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 BLOOMSBURY VISUAL ARTS
Bloomsbury Publishing Plc
50 Bedford Square, London, WC1B 3DP, UK

BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo

are trademarks of Bloomsbury Publishing Plc

First published by AVA Publishing SA, 2010

This 2nd edition is published by Bloomsbury Visual Arts, an imprint of Bloomsbury Publishing Plc
© Bloomsbury Publishing Plc, 2018

Juliana Sissons has asserted her right under the Copyright, Designs and
Patents Act, 1988, to be identified as Author of this work.

For legal purposes the Acknowledgements on p. 195 constitute

an extension of this copyright page.

Cover Design: Louise Dugdale

Cover image © Alice Hoyle

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in writing from the publishers.

Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third-
party websites referred to or in this book. All internet addresses given in this book were
correct at the time of going to press. The author and publisher regret any inconvenience
caused if addresses have changed or sites have ceased to exist, but can accept no
responsibility for any such changes.

A catalogue record for this book is available from the British Library.

Library of Congress Cataloging-in-Publication Data

Sissons, Juliana, 1959- author.
Knitwear: an introduction to contemporary design / Juliana Sissons.
Second edition. | New York: Bloomsbury Visual Arts, An imprint of Bloomsbury Publishing
Plc, 2018. | Series: Basics fashion design | Includes bibliographical references and index.
LCCN 2017040185 | ISBN 9781474251730 (pbk. : alk. paper)
LCSH: Knit goods—Design. | Fashion design.
LCC TT680 .S58 2018 | DDC 746.43/2--dc23 LC record available at https://lccn.loc.gov
/2017040185

ISBN: PB: 978-1-4742-5173-0

ePDF: 978-1-4742-5174-7

Series: Basics Fashion Design

Typeset by Lachina

To find out more about our authors and books visit www.bloomsbury.com
and sign up for our newsletters at www.bloomsbury.com/newsletter.

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 0.1
Rebecca Swan’s oversized knitwear in cream,
grey and black. Woven techniques in silk, wool
and leather.

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 Contents

Foreword: Sandy Black vi

Introduction ix

1
Approach to knit 1
3
Construction through pattern and
texture 55
Reinventing traditional knitting 2
Yarns and fibres 7 The tension swatch 56
Construction of knit 15 Basic techniques 60
Developments in design and Lace 67
technology 23 Surface texture 70
Interview: Freddie Robins, senior tutor, Patterned knits 80
knitted textiles, the Royal College of Interview: Sophie Steller, designer and
Art, London 24 director of the Sophie Steller studio 83

2
Creative development 29
4
Construction through shape 91

The brief 30 Partial knitting: three-dimensional

Research 33 effects 92
Interview: Shelley Fox, Donna Karan Creating flared shapes 96
professor of fashion, director of MFA Increasing and decreasing 98
Fashion Design and Society at Parsons, Interview: Katherine Mavridis, knitwear
New York 38 designer, Ralph Lauren 102
Design development 41 Draping and shaping 105
Colour 45 Creating a knitting pattern 111
Sculptural form 46
Presentation and evaluation 50

iv

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 5
Details and trims 123 Conclusion 186
Glossary 187
Collars and neckbands 124
Index 192
Hems and edges 128
Acknowledgements and picture
Pockets 133
credits 195
Interview: Hannah Jenkinson, knitwear
designer, HJK, own label 134
Buttonholes and fastenings 137
Hand-finishing techniques 140
Embellishment 143

6
Practitioners in context: menswear 149
Historical contexts 150
Androgynous contexts 150
Interview: Cozette McCreery 152
Designer case study: Pa Byrne 158
Designer case study: Ella Nisbett 162
Designer case study: Ben McKernan 165
Designer case study: Latasha
Hammond 169
Designer case study: Matilda Draper 171
Designer case study: Kendall Baker 174
Designer case study: Carlo Volpi 177
Block patterns for menswear 179
Pattern construction for easy fitting
dropped shoulder block with V-neck
shape 181
Knitting pattern for easy fitting dropped
shoulder block with sleeves 183
Pattern construction for sleeve
development 184

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 Foreword
Perceptions of knitwear and knitting
span a very wide spectrum from the
domestic hand-knitting on needles to
the commercial products of today’s
sophisticated industrial technology.
Knit technology was mechanized more
than 150 years before the Industrial
Revolution, and it continues to be at the
forefront of innovation in the digital era.
Once associated with wartime thrift and
knitting for victory, hand-knitting is again
seen in public, with people learning to
knit in cafes and social gatherings, and
creating mildly subversive artworks. For
those wanting to make a career in the
fashion and knitwear industry, however,
this public image is far removed from
the complex, soft engineering that
takes two-dimensional knitted fabric
into three-dimensional form – and from
the requirements and understanding of
knit structures, and the consideration of
garment form, whether in loose volume
for drape from the shoulders, or knitted to
shape for a body conscious silhouette.
This second edition of Juliana Sissons’
Knitwear Basics book provides new
inspiration from both professional
designers and students graduating
vi
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from fashion and textile courses in UK
universities and arts colleges, and for
the first time, from the United States.
In the intervening years since the first
edition, the development of menswear
with its own independent fashion weeks
has grown, and is reflected here with a
complete chapter on menswear, including
an interview from Cozette McCreery,
designer of former men’s fashion knitwear
label, SIBLING.
Juliana Sissons, herself a designer
and pattern maker working in higher
education, conveys the excitement and
endless potential of the medium of
knitwear in a fashion context, beyond the
classics that have become ubiquitous
yet essential pieces. The techniques,
designs and insights contained here
provide the basis of knowledge for
endless experimentations with yarn,
knit structure, pattern, texture, form and
colour that will inspire a new generation
of fashion and textile designers to go
forth and create, either within the industry
or as designer/makers.
Professor Sandy Black, London College
of Fashion
0.2
Menswear made from silk, wool and
monofilament yarns. Extreme scale of
proportions were achieved through weaving
yarns into knit on the domestic knitting machine.
Abigail Coop, runner up of Graduate Fashion
Week, Knitwear and Gold Award 2017.
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 Introduction
‘Missoni’s aesthetic is
inside me, my mother,
grandmother and I all have
different styles, but we share
the same taste.’
Margherita Missoni
The machine-knitting industry dates back
to the early sixteenth century, but it could
not be more exciting and alive than it is
today. Knitting provides endless creative
outcomes, enabling an independent
and experimental approach to design.
Modern developments in technology
and manufacturing, coupled with
contemporary treatments and spinning
technology are constantly reviving the
knitwear industry. Knitwear can be found
at all levels of the fashion market, from
the industrial mass production of hosiery,
underwear and sportswear to the use of
its sculptural qualities in high fashion and
accessories, such as bags, shoes and
jewellery. The medium also provides an
astounding range of possibilities for art,
interior design and architecture.
Knitwear: An Introduction to
Contemporary Design, second edition
begins with a brief history of knitting and
knitwear design, with an introduction to
yarns, fibres, machinery and tools. The
book then leads you through the essential
stages of creative design development,
0.3
Katherine Mavridis’ oversized knitwear design
from a collection of handcrafted designs, with
three-dimensional coiling techniques.
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offering a range of exercises to hone
your practical skills: how to knit a tension
swatch, basic techniques on domestic
machines and how to create knitting
patterns. It looks at the differences
between two- and three-dimensional
design, exploring the textural and
sculptural qualities of knit. The important
considerations of the finer details,
trims, embellishment and fastenings
are explored before the final chapter,
which examines the exciting possibilities
in knitwear for men. This new addition
takes a different approach to the previous
chapters by showcasing exemplary
international practitioners in menswear,
in order to demonstrate how the knitting
techniques that have been explored
throughout the book can be applied in
contemporary knitwear design.
Menswear design is an emerging area
within the fashion industry, designers
are pushing more boundaries than
ever before. Students are playing with
unique themes, concepts and influences,
leading to valuable sources of research
for innovative design outcomes, thus
giving men the freedom to explore
more adventurous colour combinations,
flamboyant textures and exciting
developments in garment scale.
Interviews with fashion/knitwear
designers and knitted textile specialists
serve to illustrate the different ways you
can work with knitted textiles, offering
inspiration and insight into the range of
careers within the knitwear industry.
I hope that this book will provide you with
the fundamental skills, knowledge and
inspiration to design and create your own
innovative knitted textiles.
ix
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 Approach to knit 1
In order to take a fresh look at knitting, and at ideas that are normally taken for
granted, we should first understand historically how these techniques came about
and consider the classic, timeless designs as significant and creative starting
points for further design development. Hand-knitting skills and patterns have long
been passed from generation to generation, allowing a greater understanding and
acknowledgement of knitting as an intellectual, artistic tradition. A growing number
of new and exciting designers are graduating each year from fashion and textile
courses, and by comparing their designs with the work from the early knitters, a
story starts to emerge.
This chapter offers an introduction to knit and knitwear design, comparing traditional
knitting techniques with their modern reinventions. It looks at the characteristics
and behaviour of different yarns and fibres, from the traditional to the contemporary,
such as metallic, steel and plastic. It offers an overview of knitting machines and
tools and the different aspects of work that can be produced. Finally, it looks at how
developments in design and technology are radically reinventing this traditional craft.

‘It is a freedom to be able to

make your own fabric while
working. For me it is the
absolute challenge.’
Sandra Backlund
1.1
Knitwear design embellished
with Swarovski crystals by
Björg Skarphéðinsdóttir.

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 2 CHAPTER 1: APPROACH TO KNIT

Reinventing traditional knitting

Developments in technology enable new peg frames, similar to French bobbin
ways of creating knitwear and knitted knitting, were also probably practised
textiles, but many students and designers alongside hand pin knitting.
are looking to traditional techniques for
There are various European paintings that
inspiration to merge with contemporary
portray the Virgin Mary knitting, providing
ideas. Designers are capitalizing on the
evidence that knitting was practised as
unique qualities that knit has to offer,
early as the fourteenth century. Shown
pushing boundaries with unusual yarns
here is Master Bertram’s painting of the
and materials and playing with scale.
Madonna, who is seen knitting Christ’s
There is a natural interplay between craft,
seamless garment on four needles. Hand-
design and new technology. We will
knitting was commonplace in medieval
look at some of these traditional knits –
Europe, and the production of caps, gloves
fishermen’s ganseys or guernseys, Aran
and socks was an important industry.
cables, Fair Isle and lace – and explore
their modern reinventions. In 1589, the Reverend William Lee
invented the stocking knitting frame,
A brief history which was to revolutionize the knitwear
Wool fabric has protected us since the
very early days, and people may well have
knitted, using only the fingers, as long ago
as 1000 BCE. Techniques using circular

1.2
Visit of the Angel, known more commonly as 1.3
the Knitting Madonna, by Master Bertram of The framework knitting machine was invented
Minden, 1400–10. by William Lee in 1589.

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 REINVENTING TRADITIONAL KNITTING 3

trade. Initially created for use with the textures between the bands. Thanks to
short, fine sheep’s wool from Sherwood the opening up of trade routes in the
Forest, this first machine produced seventeenth century, these garments
coarse knitting for peasant hose. Lee soon became the fisherman’s staple
was unsuccessful in promoting the around the UK, where they were adapted
frame; Queen Elizabeth refused the with new patterns and textures (and are
patent because she feared that it would often referred to elsewhere as ‘ganseys’).
jeopardize the hand-knitting industry. Lee Stitches were passed down from
then developed the frame to be used generation to generation. The wealth of
with silk: the original machines had eight pattern in the stitches gave great scope
needles per inch; this new machine was for individual design. These garments
thought to have twenty needles per inch, were cherished, looked after, mended
and it was perfect for making expensive, and often handed down. It is thought
fancy stockings. The English were still that a fisherman who died at sea could
not interested, and Lee took the frame be identified by the handiwork of his
to France, where the machine eventually guernsey.
proved to be successful. By the end
of the seventeenth century, it was in
increasingly extensive use across Europe.
Knitting had become faster, because now,
instead of knitting one stitch at a time,
whole rows could be knitted at once. The
machine was gradually refined further,
and by the eighteenth century, the idea
of knitting holes opened up new scope
for design. By the late nineteenth century,
the knitwear industry was huge; new
innovations in technology paved the way
for the straight bar, flat frame.

