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Chapter FivePerceptions of knitting
Knitting has been associated with domesticity, craft and the feminine. It is associated to my own childhood too. My mother knitted.
(Research participant TA2 2005: interviewed by Clifton-Cunningham)
5.1Chapter introduction
The previous chapter established an understanding of some of the more popular traditionalstyles of knitting and knitwear garment design. By linking with previous chapters, thischapter aims to elucidate the understanding of perception and social constructs in relation toknitting from both an historical and contemporary context. The first section identifies manyof the traditional perceptions and assumptions that have been applied to the technique of knitting, and then continues to discuss issues associated with gender and domesticity thatsurround knitting. Further sections continue to explore knitting in relation to meaning,response and emotional content, with the last section looking at the new position andacceptance of knitting in the present day. During the period of original research and datacollection the concept of ‘perception’ proved to be important in identifying the status of knitting within society today. It was interesting to note that through research conducted withknitters, knit designers, academics and historians, locally and internationally, that there weretwo distinct assumptions regarding traditional beliefs of knitting.
5.2Identifying perceptions
The dictionary defines the word
perception
(
n
) as the process of using the sensors to acquireinformation about the surrounding environment or situation. An attitude or understandingbased on what is observed or thought (
Encarta Concise English Dictionary
2001, p. 1078).Historian Ann Hollander also comments that in perceiving fashion we first observe whatpeople around us are wearing and what the media is promoting. We react in a subjectivemanner by reading certain signs, and then make assumptions as to how we feel about theclothing that we are seeing (1994, pp. 194, 195).
 
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In
The fashionsystem
(trans. 1985)
65
,Roland Barthes examined signifiers in dress andclothing. He helped toestablish a coding system of perceptions of fashion and ways of categorising clothing. He also analysed these to provide alternate meanings and purpose.This isinvestigated in more detail later within this section.The knitted loop can hold a great deal of meaning and significance to individuals, andvisually is something that a vast majority of the Western population can relate to in someway or form as it is probable that most people own, or have possessed a knitted garment oraccessory at some stage in their life. These clothing items include the most basic form of everyday wear, such as knitted socks or booties as a baby, a scarf or shawl, underwear,possibly a jumper or cardigan that was knitted by a family member or passed down throughthe generations. In present day fashion, many garments that we purchase are created fromeither knitted fabrications or employ the knitted fully-fashioning technique.
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Identifying embedded perceptions is difficult, but many authors have observed that the term
 perception
can be defined as a process of selecting and interpreting information. In a senseitallows humans to recognise things or helps provide a meaningful interpretation of theworld. Evans writes (2003, p. 12), that history is written about from the perspective of thepresent. She quotes Michael Foucault, “This is ‘genealogy’-history written in the light of current concerns”. Her discussion includes an understanding of objects as containing tracesof emotion and personal understanding.By examining and dissecting sign systems, Barthes’ investigation demonstrates how wemake sense of images and text in fashion. Barthes’ system focuses on the use of rhetoricalstatements used to describe fashion (and in some instances clothing), and by analysing thesignifiers and the signified a ‘pseudo-real’ survey can be made. As an example of Barthes’
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Author Kawamura (2005, p. 46) comments that the title of Barthes’ book 
The fashion system
is somewhatmisleading in that rather than talking about fashion, he is in fact discussing clothing and this text teaches us howto wear garments and what to wear in specific social and cultural contexts. She continues to suggest that there areestablished rules about what Western clothing must look like, and through socialisation we have learnt that a shirtshould have two sleeves, and pair of trousers should have two legs.
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Due to the hectic lifestyles that many people lead particularly in the Western world, knitted garments are oftenan essential part of the daily wardrobe as they can be worn to provide comfort, ergonomics and wearability.
 
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analysis and coding system of fashion (1985, pp. 47,52,53)
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, elements are divided to make
combinations
(
) and
equivalences
(
 
)
.
For example:(Table 5.1) Example of Roland Barthes’ coding system as outlined in
The fashion system fabric
flannel
striped 
 
morning fabric
taffeta
 
cocktailsovercoat 
 fabric
linen
 
cool summer season
By examining this system of coding created by Barthes (Table 5.1) and analysing the
combinations
(
) and
equivalences
(
 
), we can see that byinvestigating patterns and codes,perceived ideas of garment and season types can be established. By adding similar signifiersthat can be identified and related to knitting (Table 5.2) to established perceptions of howknitting can be viewed, we can start to understand historical attitudes to knitting. Thesesignifiers as applied in the Table 5.2, were established through primary research undertakenin 2004 and 2005 to gather traditional thoughts on knitting. In a general context, byborrowing Barthes’ system of coding, knitting can be analysed in the following way tounderstand embedded perceptions of the ways in which knitting has been traditionallysituated.(Table 5.2) Using Barthes’ coding system if applied to traditional knitting
knitting
sweater 
 
homelyknitting
hand knitted 
 
clumsyknitting
hand knitted 
sweater 
 
traditional/old fashionehand knitting
sweater 
 
women’s work  fabric
woollen yarn
knitting
 
sweater 
If knitting is explored in a contemporary context using this same coding system, the abovethoughts relating to perception can be challenged. The signifiers in Table 5.3 beloworiginated in the primary research when investigating contemporary materials, techniques
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For further reading on Roland Barthes please refer to Chapter four: The endless Garment of 
The FashionSystem
translated edition (1985).
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