted to inspire, and would have been delighted if even just one person had been persuaded to knit it. Its ability to inspire people to take up their knitting needles, is what makes this pattern so important to me, and why I was so distressed to see such a poor interpretation that could be bought without a second thought, out there on the high street. In addition, whilst still at the show, we heard one purchaser mention as she walked away, that she was going to run some up on her knitting machine and sell them at car boot sales and a ‘cheap and cheerful’ retailer working out how cheaply he could get them made for in acrylic and machine knit for his market stall. So all in all, the H & M issue came on top of an already depressing week.

I already feel as though a whole week of creativity has been lost in the void that was the Clothes Show Live and desperately want to get on with getting Stitch in Time 2 pre release sorted, new kits and patterns onto the website and new designs worked on. To start trying to fight a major high street giant is beyond my means financially and beyond my strength mentally and physically. I have shown mine and theirs together on the blog, I have named and shamed on Twitter, and I will send an email to make them aware of the similarities of the two garments, but I won’t be going any further. I need to focus on creating, designing and making and I think the anger and frustration that may very well ensue from any sort of protracted argument with such a huge company would, quite frankly, finish me off.

The tale is told, I’ve shown it for what it is, a cheap copy, but I need to keep going with my planned path over the next few months and not let myself be drawn into something that I might struggle to get out of! It might not be what everyone might prefer me to do, and it doesn’t bring about justice, I realise that, and I do hope, people don’t feel let down by me, but I have to do what is better for me, and with such an enormous work load ahead of me over the next few months, the choice is made.

Thank you everyone for your words of support and some extremely good advice. To know you are not on your own makes all the difference.

ETA. The Christmas Jumper makes an appearance on Glee
 

for now
Ruby xx

Imitation is the sincerest form of flattery?

My Perfect Christmas Jumper published November 2009

  From H & M this winter

 

 

 

 

 

 

 

 

 

 

This has just been brought to my attention on ravelry. Notice any similarities? Even the 'mock' box sleeve heads. As a designer, you always worry that this will happen but this seems so unashamed. I have to say its made me feel very sad. I could rant and rave and say a lot of things but as the song says "a picture paints a thousand words..."

for now
Ruby xxx

The Christmas Hoodie

I was very excited yesterday to see my new design 'The Christmas Hoodie' on the cover of the Christmas Issue of Knitting magazine. (You can just see my name on the right hand side of the cover!)

So yesterday, whilst we were out photographing some new designs (more tomorrow) I took some of my own photos of this gorgeous jacket ready for when rights revert to me in six months.

Copyright Susan Crawford 2010

The hoodie uses Jamie Possum Plus 4 ply yarn in claret and amazingly only uses 10 50gm balls for the first size. It is knitted in one piece from the bottom up with intricate but fun to knit bobbles on the pelmet, which also   has shaping panels front and back leading to a ribbed waistband, emphasising and minimising the waist line.

Copyright Susan Crawford 2010

From here wandering cables travelling up the body, drawing the eye inwards creating a slim line silhouette. The pelmet detail is repeated on the bell shape sleeves which also feature attractive puff sleeves.

Copyright Susan Crawford 2010

 The hood is shaped as a traditional opera cloak hood, falling and resting on the shoulders. It is knitted in stocking stitch sideways, to allow the stocking stitch to roll back from the face, providing an elegant frame.

Copyright Susan Crawford 2010

My beautiful new model is a friend of my daughter's, and amazingly, this is the first time she has ever modelled. She was a delight to work with and, as with each model I photograph, she brought a different dimension to the clothing, which I really enjoy discovering.

Copyright Susan Crawford 2010

There's a definite romantic quality to these images, quite different I feel to other photographs I've taken. More beautiful photos tomorrow.

Oh something I always forget to do! If you are a member of ravelry, you can favorite or queue the hoodie here.

for now
Ruby xx

Thank you, two decisions and a Christmas Gathering

Thanks to everyone who posted here, on the knitonthenet group, and on my ravelry forums, in response to my Crochet Conumdrum. Every single person who has posted has stated that they would prefer two separate books - A Stitch in Time 2 devoted to knitting patterns, and the Mystery Titled book devoted to crochet patterns of the same period. So I think the decision, except for a title for the crochet book, is made. A Stitch in Time Vol 2 will be knitting patterns only (although there maybe crochet finishing techniques here and there!).

The feedback everyone has provided has been fantastic. Thank you again for your help, it has really helped me make the decision.

The second decision I have made, is that after much persuasion I have decided to take a stand at this year's Clothes Show Live at the NEC in Birmingham. It runs from 3rd to the 8th of December (6 days!) and I have a stand in the Sknitch area which is focused on knitting, sewing and craft. My stand will have as many garments from A Stitch in Time 1 & 2 and Vintage Gifts to Knit as possible along with other designs I've done for magazines and knitonthenet. After the initial success of the Vintage Kits that I put together for Alexandra Palace I will also be formally launching the Vintage Knitting Kits collection at the show.