Jerseys and guernseys

Jerseys and guernseys originate from the
Channel Islands, just off the north coast
of France. These fishermen’s garments
were hard-wearing, comfortable and
warm; they were knitted in oiled wool
with a tight stitch and could resist rain and
sea spray. Original jerseys and guernseys
were dark blue, almost black in colour,
and were knitted in the round, using four
or more needles, in order to secure a
seamless garment.
1.4
Designs were often knitted in banded Shetland fishermen wearing individually
patterned hand-knitted ganseys in worsted yarn,
patterns, sometimes displaying different
circa 1900.

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 4 CHAPTER 1: APPROACH TO KNIT

knitted cables, honeycombs, diamonds

and lattice effects; it quite often displays
different patterning on the front and
back. The basis of many Aran patterns is
the simple cable, a twisted rope design,
which consists of a certain number of
stitches that are divided so they can be
twisted around each other. A typical Aran
design consists of a centre panel with two
side panels and cable stitches. The knitter
uses tools to move one stitch or a group
of stitches over or behind another.

1.5
Knitwear design by Graduate Fashion Week
Winner 2016, Kendall Baker. Knitwear collection
explored a variety of cable designs for
menswear.

Aran
The Aran Islands are located off the west
coast of Ireland. Most historians agree
that the Aran jumper is a relatively recent
invention. The Irish government set up an
initiative in the 1890s to encourage poorer
families to weave and knit garments to sell.
The garments were originally knitted in
thick, untreated wool, which retained
its natural oils; they were mostly cream, 1.6
but sometimes black, in colour. An Aran Modern interpretation of the traditional Aran knit
knit is heavily patterned with closely by Alexander McQueen, A/W 2006.

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 REINVENTING TRADITIONAL KNITTING 5

Fair Isle
Fair Isle knitwear is known for its
multicoloured, specialized patterns. Fair
Isle, a tiny island south of the Shetlands,
was a frequently visited trading centre for
fleets coming from the north and Baltic
seas. Influences from places such as
Scandinavia and Spain can be seen in the
Fair Isle knit.
Cottage industries flourished and
continued to thrive until a decline in the
early 1800s. By 1910 Fair Isle knitting had
become popular again; knitters continued
to experiment with patterns and colours,
and by the 1920s, the style had become a
distinctive fashion for the wealthy and the
middle classes.
While Aran knitting combines textured
effects, Fair Isle knitting concentrates on
pattern and colour. Fair Isle knitting is a
combination of design repeats and motifs,
which tend to be broken up into vertical
or horizontal bands or blocks. Knitting
instructions are taken from charts, which
give a visual impression of how the
design will look when finished. There is
great design potential with the different
combinations of border patterns and
motifs. See more about Fair Isle patterns
on page 80.
1.7
Fair Isle knit by Hannah Taylor.

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 6 CHAPTER 1: APPROACH TO KNIT

Argyle-patterned hose
Originating in Scotland, argyle stockings
were traditionally worn with kilts,
particularly by military regiments. The
pattern was worked either in a large check
– showing light, dark and a half-toned area
between – or check-like tartan. Rather
than being knitted in the round with four
needles, these stockings were knitted on
two needles with separate lengths of yarn
for each colour.

1.8
Modern interpretation of argyle stockings by
Vivienne Westwood, A/W07.

1.9–1.10
Modern take on traditional tartan, knitted swatch
from Catherine Brown at the University of
Brighton, from a project set by the Liberation Kilt
Company and Ethical Fashion Forum, to draw
awareness to human trafficking.
1.11–1.12
Rachel Wells’ knitted swatches designed for the
Rebel Tartan Project, in collaboration with the
Liberation Kilt Company (Blue-Heart Tartan) and
Ethical Fashion Forum, to draw awareness to
human trafficking.

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 YARNS AND FIBRES 7

Lace knitting
The Shetland Islands are also famous for machine knitters and try to unravel some
their lace patterns, knitted in very fine, soft of the confusion over yarn thickness, the
yarns. Lace shawls were worked from the spinning process and the different types
outside edges in. Designs varied from quite of fibre content.
simple mesh patterns, based on garter
All yarns are made from natural or
stitch, to intricate lace patterns, based on
man-made fibres, which come in various
stocking stitch. Different lace patterns were
lengths known as filament and staple.
given names to describe the stitch. Some
Filaments are very long fibres, which are
had meanings, such as ‘Old Shale’, which
made in one continuous length. Synthetic
depicted waves on the beach. Others were
fibres are produced in a filament form.
more descriptive, such as ‘Feather and
They are often then cut into shorter staple
fan’, ‘Crest of the wave’, ‘Cat’s paw’ and
lengths before being spun into yarn.
‘Horseshoe’. Lace patterns were capable of
The only natural filament fibre is silk.
numerous modifications and combinations.
Staple fibres are much shorter in length:
This enabled the production of lace pieces
lots of separate pieces are twisted and
that were luxurious to wear and individual
spun together to make a staple yarn.
in design. Lace knitting has never died out
Sometimes, for reasons of strength,
completely; many crafts people are still
design or economy, yarns can be made
enjoying the challenge today. See page 67
from a blend of staple and filament fibres.
for more on lace.

Yarns and fibres

Your choice of yarns is very important,
and there are lots of factors to take into
consideration; the most important being
quality and suitability for the end result.
Here we take a brief look at some of
the many different yarns available to

1.13 1.14
Shetland women knitting lace (left) and Fair Isle Cassie Green’s richly ornate garments made
(right), early twentieth century. with luxurious materials: fine wool and silk.

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 8 CHAPTER 1: APPROACH TO KNIT
Spinning
Spinning involves the twisting together
of staple fibres to form lengths of yarn.
A process called carding is first used to
separate the entangled fibres. Carding
machines, which consist of large rollers
covered with sharp wires, create a thin
blanket of fibres, and these are divided
into narrow strips, known as slubbings.
The slubbings are then drawn out and
spun. Yarn may be twisted in a clockwise
or anticlockwise direction, resulting in
an s or z twist. The yarn may be tightly
twisted, producing a hard, strong yarn; it
can also be lightly twisted, giving a bulky,
soft yarn with less strength, but good
insulating properties.
1.15
Selection of hand-spun yarns by Jennifer Dalby.
9781474251730_txt_app.indb 8
Hand-spun yarns can be machine knitted
but are usually best suited to a chunky
machine due to the uneven texture of
the yarn. Single strand or ‘ply’ yarns are
produced through the spinning process.
These strands can be twisted together
with other strands to produce thicker
yarns. These yarns are known as two-ply,
three-ply and so on. Plying also prevents
yarn from twisting back on itself and
makes the final knitting lie straighter.
According to the number of single ends
that have been combined, and the way
the yarns are doubled, many different
effects can be achieved. Fancy yarns have
a variety of textures and colour blends
applied at the spinning stage.
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 YARNS AND FIBRES 9

Natural yarns
Natural yarns may be derived from animal
or vegetable sources. The main three
animal-based yarns are wool, hair and silk.
The most common vegetable-based yarns
are linen and cotton.

1.16
Alison Tsai’s oversized organic garment in luxury yarns combines techniques
of macramé, beading and crochet stitches with knit. Her sketchbook displays
sketches of monochrome knitwear development with beads, fringes and tassels
to create organic shapes. A strong mathematical approach to complex designs is
seen in pattern construction.

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 10 CHAPTER 1: APPROACH TO KNIT
Wool
Taken from the fleece of a sheep, wool
is by far the most common type of yarn
used in knitting. It has a natural elasticity,
which makes it easy to work with. It can
be chunky or fine, depending on the
way it is spun, and the quality can vary
depending on the type of sheep. Some
wool has a longer and thinner staple
length; for example, merino wool, from
the merino sheep, has a finer fibre than
other wools. Shetland yarn has a shorter
staple length; it is sometimes itchy
because the shorter, thicker fibres poke
out of the spun yarn. Worsted wool is
spun with a mix of varying length fibres,
making it smoother, stronger and more
lustrous than Shetland wool.
Hair
Hair is taken from the coats of animals
other than sheep, although hair fibres
are often blended with sheep’s wool.
Examples include mohair, which comes
from the angora goat. This is a luxury yarn
with a unique hairy surface; when blended
with wool or silk, the appearance becomes
more refined. Angora, which comes from
the angora rabbit, is a soft, fluffy yarn.
It is usually blended with wool to give it
strength. Cashmere is another luxury yarn.
Taken from the cashmere goat, this is a
soft, warm and lightweight yarn.
Silk
Harvested from silkworms, silk is the
only natural filament fibre, and it is
expensive. It is strong, with a smooth,
shiny appearance and is often blended
with other fibres to make it more versatile.
Spun silk is cheaper, as it is made from
the broken pieces of waste filament spun
together. Wild silk, which is harvested
from undomesticated silkworms, is
coarse and uneven.
9781474251730_txt_app.indb 10
Linen
Linen’s long staple fibres are taken from
the stem of the flax plant. This strong yarn
is lacking in elasticity and is often blended
with other fibres, such as cotton, to make
it easier to work with. Yarns are usually
slubbed.
Cotton
Cotton is made from staple fibres of
the cotton plant. This is also a strong,
non-elastic yarn with a soft finish.
Untreated cottons are more difficult to
knit than mercerized cottons, which have
a treatment added at the production
stage.
Man-made yarns
The development of manufactured
fibres and their texturing processes have
inspired the knitting industry, and they
have been beneficial in many ways: they
are easy and inexpensive to produce and
can be blended with natural fibres that
are too fragile to use alone. However,
there are environmental drawbacks as the
entire production of these yarns involves
the chemical treatment of raw materials
and the use of coal and oil. Definitions
between natural and man-made fibres
are becoming blurred as many natural
fibres, such as cotton, wool and flax,
are regularly subjected to chemical
treatments.
Manufactured fibres fall into one of two
categories: regenerated and synthetic.
Regenerated fibres are derived from
natural substances, such as wood pulp
cellulose or milk. Rayon, the best known
of these, is usually characterized by its
sheen and often used as a substitute
for silk. Viscose and acetate are both
products of the rayon family and are all
2/26/18 11:35 AM

liable to melt under a hot iron. Synthetic
fibres, such as acrylic, are made from
petroleum-based chemicals, plastic and/
or coal. Acrylic crimped fibre yarn is often
used as a wool substitute, but it is less
durable, not as warm and has a tendency
to stretch. Nylon is another synthetic yarn:
it is very strong, non-absorbent and best
blended with wool. Polyester is similar to
nylon but with less shine.
Other man-made yarns include metallic
threads, such as Lurex, which are made
1.17–1.20
Selection of swatches by Victoria Hill,
constructed using unusual, man-made yarns,
such as rubber, acrylic and wire.
9781474251730_txt_app.indb 11
YARNS AND FIBRES 11
from aluminium and coated in plastic.
Manufacturing of man-made yarns
continues to evolve, and a great number
of refined, sophisticated yarns are
available today. There are now extremely
fine microfibres, which have opened up
new possibilities in the design of yarns;
stretch yarns are increasingly being
used in seamless garments, and new
blends and textures are continually being
developed.
2/26/18 11:36 AM
 12 CHAPTER 1: APPROACH TO KNIT

Innovative yarns Tip

Unusual effects in yarns are achieved Buying yarns
by playing with colour, texture and heat Many companies specialize in selling
settings. These effects can be added at yarns to the machine knitter. Industrial
the fibre, spinning or doubling stage. For coned yarns are more commonly used
example, a blend yarn has had different by machine knitters; balled yarns are
usually too expensive, tangle more
colours mixed together at fibre stage.
often and do not go as far. However, it is
A marl yarn is made up of two woollen
a good idea to have a variety of unusual
spun-single ends, in different colours, yarns for experimentation, and small
twisted together. It can also be called a amounts of thicker yarns are useful for
twist or a granderelle yarn. Nepp yarn has weaving in by hand.
flecks of colour along its length, like tiny
coloured balls of wool.
The boundaries of yarn technology are
constantly being pushed through student
and designer research and through the
many collaborative and interdisciplinary
links. Knit designers are working with
sports scientists, producing high
performance fabrics, which have in turn
stimulated new ideas for super stretch
yarns. Collaborative research with knit
1.21–1.23
designers and engineers are forging the
Sam Bartys; knitted swatches, developed on
way with ‘smart textiles’, creating yarns the industrial knitting machine, displaying a
for medical purposes that have movement combination of innovative yarns to explore
and can emit heat and light. texture and stretch fabric combinations.

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Dyeing yarns
Exploring different effects with dye can
give your work a unique feel and open up
new design possibilities. Original base
colours will affect the look of the final
dyed colours, so use natural and light
shades of yarn for the best results. Before
dyeing, the yarn needs to be unravelled
from the cone and wound into a skein
(do this by winding it round the back of a
chair) and tied together loosely, to avoid
tangling. The yarn should also be washed
to remove coatings.
Dylon dyes
Available from most hardware stores,
Dylon dyes come in a wide range of
colours. Each tin contains enough powder
to dye approximately 227 grams (8 oz) of
yarn, although you can vary the amount
of dye depending on the depth of shade
required. It is a good idea to make a note
of the amount of dye added to the weight
of yarn and keep it with the yarn sample.
These dyes are easy to use and come
with full instructions. However, they do
not work well with some synthetic yarns.
1.24
Dye tests by Georgia Northcoombs.
9781474251730_txt_app.indb 13
YARNS AND FIBRES 13
Acid dyes
These chemical dyes are strong and
bright and have excellent colour fastness.
They come in a powder form and require
a similar dyeing process to the Dylon
dyes. Only a few base colours are needed
to create a whole range of colours. Two
or more colours can be mixed and many
shades can be created from one colour
by varying the amount of dye used. When
experimenting with these mixtures,
it is important to keep records of the
amounts used in combination, together
with a sample of the yarn before and
after; for example, 30 grams wool yarn,
red 40 millilitres/blue 60 millilitres. This
information will serve as a useful starting
point for new variations on the shade.
Vegetable dyes
Vegetable dyes can produce a beautiful
range of colours, but they tend not to
be very strong and are also more likely
to fade when washed. However, this is
a cheaper way of dyeing yarns, and the
colours have inspired many soft, vintage-
style collections. Dyes from gathered plant
materials can provide interesting colour
projects. They can also present a challenge
when trying to replicate exact colours.
2/26/18 11:36 AM
 14 CHAPTER 1: APPROACH TO KNIT

Space dyes
Space-dyed yarns are made up of a range
of colours in one strand. This partial
dyeing technique involves one skein being
dipped in separate coloured dyes. Knitting
these yarns in stripes and patterns creates
unusual rainbow effects. Multicoloured
Fair Isle patterns can also be created
without having to change yarns.

1.25
Jacket and mini-dress by Jessica Gaydon, dress (underneath) by Orla Savage.

9781474251730_txt_app.indb 14 2/26/18 11:36 AM


Construction of knit
The basic structure of knit is a series
of loops created using one of two very
different techniques: weft knitting and
warp knitting. Weft knitting, the more
common of the two, is the formation
of loops using one continuous yarn,
over successive courses throughout the
1.27
A domestic knitting machine showing a knitted piece in progress.
9781474251730_txt_app.indb 15
CONSTRUCTION OF KNIT 15
length; the wales are perpendicular to the
courses (see Figure 1.28). Warp knitting
requires different machinery and involves
lots of different yarns, one yarn per wale.
This fabric has less stretch and is more
difficult to unravel than weft knitting.
1.26
The simple wooden knitting wheel has
provided many children with a basic knitting
frame and an introduction to knit. Known
as French knitting, the technique involves
wrapping a narrow circular cord around the
nails, to make a row, then passing the yarn
behind the nails, forming two rows. By lifting
the first row over the top of the second,
a stitch is formed, leaving one row on the
nails. The knitting begins to form a tube
through the centre of the reel.
2/26/18 11:36 AM
 16 CHAPTER 1: APPROACH TO KNIT

Stitch formation wale

On a knitting machine, the needles
consist of three parts: the latch, hook and
butt (see Figure 1.29). The stitch is in the
hook; when the hook slides forward, the
existing stitch moves behind the latch.
The yarn is then placed over the hook, course
and as the needle slides back, the latch
closes. A new stitch is formed when the
existing stitch is pushed over the latch
(see Figure 1.30).

1.28
The diagram illustrates the structure of knit,
showing the course (row) and the wale (stitch).

butt latch

hook

1.29
Machine needles feature a latch,
a hook and a butt.

1.30
Series of diagrams showing how stitches are formed on a knitting machine.

9781474251730_txt_app.indb 16 2/26/18 11:36 AM

 CONSTRUCTION OF KNIT 17

Machine basics
Domestic knitting machines fall into two
categories: single bed, with one set of
needles, and double bed, with two sets
of opposing needles. Most beginners buy
a standard-gauge, single-bed machine,
which produces a basic, stocking-stitch
single fabric. It is simpler to start with
a single-bed machine, as the needle
positions are easier to understand, and as
the knitting is visible, it is easier to repair
mistakes. Single beds can also be used
to produce mock ribs, but these are not
as professional as ribs made on a double
bed. Most domestic machines have a
punch-card facility for patterning. Once
you have got used to the single bed, you
can use a ribber attachment to convert
it into a double-bed machine. Having
two needle beds offers more flexibility.
The double bed can be used to produce
a double knit or rib fabric, and there
are a huge number of stitch variations.
Most manufacturers supply ribbers as
accessories for their different models.
Tension
The yarn flow is controlled by a mast,
tension spring and tension disc. As the
tension is controlled mechanically the
fabric quantity becomes more regular.
Machine bed
The bed holds the machine needles;
these are latch hook needles, which
enable the machine to swiftly pick up new
stitches and drop off old ones.

1.31
A standard-gauge, single-bed knitting machine,
such as this one, is best for beginners.

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 18 CHAPTER 1: APPROACH TO KNIT
The carriage
The carriage is moved across the bed
and simply slides the needles forward
in order to knit. Levers on top of the
carriage control cams and can be used
to select needles for a variety of stitches,
such as tuck and slip. Stitch size can be
fine-tuned by adjusting the yarn tension
in combination with the stitch size dial on
the carriage.
Needle size/stitch gauge
The stitch gauge refers to the number
of needles per inch across the needle
bed. Different thicknesses of yarn can
1.32
A standard carriage for the Knitmaster knitting machine. A different carriage is needed for a double
bed and is provided with the ribber. There are also many special carriages available for making lace and
intarsia.
9781474251730_txt_app.indb 18
be used depending on the gauge of
machine. Fine-gauge machines (7 g) hold
250 needles and are suitable for knitting
fine- to medium-weight yarns. Standard-
gauge (5 g) machines hold 200 needles
and are suitable for medium-weight yarns.
Chunky-gauge (3 g) machines hold 100
needles and can accommodate thick,
chunky yarns. It is possible to explore
different yarn thicknesses on each of
these gauges by knitting on every other
needle (half-gauging the machine).
2/26/18 11:36 AM

Machine types
The following is an overview of the three
main types of knitting machine. Second-
hand domestic machines are ideal for
students and are widely available, either
from dealers or from auction sites. Most
models (e.g. Knitmaster, Silver Reed or
Brother) are equally reliable and roughly
the same in price, except fine-gauge
machines, which are sought after and
usually more expensive.
1.33
Brother double-bed, punch-card, domestic knitting machine.
1.34
Brother electronic domestic knitting machine.
9781474251730_txt_app.indb 19
CONSTRUCTION OF KNIT 19
Electronic machines
Electronic domestic machines have a
built-in programming capacity. Some
machines use Mylar sheets to create
the patterns, which can be repeated,
reversed, knitted upside down, mirror
imaged or doubled in length and width. If
you are buying an electronic machine, it
is a good idea to consider a model that is
compatible with a CAD/CAM program for
knitwear, such as DesignaKnit.
2/26/18 11:36 AM
 20 CHAPTER 1: APPROACH TO KNIT
Hand-operated industrial machines
Hand-operated industrial machines are
incredibly versatile; these machines
have two fixed beds and are known as
V-beds (from the side view they look
like an inverted V). The beds are equally
positioned in angle, which allows the knit
to be equally weighted. They also have
a greater range of gauges, offering the
opportunity to experiment with very fine
knit on gauges of 10 and 12. Tension can
be altered for different parts of a garment,
such as a rib border, full cardigan stitch
knit and jersey stitch knit.
1.35
Dubied hand-operated industrial knitting machine.
1.36
Stoll electronic industrial knitting machine.
9781474251730_txt_app.indb 20
Electronic industrial machines
Today’s automatic, electronically
programmed machines are highly
sophisticated. Some have four needle
beds, allowing greater possibilities with
shape. They can be used to knit different
weights of yarn without having to change
needle sizes. The latest machines produce
complete garments without seams and
with only one thread to sew in at the end,
eliminating hand-finishing costs. The body
and sleeves can be knitted at the same
time, via a tubular knitting technique.
Ribs, cuffs and hems can be knitted at the
start, necklines at the end. The complete
garment machines and programming
systems are extremely expensive, having
taken years of research and development
to perfect; highly skilled sample
technicians are required to operate
them. The two main models offering the
complete garment system are Shima Seiki
of Japan and Stoll of Germany (although
China is fast developing its machine-
building industry).
2/26/18 11:36 AM
 CONSTRUCTION OF KNIT 21

Tools
Most machines will come with a selection
of basic tools that are compatible with the
gauge of the machine. These tools can be
used on different machines as long as the
gauges are the same.
The most useful tools are those used
for selecting, moving, holding and
repairing stitches. Using the right tools for
manoeuvres such as creating lace holes
and manual stitch patterns, increasing and
decreasing stitches, and casting off, will
not only save time but will also make the
task easier.

1.38
Machine needles feature a latch, a hook and
butt. There are more needles to a fine-gauge
machine and fewer needles to a chunky-gauge
machine.
1.39
Latch tools are used for casting off and picking
up dropped stitches.
1.40
Transfer tools (with eyelet) for moving stitches
from one needle to another. Two- and three-
prong tools are useful for handling two groups
of stitches simultaneously, such as cables.
Adjustable pronged tools enable you to set
some prongs in nonworking positions; these can
be as big as fifteen prongs to a tool.
1.37
Punch cards for making patterned knits. Pre-
punched patterns are available, which can be
used with other stitch settings, such as lace,
tuck and slip.