What I find really daunting is that for the first time this show is just about my work, and as such the stand is going under the name of Susan Crawford Vintage Knitting. Those of you who know me well, know that promoting myself is not something that comes easy, and I have always preferred to go under the banner of knitonthenet, Arbour House Publishing, A Stitch in Time or even Just Call me Ruby. They are all designed to provide me with something to hide behind. So this is a big step, but exciting. Confidence has never come easily for me, but I am hoping that I finally feel ready for this, to put myself out there.

Its all very exciting, scary, enormous and serious. I even need to prepare a press pack. If you are visiting the Clothes Show, do come and find us in the Sknitch area on stand SK23 - Susan Crawford Vintage Knitting.

On a much more relaxed note, I will be visiting Baa Ram Ewe in leeds for an evening of Vintage Christmas loveliness with mulled wine, mince pies and knitting. What could actually be better than that I ask you?

 

 If you live in the Leeds area do come and see us and have a thoroughly delightful Vintage Christmas Evening.

For now

Ruby xx

Crochet Conundrum for Stitch in Time Two

Some of you may already have read on ravelry or the knitonthenet blog that I have a bit of a conundrum and I am hoping you can help me make a decision with Stitch in Time 2. I currently have too many projects than are allowed for the number of pages for the book (already bigger than SIT 1) and am having to make some big decisions.

The main issue I have is with the number of crochet patterns. It keeps resulting in either:

1) Too many crochet to knitting patterns for knitters to be happy.

2) Not enough crochet patterns to justify it being classed as a knitting and ‘crochet’ book.

My gut instinct is to suggest something completely different which is this -

Remove the crochet patterns from Volume 2 giving me the right project and page count and put together a separate volume of the crochet patterns, which also gives me the room to add some beauties which I just can’t include in the main volume. This book would obviously be available as a separate purchase but we are looking to have it ready at more or less the same time as Volume 2 and include a special offer price for buying both together. (It would be a smaller volume so also cheaper).

I feel this then gives crochet the respect it deserves rather than as a foot note to the knitting patterns, and gives all purchasers knitters and crocheters exactly what they expect from whichever book they purchase.

I would be really grateful if you could all give me feedback on this. The overwhelming response to date, is to separate the two books. As I've said earlier this is my gut instinct too. My one major concern about going in this direction is the additional costs of a second print run, which will increase our outlay dramatically. And having never offered a separate crochet volume before this is a new market for me. So my final question I guess, is:

Would you buy a book on vintage crochet pattern 1930-1959 in the same format as Stitch in Time or would you just stick to the knitting book?

Thank you so much for your help in this matter. Its a huge decision to make in many ways, and I really want to make sure I make the right choice.

for now
Ruby xx

Parcels in the Post

A new design and a puzzle...

As you probably all know, I am a big fan of Shetland wools and I have a new design published in December's issue of Knitting (by GMC) using Jamieson & Smith Shetland Aran in a vibrant shade of orange. This is how she looks in the magazine.

copyright GMC publications

The wool is easy to work with and seemed to enjoy being worked into the twisting cables of the design. The original inspiration was victorian and edwardian evening cloaks made of devore velvet where abstract patterns have been burnt out of the lush, rich velvet pile. The theme suggested by the magazine in fact, was theatrical, and is a theme that given enough time, I would love to do a whole book of designs for! The collar is knitted to stand high, framing the face and to keep the neck warm - maybe when waiting for the handsom cab after seeing The Importance of Being Ernest or the like? I contemporized the style slightly with an interesting cable edging which is worked around the bottom of the cape once the panels have been sewn together. The cape itself is made up of five panels with cable patterns to the fronts and back panels, with the side panels in reverse stocking stitch. The ornate buttons I used are actually 1930s buttons but have a look of tortoise shell which I thought echoed the era I was inspired by. The hand openings are easily created  at the side seams and the rib band is picked up after the panels are put together.

The pattern is exclusive to Knitting for six months and then the rights revert to myself when it will be made available as an individual pattern. I'm looking forward to making myself one of these at some point! Below is a detail shot of the cable before I frantically sent it off in the post. (Late as always!)

copyright Susan crawford 2010

You can see the colour is a lot darker on this photo, and in reality its probably somewhere imbetween the two images.

And now a puzzle...


A little something I have been trying to do some research on has unfortunately not got very far. A lovely lady came to see me at the Knitting and Stitching show at Alexandra Palace with a fascinating photo of some yarn that she had, with a completely unfamiliar label, both to her and to me. She asked me if I could possibly find out anymore about the yarn and where and when it was made. Below is the image of the balls and their amazing ball bands.