1.41
Plastic needle pushers. To speed up the
needle selection, these enable you to select a
number of needles at once, depending on the
arrangement of their teeth; for example, you can
push or pull every second, third or fourth needle.
1.42
Mylar sheet for making patterned knits on an
electronic machine. No hole punch is required
as patterns are drawn onto the sheet with a soft
pencil that reflects the light.

9781474251730_txt_app.indb 21 2/26/18 11:36 AM

 22 CHAPTER 1: APPROACH TO KNIT
1.43
Ribber combs and weights, supplied with the
ribber, are used for casting on (for domestic
machines with a double bed). The weights can
be added to the comb as needed.
1.44
Open-hooked combs are used for single-bed
casting on and as additional weights with larger
pieces of knit.
1.45
Nylon cord is useful for casting on
when an unfinished edge of knitting
is required.
1.46
Wire-edge hangers are useful tools for weighting
small groups of stitches on double-bed knitting.
They are handy for edges to prevent unwanted
loops at the end of rows.
1.47
Claw weights help keep stitches firmly in place
on the needles. These can be moved easily as the
knitting grows. They come in a variety of shapes
and sizes; some weights have holes, allowing
additional weights to be hung from them.
9781474251730_txt_app.indb 22
1.48
Industrial machine weights are suspended
from either end of the comb. These are circular
and can be mounted on top of each other. The
amount of weight depends principally on the
width of the knitting: less weight is used for fine,
delicate materials.
Not pictured:
Garter bar. Used for turning knitting over to
produce a garter stitch. Ridges of reversed knit
can be made.
Stitch holders. Some hand-manipulated
techniques require stitches to be temporarily
moved away from the needles while other
knitting continues; these stitches are placed on
holding tools. A capped stitch holder is designed
to hold multiple stitches, and stitches can be
easily replaced. Flexible circular hand-knitting
needles also make useful stitch holders, as do
large safety pins.
Linkers. Used for sewing seams or attaching
edges, frills and collars. They can also be used
to produce an edge-to-edge finish; linkers are
available as hand and motorized models and also
as machine accessories.
2/26/18 11:36 AM
 DEVELOPMENTS IN DESIGN AND TECHNOLOGY 23

Developments in design and

technology
Knitting machines have come a long way innovative designs are being merged with
since William Lee’s knitting frame in 1589. old, traditional techniques. In response to
Today’s streamlined systems and knitted the success of mass production there has
fabrics have advanced in design and been an increasing appreciation of ‘slow
quality as a result of evolving technologies clothes’ and desirable, one-off garments
in computers and yarn manufacture. that are more personal to the wearer.
As we have discovered, hand-knitted
seamless garments date back to medieval
times, and the fisherman’s gansey was
a highly technical, seamless garment;
however, it was the introduction of
the Shima Seiki machine in the 1970s
that brought the concept of seamless
(whole) garments to the industry. By the
1980s Shima Seiki had computerized its
machines.
Another important development in
knitwear manufacturing was the Japanese
designer Issey Miyake’s A-poc clothing
concept in the 1990s. A-poc (which
literally means a piece of cloth) is warp-
knitted and uses a different technology
to the weft-knitted, whole garment
concept of Shima Seiki. A-poc consists
of a knitted tubular roll of cloth, which
incorporates the outlines of garment
shapes. Cutting lines are provided within
the pattern of the knit, and the customer
can cut through the patterned shapes
releasing a collection of garments from
the same piece of cloth. This revolutionary
clothing requires no seaming or finishing
processes; because of the warp knit
structure, the cut edges do not unravel.
There are many contrasts within knitwear
design and production, and although 1.49
design and developments are indeed ‘A Piece of Cloth’ is innovative clothing
linked to technological advancements, developed by Issey Miyake and presented in
luxury fashion garments have always been 1999. It displays a manufacturing method that
uses computer technology to create clothing
associated with the handmade. New,
from a single piece of thread in a single process.

9781474251730_txt_app.indb 23 2/26/18 11:36 AM

 24 CHAPTER 1: APPROACH TO KNIT
Interview
Freddie Robins, senior tutor, knitted textiles, the Royal College of Art, London
Freddie Robins graduated from Middlesex University and the Royal College of Art,
London. She has been working as an artist using knitted textiles as her primary
medium since 1997.
What is your design background and
why are you attracted to knitwear?
I was taught to knit at a young age and
fell in love with it. When I was seventeen,
I entered a knitwear design competition
in a national craft magazine and, after
winning, went on to study knitted textiles
at both Middlesex Polytechnic (now
Middlesex University) and the Royal
College of Art in London. I have been
working as an artist using knitted textiles
as my primary medium since 1997.
Can you talk us through your design
process?
Over the years my process has developed
and changed. Initially it broke down into
three distinct parts: the conception of
an idea and ensuing research (the very
pleasurable part that could take years); the
planning of the final work, which involved
pattern writing (the more difficult part that
required a lot of concentration); and then
the knitting of the work (another pleasurable
part, where if I had written the pattern
correctly, I could simply put the radio on
9781474251730_txt_app.indb 24
and knit). I have now adopted a much less-
structured process where I might simply
start making with what is around me and
just see what happens. I am enjoying the
release from my pre-planned method and
trying to embrace serendipity and failure.
How does your work take new direction
and what are your inspirations?
The body of work, The Perfect, deals
with the constant drive for perfection.
It is made using technology developed
for mass production, to make garment
multiples that are exactly the same as
each other: garments that do not require
any hand finishing, garments whose
manufacture does not produce any waste,
garments whose production does not
require the human touch. Garments that
are, in fact, perfect.
I produced these knitted multiples through
the use of a Shima Seiki WholeGarment®
machine. These multiples take the form of
life size, three-dimensional human bodies.
2/26/18 11:36 AM

Research and Conceptual development is
an integral part of your work, could you
tell us more about this and a little about
another recent project, ‘Out on a Limb’?
The process of converting a sixteenth
century barn into a home and studio
has radically shifted my approach to
making and materials. I have developed
a new expedient approach to making. I
have to make and resolve the work with
what is to hand. My materials are all my
samples and surpluses, things donated,
inherited and found. In 2007 I completed
a research project (funded by the Arts
and Humanities Research Council), which
also left me with a large quantity of waste
material in the form of knitted bodies.
My new body of work makes use of this
excess. I am working with what I already
have instead of deciding what I want to
make and then choosing and buying new
materials.
Taking this “stuff” as my starting point
and holding current concepts and themes
in mind – ideas about what it is to be
human, loss, death, grief and mourning
– I am working spontaneously with my
materials. Enjoying the release from
pre-planned, designed work, I am knitting,
crocheting, embroidering, sewing and
pinning onto the knitted bodies and body
parts. The bodies and body parts are
made three-dimensional by filling them
with expanding foam. A process that
gives them form, enabling them to stand,
but adds little weight. They remain visually
light contrasting with the dark themes that
I am exploring.
9781474251730_txt_app.indb 25
INTERVIEW 25
My visual research has come from my
fascination with ossuaries, charnel
houses and the jewelled skeletons
contained within them. I have
experienced the Paris Catacombs,
Sedlac Ossuary in the Czech Republic
and the Capuchin Cemetery in Rome.
Other references have been the work
of outsider artists, particularly Katharina
Detzel and Marie Lieb, whose work
I witnessed in ‘Madness is Female’,
Museum Dr. Guislain, Ghent, and the
work of Judith Scott, who was exhibited
at the Museum of Everything in London
last year.
The finished pieces evolve from the
process as opposed to being designed
and made. I work on the pieces until
they are right, working on more than
one piece at a time. At times I undo
work or cut it up. At times I abandon
a piece, and start afresh. Each piece
informs the next. None of the works are
made in isolation. The shapes, materials,
processes and colours used in the
first piece inform how I approach the
second piece, and so on, until I have a
full range of objects that work together
to complete the whole installation. I am
collaging together building materials and
textiles; whatever needs to be done to
make the works work, to make the work
stand up, physically and conceptually.
These works challenge traditional
concepts and preconceived ideas of
what craft is, how it might be made and
how it might look.
2/26/18 11:36 AM
 26 CHAPTER 1: APPROACH TO KNIT
The creative industries today offer
designers many opportunities to
collaborate with projects in styling,
fashion, film, music and textiles.
Have you collaborated with any other
artists? And if so, how does working in
collaboration enhance creativity?
I struggle with collaborative practice. It
requires a creative confidence that I can
only achieve alone in my studio. I don’t
like to expose myself, or my ideas, too
early. Having said that I have enjoyed the
relationships that I have built through
collaborative work; it has brought me
into contact with people that I might not
otherwise have met and exposed me to
different skills and experiences.
How would you describe your signature
work?
My signature work is best described
as knitted objects or sculpture. It is
9781474251730_txt_app.indb 26
technically challenging and usually made
from wool using a strong, idiosyncratic
colour palette. I often employ a dark
humour, producing subversive and subtly
disturbing works.
What advice could you give to
graduates starting out in the industry?
You need skill and good ideas that are
well communicated, not just through the
physical work that you produce but also
through the way you present and talk
about them. You also need confidence
and self-belief, and most importantly of
all you need determination and staying
power.
2/26/18 11:36 AM
 INTERVIEW 27

1.50
Freddie Robins produced these knitted multiples
through the use of a Shima Seiki WholeGarment®
machine.

9781474251730_txt_app.indb 27 2/26/18 11:36 AM

9781474251730_txt_app.indb 28 2/26/18 11:36 AM
 Creative
development
2
As a knitwear student, you will be expected to work independently from set project
briefs. You will develop concept ideas through the use of personal research, the
exploration of technical skills and design development. A good body of work and
a series of design outcomes should be produced for assessment. The brief outlines
the aims and learning outcomes for the project. It details the work required and
explains the assessment method and criteria. Projects have to be completed within a
timescale, and these deadlines are important for assessment.
Research projects are usually given to students to complete over the summer break,
which allows them to draw from different sources and gather a good variety of
inspiration for development in the new term. Sometimes projects are linked together
in order to push research and design development in different directions for separate
outcomes, such as textiles for fashion or interiors.
This chapter guides you through the design process, from a knitwear project brief
through to research and analysis skills and design development. You will need to have
market awareness, as well as technical ability and good presentation skills, in order to
achieve design realization.

‘Design development allows

you to make mistakes;
without screwing up once in
a while you can’t ever move
2.1
Dress by Shao Yen Chen forward.’
from the collection, Waver, Alexander McQueen
using nylon, cashmere and
Lycra yarns on a domestic
knit machine. Each nylon
fibre was put on the needles
by hand to create volume.

29

9781474251730_txt_app.indb 29 2/26/18 11:36 AM

 30 CHAPTER 2: CREATIVE DEVELOPMENT

The brief
At college or university you will respond making the costs and price range of
to briefs that are written and set by design an important, additional, factor.
tutors. In your final year, however, you Those students who successfully meet
will be working towards your final degree these briefs can win sponsorship,
collection, and you will be expected to placement awards and travel bursaries.
set your own project brief. Occasionally,
Examine the following criteria, based on a
competition briefs are set by companies
brief that was given to year-one knitwear
within the industry, which offer a valuable
students at Nottingham Trent University in
insight into the commercial world. The
the UK.
aims of these projects are specific to the
company brand and consumer market,

2.2
Mood board by Tsao Chin Ke
with architectural inspiration
(primary and secondary
research).

2.3
Tsao Chin Ke mood board
showing an oriental traditional
costume and T-shape and
rectangle pattern cutting by
Max Tilk, as well as layers of
distinctive decorative styles
of Mao costume (primary and
secondary research).

9781474251730_txt_app.indb 30 2/26/18 11:36 AM


Design workshop
Sample brief
This project aims to encourage:
n Students to gain a better
understanding of the knitting machine
n A personal response to design
development
n Exploration of varied knit techniques
n Use of experimentation using a broad
range of media and techniques
n Production of an imaginative and
exciting range of design ideas
n Investigation into 3D form and the
development of silhouette (working
with a mannequin)
n Development of skills in fashion
knitwear design
n Skills in recording and understanding
the design process
9781474251730_txt_app.indb 31
THE BRIEF 31
2.4
Design development
collage of garment
shapes made up from
knit swatches by Tsao
Chin Ke.
n Students to develop a professional
range of fashion swatches
n A demonstration of market
awareness
n Students to thoroughly research a
given theme
n Development of creative project
presentation
n Students to develop the concept of
self-evaluation
Select one of the following themes
(texture, embellishment, properties of
stripe) to produce a collection of six to
eight swatches. The swatches should
be approximately 30 × 40 centimetres
(12 × 16 in). Direct your design ideas
towards fashion garment outcomes,
showing an indication of end use, with
2/26/18 11:36 AM
 32 CHAPTER 2: CREATIVE DEVELOPMENT
shaped swatches and design illustrations.
Your final collection of swatches should
be supported by a sketchbook filled
with drawings, textural developments,
magazine tears and developmental trials
on the knitting machine.
Two mood boards, approximately 30 × 58
centimetres (16 × 23 in) are required,
explaining colour, mood and theme. These
can change as the project progresses, but
making decisions at the beginning will
keep you focused.
You will also need to carry out a
comparative survey of current knitted
trends. This will involve a brief written
analysis (250 words) of new trends in
knitted fabrics at one chain store, one
department store and one brand-led
retailer. This will be invaluable research
in helping you to understand the fashion
market better.
Students will merge their own personal
research with the given themes to
develop the mood of the project. Personal
research can come from varied sources
such as architecture, plant life, natural
forms or technology.
Themes
Texture
Look at edges and extremes of surfaces;
consider contrast in yarns, such as hairy
and smooth or shiny and matt. Explore
yarns with texture, such as mohair,
bouclé, rayon and lambswool. Personal
research could look to the natural
environment for inspiration.
Embellishment
Include embroidery, beading, sequins,
floral structures, lace and geometrics.
9781474251730_txt_app.indb 32
Consider appliqué, overprinting and
foiling. Personal research could look at the
circus or at vintage pieces for inspiration.
Properties of stripe
Explore variation of scale, repeat,
engineered designs, diagonals, flashes of
colour, trimmings and multiples. Personal
research could take inspiration from
urban environments and also include
the investigation of shirting fabrics or
traditional woven techniques, such as
tartan or herringbone.
Learning outcomes and work required
The learning outcomes enable the student
to demonstrate a development in technical
knowledge and skills in knitted textiles and
the ability to produce self-initiated research.
The criteria used to assess the work include
research analysis, creative development,
technical skills, market awareness, design
realization, self-management, presentation
and evaluation. The work required for
assessment is as follows:
One sketchbook, recording your design
process, filled with textural developments
and imaginative research exploring a
variety of media and colour development.
Two mood boards explaining colour, mood
and theme.
Six to eight final knitted swatches.
Fashion drawings to indicate use of
knitted fabrics.
A 250-word market research analysis.
An updated technical file, recording
technical development (the mistakes as
well as the successes).
2/26/18 11:36 AM

Research
Designers are constantly seeking and
collecting new ideas and sources of
inspiration. Good designers need enquiring
minds in order to continually produce
fresh, contemporary work. A sketchbook
is, in many ways, a visual diary. It offers an
insight into the designer’s personal creative
journey. Designers develop an identity
through the way they collect and process
research; this is a skill that should become
second nature over time. Many interesting
starting points for design can be found
through the ongoing investigation and
individual approach to a concept or theme.
Every newly found piece of knowledge
feeds the imagination and brings up new
questions and pathways to follow.
Specialist libraries are great starting points
for research. Colleges and universities
will have libraries that cater for fashion
and textile courses, offering a variety
of costume history, craft technique,
fashion and textile books. Look out, too,
2.5
Tsao Chin Ke’s silhouette development.
9781474251730_txt_app.indb 33
RESEARCH 33
for intriguing out-of-print books, new
and vintage magazines and newspaper
clippings. The internet is also a huge
resource for research and images. Some
designers arrange their inspiration and
research ideas on a wall, assembling
visual pathways through interesting
connections and the juxtaposition of
images, fabric samples and sketches.
Other designers develop research books
and sketchbooks that reflect the thought
process behind the project from start to
finish. However a designer chooses to
work, the ingredients remain the same:
all research should include silhouettes,
colours, textures, patterns, fabrics,
trimmings and yarns, as well as found
objects, photos, sketches and notes.
Research becomes more personal when
it is manipulated in some way; working
into an image with collage, pen or ink can
make the inspiration unique.
2/26/18 11:36 AM
 34 CHAPTER 2: CREATIVE DEVELOPMENT

2.6
Tsao Chin Ke’s knit swatch
development.

2.7
Tsao Chin Ke’s ripples of
knit inspired by edges of
architecture.

2.8
Tsao Chin Ke’s garment collection line-up with the use of collage.

9781474251730_txt_app.indb 34 2/26/18 11:37 AM


Primary sources
Drawing from a primary source will help
you to understand details of shape and
form. It is important that you seek original
sources to draw from in order to record
the image in a personal way. Drawing
is a valuable tool; it not only allows you
to communicate ideas to others but it
can also be used to record personal
choices. Smaller elements of the image
can be examined; parts of an image can
be enlarged or repeated. Drawing helps
to record and document the process of
development. Take photographs, make
sketches and highlight elements through
the use of paint, crayon, ink or collage.
Market research
Market research involves collecting a
range of visual trend information, which
should be used to inform and inspire your
work, while reflecting the season and
target market. You need to know who the
consumers of your designs are; where
they will be found; how many there are
and whether or not it is a growing market.
You should also research the kind of
price they would be prepared to pay for a
product; whether they have a preference
for one brand above another and, if so,
what and why. It is also worth considering
furnishings and fashion accessories when
assessing the market.
Concepts and themes
A designer will often focus on a particular
concept or theme to enable the design
process and give focus to a project. A
narrative theme forms the basis of many
collections; a theme will convey a mood
and tell a story. The designer will often
use a subject of personal interest – one
that can stimulate ideas and help to give a
visual impact to a final collection.
9781474251730_txt_app.indb 35
RESEARCH 35
Design workshop
Written analysis
Produce a written analysis of new trends
in knitted fabrics. Visit a number of
different retail outlets, such as chain
stores, department stores and brand-led
retailers:
1. Consider the store layout – what is
the overall feel?
2. Is there a strong colour mood? Does
the mood occur in all stores?
3. What is the quality of the knit? What
is the finish?
4. Are there any strong embellishment
trends, such as beading?
5. Do the goods look like they are value
for money; what is the price point?
A concept or theme helps to hold the
work together, giving it continuity and
coherence. A good example of a strong
narrative theme is seen in Alexander
McQueen’s Autumn/Winter 2009 ‘Horn
of Plenty’ collection. A witty commentary
on consumerism, he presented
womanhood as the old Hollywood siren
in combination with the late performance
artist, Leigh Bowery. Models walked
around a catwalk littered with piles of
rubbish and scrap metal. The collection
drew awareness to the absurdity of
2/26/18 11:37 AM
 36 CHAPTER 2: CREATIVE DEVELOPMENT
capitalism in the year following the
collapse of the Lehman Brothers
investment banking company. The show
captured the ugliness of human nature,
transformed into extraordinary beauty.
Another way of processing your work is
through the use of an abstract concept,
such as the connotation of a single word.
Words such as cocoon, wrap or layer
can be used to sustain a whole project
and trigger interesting starting points
for development. Designer Shelley Fox
is known for her abstract concepts and
thought-provoking collections. For her
Autumn/Winter 2001 collection, she used
her diaries as inspiration. The pages of
2.9
Grey wool felt Braille top by Shelley Fox, A/W98.
9781474251730_txt_app.indb 36
her business diaries were assembled
to develop a compositional print. The
collection was a mixture of evening sweat
shirting, cashmere, diary-scribble graphic
prints and oversized cable knitwear.
The colours were a natural palette of
black, putty and highlights of mint green,
bright reds and primrose yellows. For
her Autumn/Winter 1998 collection,
she used the concept of Braille, which
inspired a development into the use of
Braille markings on wool (felted knit). This
fabric was then transformed into three-
dimensional geometric shapes, which
were drafted on the body.
2.10
Knitwear from the A/W09 ‘Horn of Plenty’
collection by Alexander McQueen.
2/26/18 11:37 AM
 RESEARCH 37

Project work can also be developed

from a combination of unrelated images
or a contrast of ideas such as ‘natural/ Design workshop
man-made’, ‘urban/orchard’ or ‘food/
Research
fiction’. The quality of your final outcomes
will be determined by the breadth,
quality and individuality of your initial
Select a theme and consider who
and ongoing research. Costume houses,
your target customer might be. Gather
museums, exhibitions, markets and
together all your research material and
antique fairs, charity shops and holidays
start to arrange the strongest images onto
abroad can all provide great sources of
a board. Build a mood that reflects the
inspiration. You need to be able to fully
essence of your project. These ideas will
explore the concept in order to create a
start to spill into your sketchbook.
collection of experimental and innovative
knitted samples, which in turn will inspire 1. Edit and prioritize your selection.
ideas for a final fashion collection.
2. Are the images telling a story?
3. Look for the connections in these
images.
4. What colour combinations are
emerging?
5. Does the board reflect your target
customer?

2.11
Diary print skirt by Shelley Fox, A/W01.

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 38 CHAPTER 2: CREATIVE DEVELOPMENT
Interview
Shelley Fox, Donna Karan professor of fashion, director of MFA Fashion Design
and Society at Parsons, New York
Shelley Fox is known for her conceptual, directional work. She designed for her own
label between 1996 and 2006, producing seasonal collections and collaboration with
practitioners outside the fashion industry, before moving to Parsons, New York.
What is your design background and
why did you go into knitwear? Why are
you attracted to knitwear?
My education was never a straight line.
Before I attended my foundation course,
I was always making clothes for myself,
and so fabrics were always central to
that process. From there I attended a
Higher National Certificate course, which
was very technical, which provided me
with important pattern-cutting skills. I
was then accepted onto the BA Textiles
course at Central St Martins. I didn’t want
to do a fashion course as I had previously
dropped out of a BA fashion course in
London. During the BA Textiles course,
I explored knitwear, print and weaving
but in the end swayed towards knitwear.
I loved building my own fabrics, and it
gave me an appreciation of fabric making
and the time it took to develop. Knitwear
provides an open source of how to build
fabrics: yarns, twist, tension, learning new
techniques and endless possibilities of
what a fabric can be, and also you cannot
buy it – you create your own – it forms
part of your identity as a designer. After
graduating with my BA in textiles, and
six months of working for designer Joe
Casely-Hayford, I went on to do an MA in
fashion at Central St Martins.
Can you talk us through your
design process?
As a designer, the felting process has
always been a big part of my collections.
9781474251730_txt_app.indb 38
During my BA, the felting came about
because the fine-gauge machines were
always broken, and there were too many
students on them. I would spend hours
trying to make a fine-knit dress on the
knitting machine, and then it would always
mess up at the last minute, so I began
felting out the mistakes. I suppose I was
designing around necessity and obstacles
that I couldn’t control. I created scorching
effects by leaving the fabric too long in
the heat press – another accident that
became a design process. This was my
introduction to felt and heat transfer. When
I could see the fabrics coming together
during the actual making process, I could
see the collection or at least the feeling and
possibilities of what it could be. An integral
part of my design process was working in
3D and building with fabric.
How does your work take new direction,
and what are your inspirations?
There have been so many ideas as starting
points for my collections. Elastoplast finger
plasters and bandages were the source
materials for my A/W97 collection: intrigued
by the plasters I had for a cut on my leg,
I came up with the idea of using plasters
and bandaging fabrics. I contacted a
pharmaceutical company Smith & Nephew,
who sent me their fabric archive, and I
began to use Elastoplast fabric. In my A/
W98 collection, I used the concept of
Braille: the simplicity of the alphabet shapes
and codes. It was the method of touch
2/26/18 11:37 AM