So what do we know? Very little. It came with another similar yarn called Southdown 4ply that also features the stags head logo and is made in England. Southdown is a breed of british sheep and I am wondering if Kangaroo implies Merino (corny but the most likely reason for the name). I don't want to say any more than that so I don't lead people in any direction, but am really keen to know if anyone knows the manufacturer and the probable period of production. Please either comment on the blog leaving me a contact or email at the address above. I would be really grateful for any information no matter how tiny!

for now
Ruby xx

Fibre & Clay, Ally Pally, designs old and new

I've taken part in some marvellous events through the summer, but have also had a thoroughly lovely time at two events in the last few weeks. The first, well the first two, where at Fibre & Clay in Knutsford, where we held trunk shows on two separate days. We took masses of samples from A Stitch in Time 1 (& 2), Vintage Gifts to Knit and also some single designs.

The display table

surrounded by knitwear and wool!

We had lots of fun with everyone trying on the garments, hats and gloves etc and eating fabulous cakes and desserts all made by the owner, Riana.

Bobble sweater from Stitch in Time Vol 2

Can you crochet a toque? from Stitch in Time Vol 1

Our gorgeous intern Daisy, wearing Variation on the Crossover Line.

The range of yarns at Fibre & Clay is quite overwhelming, with yarns of all weights, colours and composition spread out over two floors and three rooms along with beautiful artisan produced ceramics and jewellry. If you ever have cause to be near by I would highly recommend a visit.


From this warm, cozy event we made the big decision to take a stand at the Knitting & Stitching Show in Alexandra Palace, London, probably the largest event of its kind in the UK. It was a big, scary commitment and we hummed and haa-d for weeks over whether it was the right thing to do or not. In the end, we went. Just the two of us, Gavin and I, which for a four day show plus a day setting up is hard work. We were staying at friends on the south side of the city, which with Ally Pally (as it is known) being in the far north, involved an hour and a half drive in and out of London each day. Somehow we got everything into our car we needed for the show and got to London and managed to finish setting up about 15 minutes after the show had opened on the first day! All I can say, is that its the busiest event I have ever had a stand at.

Here's the stand just before opening time - the air conditioning has already frazzled my hair!

The stand on day one, again just before we opened

one of the rails crammed with garments from Stitch in Time Vols 1 & 2

 We were busy from the moment the show opened each day to when it shut. Many lovely knitters came to see us and say hi, some even came in garments they had made from the books, which I love seeing.

The Town & City Cape from Vintage Gifts to Knit

 Adorable Little Bed Jacket also from Vintage Gifts to Knit and I'm in The Midas Touch from A Stitch in Time Vol 1

 My lovely friend and cover girl, Theo, spent the day with us on Thursday, modelling some of the garments from A Stitch in Time, Vol 2.

On Friday, we had a visit to the stand from Sandra Polley, author of Knitted Toys, published by our very own, Arbour House Publishing.

Image Copright Arbour House Publishing 2010

Sandra signed copies of the book for a couple of hours and got everyone very excited with her amazing meerkats and other fabulous toys.

Image Copyright Arbour House Publishing 2010

 
By Friday night, we needed a chill out, and our lovely friends Rachael and Louise from Prick Your Finger came to whisk us away to Soho and Lorilee's for pizza and wine.

I had to work for my supper though, signing copies of Vintage Gifts to Knit after pudding!

Copyright Rachael Matthews 2010

Here I am looking rather bedraggled, crazy and tired after a 5.30 start and a long, long day.

One of the biggest thrills of the week was seeing my new design for Knitting Magazine being displayed on GMC's hugely impressive stand at the show and receiving hundreds of compliments about it. Now it has been on the stand (and therefore in public) I can show you a little photo of it. It is knitted in Jamie Possum 4, in a gorgeous deep red.

copyright Susan Crawford 2010

It is knitted in one piece to the underarm then divided for the fronts and back. the cables travel assymetrically up the body, with the fronts different to the back.

Copyright Susan Crawford 2010

The shaping on the peplums is worked on the stocking stitch panels and then a ribbed waist draws the garment in. I carefully placed the cables to create shaping panels which draw the eye in and slim the wearer's body.

Copyright Susan Crawford 2010

The sleeve heads are full and gathered in at the top, and the hood is also gathered up to create a flattering opera cloak effect. Stocking stitch is used on the hood to create a perfectly rolled back edge to frame the face. I am delighted with this design. I feel it uses all my vintage styling, shaping and finishing techniques to create a modern garment that can look dramatic and glamorous - imagine it worn with a full 50's white skirt and fur muffler for that White Christmas look or alternatively, worn casually with jeans or dungarees for a trip to the supermarket. I believe it will be released in the Christmas special of Knitting in December. After six months the rights revert to me and I will be releasing it as a single pattern.

I have a huge announcement on its way in a few days time, for everyone waiting for A Stitch in Time Vol 2, so do watch this space!

for now
Ruby xxx