reading that inspired my development into
the use of Braille markings on wool (felted
knit). This fabric was then transformed
into three-dimensional geometric shapes,
which were drafted on the body. Collections
have featured felted wools where I had put
too much fabric in the washing machine
and it came out scarred and rippled. It
was another accident, but once I had
printed on it, it became the signature
for the collection. The ripples and scars
were a happy accident, in turn a further
development on the medical theme. Other
inspirations have been Morse code, where
it was developed into sound for the show
and visual for the cloth. For my Autumn/
Winter 2001 collection I used my diaries as
inspiration. The diary print was taken from
a series of business diaries; certain pages
were selected based on their composition
and assembled to make a print. Sometimes
I collected too much information and not
everything can be used for one collection,
so a lot had to be edited out; ideas would
take a back seat and then picked up several
collections later when it became apparent
that the timing was relevant.
Research and design development is an
integral part of your work; could you
tell us more about this and explain how
you instil the importance of research
into your students at Parsons School of
Design in New York?
Research and design development is
crucial to even develop as a designer and
build an identity. Designers change and
develop throughout their careers, but they
need a bank of information and need to
know how to translate and articulate those
ideas into 3D garments. Without in-depth
research, you don’t have anything to draw
upon, and if a student tries to shorten the
research phase, they are just prolonging the
process of design and limiting themselves.
We also try and get them to be open – take
risks and get out of their comfort zone. I
9781474251730_txt_app.indb 39
INTERVIEW 39
have learnt from my own experience, and
I share with them the consequences of
not going outside of your comfort zone. I
focus on the importance of trusting your
gut and following your instinct when you
reach a block and difficult decision making
scenarios. My role within an educational
environment is that of a mentor in that it’s
a more of a dialogue around them and their
working process. I don’t believe you can
teach them to be a designer, but it is more
about drawing out what they already have
and getting them to recognize that talent
and then push it forward.
How much emphasis do you want
your students to place on conceptual
approaches to knitwear design?
I think the word ‘conceptual’ has been
so misused and misunderstood in the
same way the word ‘commercial’ has. I
like to think of a design as relevant and
desirable within a certain time frame, and
sometimes that time frame is ongoing as
some designers’ work transcends trends.
I think I like to emphasise experimentation
coupled with their technical skill set and
how to bring those two worlds together.
The Comme des Garcons ‘holes sweater’
from 1982 – it was breaking down the
rules through interrupting the mechanisms
and knitwear machinery which produce
perfection. I suppose it’s similar to
throwing a spanner in the works or a
curveball with students when they are not
expecting it – to interrupt the preconceived
notion of how things are designed.
Experimentation is important in order
to achieve innovation; how does the
students’ drawing and mark making
contribute to an increased knowledge
and understanding of their concept and
shape making?
The important thing to remember is that
students are not all the same so cannot
be taught the same. It’s about finding
2/26/18 11:37 AM
 40 CHAPTER 2: CREATIVE DEVELOPMENT

methods to help them articulate their What advice could you give to fashion
vision, which does require a skill set even knitwear design graduates starting out
if they have to find it for themselves. We in the industry?
try and give them the confidence to find The MFA Fashion Design and Society
their own methods and make their own program at Parsons has achieved much
decisions that work for their way of thinking success in a short space of time, but it’s
and designing. There are some students interesting that our knitwear designers
who can draw well, but it’s very important are hired quickly and sometimes before
for them to also understand 3D and how they have even finished their collections.
fabric moves around the body. I think you One of the reasons is that we push the
can use a combination of many processes students to go beyond swatching, and
to experiment, whether it’s mark making, they have to work towards a collection of
collage, drawing with fabric, photography, clothing. By going through this process,
etc. – they all inform each other. they become technically skilled in fabric
making, toile making, technical analysis
Knitting can be constructed in a 3D way, of patterns, as well as collaborating with
which provides endless possibilities high-end knitwear factories with the
for conceptual approaches to garment latest innovative machinery. They need to
silhouette; do you believe that understand how knitwear is technically
modelling on the stand is the best way built, and that it is complicated, but it’s
forward for your students to develop always through a creative process.
their garment shapes?
A designer should be able to develop
the sensibility and confidence to select
the most appropriate approach in order
to achieve the three-dimensional shape.
This may be a combination of approaches
that breaks all the rules and challenges
the designing of new fabrics. As knitwear
designers, they need to develop fabrics
beyond a small swatch because of how
the weight and drape will change once the
fabric is scaled up. They need to know the
fabric’s possibilities, limitations and move
past the form and get their work onto a real
body, otherwise it’s all a theory. Modelling
forms are not moving bodies, so they need
to understand the movement of fabrics and
how they respond.

2.12
For this collection, blow-torched sequins
and cascading felt frills were combined with
geometric cutting techniques. The felt frills were
handmade, becoming the main part of the fabric
and almost coming out of the fabric. A/W00.

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 DESIGN DEVELOPMENT 41

Design development

Your research drawings will be developed on layout for mood boards, but they tend
into design ideas for patterns and to look better with a plain border.
textures. These ideas should then
Begin to explore a variety of creative
inspire your knitted fabrics and fashion
possibilities by translating your research
collections. Put together mood boards
images into knitted sample trials.
from selected elements of your research,
For example, a piece of woven fabric
to help you organize your thoughts
could be the inspiration for a pattern; a
and collate ideas. Mood boards are
plastic tablecloth might inspire a knitted
an essential tool in industry for selling
lace. Make the project as personal as
projects and gaining commissions.
possible. Using your research, you will
A mood board is a way for you to
be expected to construct and experiment
visually introduce your project; it should
using a variety of techniques. Along
demonstrate to your client the theme,
with traditional drawing styles and
colour and feel of a project without your
experimental mark making, consider
having to be there to elaborate, and it
paper/fabric manipulations; collect and
should be visually stimulating. Be very
create a variety of textures through
selective about the images you pick to
machine stitching, cut work, layering and
use on your board – every photo, picture
folding. Work in both two-dimensional
and fabric should be perfect; if it isn’t, you
and three-dimensional ways to produce
should make it so. Try to include original
different design outcomes. Consider
art. If using found images, such as other
silhouette and try playing with scale: for
people’s photos and magazine tears, then
example, a folded doily could inspire the
manipulate them – change the colour,
shape of a sleeve. Review and evaluate
paint over them, layer and distort them.
your research work, extract the most
As a general rule, less is more, so try not
successful outcomes and develop these
to clutter your board. There are no rules
further into a range of knitted samples.

2.13
Transforming flat floor
plans into 3D ideas by
Alice Hoyle.

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 42 CHAPTER 2: CREATIVE DEVELOPMENT

2.14
Sketchbook work
showing paper
folds develop into
pattern and sample
development by
Alice Hoyle.

2.15
Shape development,
taking a perfect floor
plan around the body
by Alice Hoyle.

Knitted samples
The next stage is to begin sampling, using
a combination of coloured and textured
yarns with stitch construction to take your
research forward into fabrics. Use your
mood boards and research to extract
textures, patterns and silhouettes. A
paper-cut experiment might now become
the template for a knitted punch-card
pattern. A stitched fabric experiment
could inform a knitted stripe or weave. A
drawing of an air vent in the Metro can
become the start of a knitted transfer
or partial-knit lace pattern. In order to
create a range of interesting samples,

9781474251730_txt_app.indb 42 2/26/18 11:37 AM

 DESIGN DEVELOPMENT 43

you will need to gather a good mixture

of yarns in different colours, textures and
thicknesses. Experiment with knitting Design workshop
one stitch construction or pattern at a
Technical file
time, using a variety of different yarns and
tensions. Try mixtures of yarns, in stripes
or blocks of colour; contrasting textures,
Build up a technical file, containing
such as thick yarn with thin; or translucent
notes of the different tensions, yarns
with matt, shiny or both. Spend time
and techniques explored. First samples
sampling, sorting and trying out ideas; it
should also be kept in the technical file
is not just about simply knitting different
as a useful source of reference. Knitted
colourways.
samples should be approximately 50
When you have a good idea of which stitches wide and 10 centimetres (4 in)
yarns work well with which techniques, long. Consider the following:
you can begin to explore a mixture of
stitch constructions. You might want to 1. Pick a stitch construction, such as
mix lace holes with partial knit or tuck tuck, weave, Fair Isle, transfer lace or
stitch with a weave or add a partial stripe. partial knit.
The tension on the machine will need to 2. Play with extremes of tension.
be changed in order to accommodate
different yarns; this takes patience, and a 3. Try variations in repetition.
lot of practice, in the beginning. 4. Use different colours. Try different
When you have explored all the options, textures.
you will need to decide which ideas to 5. Explore a combination of stitch
develop further into your final outcomes. constructions.
As you edit and prioritize a selection
from your first samples, you may find
that a number of samples already sit well
together as a collection and translate well
into garment ideas. Any developments
of first samples that will be used for
your final collections should be added to
your research book as you go. Although
knitwear is versatile, keep in mind the
quality of the fabrics when designing your
fashion collection. Soft, draping fabrics,
for example, are suitable for dresses;
thicker, heavier weights can be used
for jackets. Above all, the fabrics and
designs should capture the mood of the
project. Your collection should reflect the
customer and market and suit the season
for which it is intended.

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 44 CHAPTER 2: CREATIVE DEVELOPMENT

2.16
Feng shui study of
the chosen floor plan,
improving elements of the
home, by Alice Hoyle.

2.17
Final pattern piece layouts
by Alice Hoyle.

2.18
Colour balance decisions
and pattern piece layouts
by Alice Hoyle. These
examples clearly illustrate
how the designer has
used research and initial
inspiration of interior floor
plan to develop a colour
range and how, through
3D development of cutting
and folding, zero waste
garment shapes have been
designed.

9781474251730_txt_app.indb 44 2/26/18 11:37 AM


Colour
At the beginning of a project, you should
establish a colour mood and create a
colour mood board. To allow for some
adjustments, it is a good idea to have
a working board at the beginning and a
final finished board towards the end of
the project. Colours are essential tools for
anyone working in the fashion industry.
You will need to develop a good colour
sense and be aware of colour trends.
Sampling and swatch making are great
ways of developing colour awareness. It
gives you the opportunity to learn about
colour in relation to proportion and to gain
an understanding of how colours react
when placed next to each other. Try out
colour combinations for stripes by winding
differently coloured yarns around narrow
pieces of card. This will enable you to
see the overall final look at a glance; it
not only helps you to decide the width of
stripe, but also the number of colours to
use in a repeat pattern. Similar effects can
9781474251730_txt_app.indb 45
COLOUR 45
be achieved with paint and with different
widths of cut or stitched strips of coloured
paper laid next to each other.
Views on the use of colour and pattern
will vary from person to person, but
most people agree that certain colours
have common associations. We tend to
associate some colours with urban life
and others with rural; some we think of
as warm colours, others as cool. These
assumptions will affect our response to the
work, just as likes and dislikes of colours
can make or break a design. Many historical
pieces of knit are appealing because of the
complicated hand techniques, but colour
is just as important: the colours of a Fair
Isle knit, for example, must be a visually
appealing combination. There are many
ways to combine colour: you may prefer
colours with a lived-in quality about them,
such as muted tones of black to grey and
shades of brown to beige; alternatively,
you may prefer strong, vivid colours with
patterns to emphasize harsh contrasts.
Sometimes it is valuable to challenge your
preferences. Try to move outside your
comfort zone by choosing to work with
colour ranges you do not personally prefer.
2.19–2.21
Sketchbook work by Charlotte Yates, displaying
colour development techniques in the form of
painted stripes and collage. Fine-line drawings
go on to explore ideas for embroidery stitch and
texture.
2/26/18 11:37 AM
 46 CHAPTER 2: CREATIVE DEVELOPMENT
Colour trend forecasting
There are many colour trend forecast
companies that predict colours every
season for different aspects of the fashion
industry, such as lingerie, leather, shoes,
accessories and so on. Designers and
product buyers are also often responsible
for predicting colour choices. Larger
companies employ teams of people to
produce colour mood prediction boards.
The process of colour trend forecasting
involves predicting groups of colours and
dividing them into themed categories,
with colour and mood descriptions for
promotion. Fibre and yarn manufacturers
purchase colour forecasting information
to assist them in the making of their
shade cards, which in turn also serve
as prediction packages. Fabric and
knitwear manufacturers then choose their
colours from both the colour forecasting
companies and the fibre and yarn shade
cards. This information is usually available
at trade exhibitions, such as Pitti Filati in
Florence and Première Vision in Paris.
The consumer may be influenced by colour
trends advertised in magazines, but in the
end, colour predictions are only effective if
the consumer buys the product.
9781474251730_txt_app.indb 46
Sculptural form
A three-dimensional approach to
your work considers shape and form,
proportion, volume and weight. It takes
your fabric design into garment ideas.
This is an extremely important research
and design process and should be
documented in sketchbooks throughout
the project with the use of notes,
sketches and photographs.
Using your research, start to translate
shapes into quarter-scale or part-garment
ideas and manipulate dress pattern pieces
to inspire shapes for possible sleeves,
collars and so on. Many ideas for shape
and structure can be tried out with a
mannequin, some stretch jersey toile fabric
and knitted trial samples, pattern-cutting
paper and a box of pins. As a designer, you
will need to understand the behaviour of
knitted fabric on the body, so experiment
with various stretch jersey fabrics in order
to find a similar weight to the final knit.
Shape making and fabric development
should happen simultaneously; each one
affects the other. If your starting point
is a range of knitted swatches, already
produced, then the construction of your
garments will be determined by the weight
and structure of your knit.
2.22
Colour trend information is
displayed at trade fairs such as
Pitti Filati and Première Vision
(pictured).
2/26/18 11:37 AM
 SCULPTURAL FORM 47

Design workshop
Colours

Try mixing unusual colour combinations. shades of one colour and then add a
Look at art, fabric, wallpaper samples single row of contrast.
and gift wrap. Work out the colour
3. Explore patterns in neutral colours,
combinations used and decide if you think
whites, off-whites, beiges and greys.
the combinations work or not, and why.
4. Produce a colour concept; for
1. Experiment with contrasting pairs; example, you could try combining
these can be subtle or dramatic. delicate old rose, gold and ivory for a
Create combinations using three, vintage palette.
four, five and six colours.
2. Try combinations of similar tones
and shades. You could try several

2.23
Experimental shapes on the mannequin by Tsao Chin Ke.

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 48 CHAPTER 2: CREATIVE DEVELOPMENT

2.24
Waxed cord design by Derek Lawlor. Derek
adapts techniques such as weaving to create his
sculptural pieces.
Design process
You can incorporate interesting structural
aspects of your knitting techniques to
direct design ideas. For example, a knitted
piece that has a placement of increased
elasticity may be used where it could
help the design, such as in the waist or
the small of the back. Knitting techniques
and pattern placement should work for
you, to help the fit of the garment. Large
knitted samples can be wrapped around
the mannequin to create sections of
garments; this method of creating shape
is particularly effective when the fabric
features a partial-knit technique. Many
unexpected folds and drapes can be
achieved through an asymmetric wrap
and drape. The missing parts of the

2.25–2.26
Series of pages, from portfolio by Rebecca Swann, showing the development
of sculptural designs on the stand. Draped jersey explored further through
illustration.

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 SCULPTURAL FORM 49

garment can then be filled in with jersey effect and silhouette. This method offers
toile fabric and turned into pattern pieces, a more immediate look at the proportions
which in turn will be knitted. Each stage and design details of a garment (you can
provides important information for you to pencil onto the toile any alterations of
develop into your designs. seam lines, placement of pockets, neck
openings and so on) before starting to
Look at how the fabric behaves when it
develop the weight and drape of the knit.
is shaped on the body and design your
pieces accordingly. You will achieve the
best results when you become totally
engaged in the process, continually
working between 3D modelling on the
mannequin and sampling on the machine;
trying out elements of fit and drape,
altering and correcting pieces, to realize
the desired size, scale, weight or shape.

Creating volume
All knit can be moulded around the body,
but consider the weight of the fabric
when creating volume. Lightweight
jerseys can drape into soft folds, but bulky
knitted fabric can be solid and heavy.
Large structures can be quickly built with
thick yarns and large needles on a chunky-
gauge machine. Volume and shape can
also be achieved through the use of
repetition: layer upon layer of fine knit
can be used to create large silhouettes
of light, feathery bulk. Draping, frills and
pleating techniques are other ways to add
volume and shape to lightweight knits.
Designing garments and making patterns
come about through a combination of
procedures and starting points. You may
prefer, as a sculptor does, to start with an
illustration of a garment or a sketch of an
idea, or you may prefer to work directly
on a mannequin with a stretch jersey
fabric, modelling and pinning together 2.27
various sections to achieve the desired Sculptural collar by Juliana Sissons.

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 50 CHAPTER 2: CREATIVE DEVELOPMENT
2.28–2.30
Designs by Rebecca Swann using multiple layering techniques to create volume.
Presentation and evaluation
At the end of a project, you will be
expected to display and present your work
for a group discussion and evaluation.
This will provide the opportunity to
develop presentation skills, engage in
critical self-reflection, comment on and
learn from the work of your peers, share
experiences, receive constructive criticism
(and offer it to others) and develop the
ability to articulate your design intentions.
A written self-evaluation offers you a
chance to write down your thoughts on
the project process (your performance
and development) and your work.
Display of samples and swatches
Knitted swatches can be attached to
display headers, which are narrow pieces
of card that fold over the top of the swatch,
allowing the fabric to hang free. Swatches
9781474251730_txt_app.indb 50
can also be mounted on display sheets,
made from mid-weight card or mount
board. Swatches can be kept separate
from the design illustrations, but in many
cases, finished illustrations are drawn onto
these boards, showing final design ideas.
Knitted sample trials can be mounted
on design development boards,
which act as visual extensions to your
sketchbooks. A design development
board should document the different
stages of work, including sketches,
diagrams and photos of your three-
dimensional work, to illustrate your
process while allowing interaction with
your design vision.
Choose the best samples for
presentation; any additional samples
can be put in your technical file or
sketchbook. A selection of knitted
2/26/18 11:37 AM

samples looks good attached to your
mood boards, as both theme and colour
can be communicated through intensity
of stitch. For example, a closely knitted
thick yarn, with vivid blocks of colour,
would suggest a different mood and
colour theme to an open lace knit of fine
yarn in delicate pastel shades.
9781474251730_txt_app.indb 51
PRESENTATION AND EVALUATION 51
2.31
Sketchbook work by Charlotte
Yates, displaying garment design
development and image of final
garment. Inspired by ski wear,
the sketch depicts a finely knitted
padded jacket with hand-smocked
yoke.
2.32
Charlotte Yates’s sketchbook
work, displaying final collection
illustration, with commercial flat
drawings illustrating individual
garments, inspired by ski wear.
2.33
Charlotte Yates’s line-up of a
ski-wear-inspired collection, with
use of smocking, dyed fabrics and
embroidered embellishment.
Remember not to stick swatches down on
all sides – the knit needs to be handled for
evaluation.
Fashion drawings
You need to be able to communicate
your design ideas effectively, choosing
the most appropriate illustration style for
2/26/18 11:38 AM
 52 CHAPTER 2: CREATIVE DEVELOPMENT
your work. Front and back views are often
necessary to get a complete picture. Your
design illustrations, which will be added
to presentation boards, need to be clear
but also convey texture and design detail.
Inspirational material may often be included
on a presentation board, which serves to
reinforce the mood of the collection. Scale
and proportion is important: the illustrations
should represent correct sizing and the
silhouette should be accurate.
Flat working drawings can be added to
the presentation board alongside more
creative illustrations. These flat drawings
are usually referred to as specification
or technical drawings and are used in
the fashion industry to communicate to
the pattern cutter, machinist or knitter.
These drawings accurately describe
how garments are constructed, showing
precise proportions, measurements,
positioning of seams, pockets, fastenings
and neckline details. These technical
or working drawings should also be
kept in your technical file, along with
measurements, yarn details, costs,
sample swatches and pattern instructions.
Self-evaluation
The purpose of self-evaluation is to learn
from experience. This will help you to
9781474251730_txt_app.indb 52
2.34
Swatch by Annabel Scopes,
designed on an electronic machine
with the DesignaKnit package.
adapt, modify and develop strategies for
future action, in order to improve your
working methods and design outcomes.
If you evaluate and plan in this manner,
it will not only improve your overall
performance, but you will also become
more independent and begin to take
responsibility for your own learning.
Your sketchbook is a good place to start.
Sketchbooks that have been developed
throughout the project should provide
a reflective commentary alongside the
design work. One page should relate to
another, telling a story and documenting
your exploration. It should be a highly
personal piece of work, individual to you,
your inspirations and methods of working.
Each stage of research and design
development is important, from
two-dimensional drawings and patterns
to three-dimensional textiles; from the
knitted sample trials to the finished
shaped swatches. The combination of
these different elements will give you
clearer focus on the design concept,
helping you to form a good working
method and a format that can be
developed for all conceptual projects.
As you continue on your course, you
will be expected to show increasing
self-awareness and to develop an
understanding of your work and working
methods. You will be expected to direct
your own progress and to identify your
strengths and areas to develop.
2/26/18 11:38 AM
 PRESENTATION AND EVALUATION 53

Design workshop 9. Did your fashion collection represent

the season specified?
Reflection
10. Did the collection fit the target
market?

At the end of a project, ask yourself the 11. What did you learn?
following questions:
12. What would you have done
1. Did your research inspire you? differently?

2. Did you have enough primary 13. What will you do next?
research? 14. What ideas have you now developed
3. Did you explore the most interesting that you would like to push further?
parts of your research?
4. Did you exhaust each creative
pathway and make the most of your
ideas?
5. Were you happy with your
colourways?
6. Were you inspired by your choice of
yarns?
7. Did you push the processes and
techniques chosen and explore new
ground?
8. Were your final fabric swatches 2.35
suitable for your design ideas? Talia Shuvalon’s graduate collection displayed a
leaning towards graphic, modern fashion.

2.36
This garment from Talia Shuvalon emphasizes her clean, minimal, architectural approach to design,
with layered textile knit in fine wools of clinical green, marl grey and black.

9781474251730_txt_app.indb 53 2/26/18 11:38 AM

9781474251730_txt_app.indb 54 2/26/18 11:38 AM
 Construction
through pattern
3
and texture
Three-dimensional effects in surface texture can be created through a combination
of knit stitch techniques and different weight yarns. Once you have mastered basic
stitch variations and pattern techniques you can really begin to experiment with knit.
In Chapter 3 we look at the use of pattern and texture in construction, with basic
knitting techniques on domestic machines. There are exercises in stripes and tension
changes, patterns, modern lace and textural effects, such as cables and weave.
It is important to keep a technical file, which will be of constant aid throughout your
studies. Collate and record all your knitted tension swatches, along with notes of the
fabric qualities and suitability for design. You should be able to use your technical file
to reproduce samples if necessary. The file will be an ongoing personal resource, and
you should keep adding to it for every
project.

‘The essence and beauty of

knit lies in the fact that the
designer invents everything
from scratch; he creates
the stitch, the handle, the
3.1 SIBLING show piece, weight and chooses the
AW10. colour, deciding on texture
Scare Isle Knit Monster
polo neck, joggers and and shape at the same time,
gloves knitted in Scotland mastering his own finishings
using Scottish lambswool.
Exclusive graphic worked and detailing.’
on in-house using designer Li Edelkoort
knit programs. Knit, padded
gilet, hand–screen printed
for shine. Hand-caught
knitted raffia Mohawk
attached to a balaclava.

55

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 56 CHAPTER 3: CONSTRUCTION THROUGH PATTERN AND TEXTURE
The tension swatch
It is very important to achieve the correct
tension when knitting a garment. A
tension swatch is vital for knitting a
garment to the correct size and fabric
quality; it enables you to calculate how
many stitches to cast on, how many rows
to knit and how many needles are needed
to increase or decrease during shaping.
If your garment involves lacework or
changes of technique within the fabric,
these details will need to be knitted into
the tension swatch; quite often, many
tension swatches are knitted for one
garment.
3.2
Knitted tension swatches featuring ladders and open spaces.
9781474251730_txt_app.indb 56
When using an existing knitting pattern,
the tension measurement will be provided
with the pattern instruction. A set of
measurements such as 30 stitches and 40
rows to 10 centimetres (4 in), for example,
means that you will need to cast on thirty
needles and knit forty rows to achieve a
10 centimetre (4 in) square. If you do not
match the tension measurement with a
correct tension swatch, your work may
not fit correctly, and you will need to vary
the tension settings. It is important to
keep a record of these tension swatches,
alongside yarn and machine gauge details,
in your technical file for future reference.
2/26/18 11:38 AM
 THE TENSION SWATCH 57

3.3 3.5
Knitted tension swatch by Tsao Chin Ke, CAD patterning by Tsao Chin Ke; power-knit
domestic knit machine, three-dimensional machine, synthetic mixed yarns and elastic.
construction.

3.4
CAD patterns by Tsao Chin Ke; power-knit
machine, wool and elastic.

3.6
Weaving technique by Tsao Chin Ke; industrial
hand-flat machine, wool and cotton.

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 58 CHAPTER 3: CONSTRUCTION THROUGH PATTERN AND TEXTURE

Making tension swatches Tip

There are various ways of making tension Note: the measurements here are in
swatches, and most knitters find a way metric. To convert to imperial,
that best suits their needs. Here are two 1 cm = 0.39 in.
of the most common ways: measuring Calculating rows per centimetre
tension and calculating a tension square. 50 rows = 13.5 cm
100 rows = 27 cm
100/27 = 3.7 rows
3.7 rows = 1 cm
Calculating stitches per centimetre
50 stitches = 15 cm
100 stitches = 30 cm
100/30 = 3.3 stitches
3.3 stitches = 1 cm

3.7
Tension swatches by Annabel Scopes
showing a combination of stitch techniques.

3.8
Swatch by Annabel Scopes,
made on a chunky-gauge
Dubied machine. Needles
from the front bed have been
transferred to the back bed to
create the pattern.

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Measuring tension
1. Knit a swatch that is approximately
80 needles wide and approximately
20 centimetres long, using the
yarn you have selected for the
garment. Make a note of how many
rows you have knitted. (Note: if
you are matching a set of tension
measurements, you will need to cast
on a further 20 or so needles and
knit approximately 30 more rows, so
that the swatch is wider and longer
than the tension measurements
provided; this is because the edge
stitches can be distorted.)
2. Take the swatch off the machine,
wash or steam it and place it on a
flat surface. Finish it in the same way
you will finish your final garments.
3. Choose an area on the sample
where the knitting looks fairly even;
not close to an edge where it may
be distorted.
4. Measure 10 centimetres widthways,
and mark the stitches with pins.
Count the number of stitches
between the pins. To calculate the
number of stitches per centimetre,
divide the total by 10.
5. Measure 10 centimetres
lengthways, and mark the rows
9781474251730_txt_app.indb 59
THE TENSION SWATCH 59
with pins. Count the number
of rows between the pins. To
calculate the numbers of rows per
centimetre, divide the total by 10.
6. Note the gauge of the machine,
along with the type, thickness,
colour and brand of yarn. (It is good
practice to write this on a label
and attach it to the swatch.) This
will enable you to match tension
swatches at a later stage.
Many knitted samples from your trials
could also work as tension swatches
for patterns in different textures. But
remember, when matching your tension
swatch to tension measurements
provided (such as 30 stitches and
40 rows to 10 centimetres), the
measurements must be correct. If
the 30 stitches measure less than 10
centimetres, then the knitting is too
tight and will need to be knitted again
on a looser tension or on a larger
gauge machine. If the 30 stitches
measure more than 10 centimetres,
the knitting is too loose and will need
to be knitted on a tighter tension or a
finer gauge machine. Similarly, if the
40 rows measure more or less than 10
centimetres, then the tension will need
to be adjusted accordingly.
2/26/18 11:38 AM
 60 CHAPTER 3: CONSTRUCTION THROUGH PATTERN AND TEXTURE

Calculating a tension square

Another way of tension swatching is to
measure from a square of 50 needles
and 50 rows to calculate the number
of stitches and rows per centimetre.
This information is used when drafting
knitting patterns.
1. Thread the machine with waste
yarn; this can be the same type
or weight as the yarn intended for
the garment, but in a contrasting
colour.
2. Cast on approximately 80 needles.
This allows the finished width to be
wider than the 50 needles needed,
thus avoiding any distorted edge
stitches.
3. Knit 15 or 20 rows in waste yarn.
4. Change to the same yarn that you
will be using for the garment. Knit
50 rows. It is a good idea to pause
at 25 rows and put markers in the
middle of the swatch to indicate
where the 50 stitches are. Markers
can be made by hooking a contrast
colour yarn onto needles 1 and 50.
5. Change back to waste yarn and knit
15 or 20 rows before binding off.
6. Wash or steam the tension swatch
and allow the knit to settle.
7. Place your tension swatch on a
flat surface, ready for measuring
and calculation. If, for example, 50
rows measures 13.5 centimetres,
we can assume that 100 rows
would measure 27 centimetres.
To calculate the number of rows
in 1 centimetre, we divide 100
by 27, which equals 3.7 rows per
centimetre. Then, if 50 stitches
measures 15 centimetres, we
can assume 100 stitches would
measure 30 centimetres. To
calculate the number of stitches in
1 centimetre, we divide 100 by 30,
giving 3.3 stitches per centimetre.
Note: as it is not possible to knit
3.7 rows or 3.3 stitches, the final
measurement should be rounded up or
down.

Basic techniques
There are a number of basic techniques There are many ways of casting on
that you will need to learn as a beginner. and binding off, each of which creates
Casting on, binding off and picking up individual edges and visual finish detail.
dropped stitches are all hand-manipulated Casting-on and binding-off techniques are
effects that appear in one way or another; not only used at the beginning and end of
they can also be used in combination with a knit, they are also used for shaping, lace
other techniques for interesting results. techniques and buttonholes.
It is a good idea to spend some time
practising these fundamental skills so
that you can confidently use them in your
knitting.

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Casting on
Two useful casting-on techniques include
the ‘closed-edge cast-on’ by hand, which
will not unravel as it creates a firm, solid
edge, and the ‘open-edge cast-on,’ which
produces an open edge of loops that can
either be knitted onto at a later time or
turned up to make a hem.
Closed-edge cast-on
1. Thread the yarn through the tension
spring and disc. Pull yarn down to the
left side of the machine.
2. Move the required number of needles
to holding position (when the needles
are pushed forward in the bed as far
as they will go).
3. Make a slip knot and place it on the
end of the left-hand needle. With the
carriage on the right, work from left to
right, winding the yarn anticlockwise
(this is known as an e-wrap).
4. After wrapping the last needle on the
right, thread the yarn into the carriage.
5. Take the carriage across to knit. Move
needles out again and repeat until
there are enough rows on which
to hang weights. Knit the required
length.
9781474251730_txt_app.indb 61
BASIC TECHNIQUES 61
Open-edge cast-on
1. Thread yarn through the tension
spring, disc and carriage on the right
side of the machine.
2. Move the required number of needles
to working position.
3. Knit one row with waste yarn. Hold
onto the end of the yarn while moving
the carriage across the needles. This
will look like a row of loops.
4. Place a length of nylon cord across
the loops, between the needles and
the sinker gate pegs (the row of pegs
along the front of the needle bed).
Holding both ends of the cord firmly
in one hand, pull down.
5. Keeping the cord firmly in place,
knit 10 rows or until the knit is long
enough to hang weights on.
6. Remove the cord, gently pulling at
one end. Continue knitting or change
to intended yarn.
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 62 CHAPTER 3: CONSTRUCTION THROUGH PATTERN AND TEXTURE

Tip Binding off (casting off)

Needle positions When finishing a piece of knitting, all
There are four needle positions on most stitches should be secured with a firm,
domestic knitting machines (although neat edge. As with casting on, there are
the Passap has two). On either end of various ways of binding off. The following
the needle bed, you will find a set of method requires the use of a transfer tool.
engraved letters: A, B, C and D on a
It may be easier to remove the yarn from
Knitmaster; A, B, D and E on a Brother.
the carriage and tension unit but, if not,
To operate the needles, you will need
to align their butts with the letters. The pull enough yarn down through the feeder
positions are as follows: to take away the tension. Always cast off
from the same side as the carriage.
●● A: needles are in nonworking
position and do not knit (NWP)
●● B: needles are in working position
(WP)
●● C (D for Brother): needles are in
upper working position (UWP)
●● D (E for Brother): needles are in
holding position (HP) and do not knit
when holding cam levers are on.

NWP WP UWP HP

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Cast-off technique
1. Place the transfer tool onto the
first needle. Pull out and push back
so that the stitch moves onto the
transfer tool.
2. Place the stitch onto the next
needle (either behind or in front
of the sinker gate pegs). Pull this
needle out so that the two stitches
fall behind the needle latch.
9781474251730_txt_app.indb 63
BASIC TECHNIQUES 63
3. Take the yarn from the feeder and
lay it across the needle hook, but
in front of the latch. Pull the needle
back to knit a new stitch. Two
stitches have been knitted into one,
and one stitch has been cast off.
4. Repeat this process until the end of
the knitting. Cast off the last stitch
by pulling the end of the cut yarn
through the stitch.
2/26/18 11:38 AM
 64 CHAPTER 3: CONSTRUCTION THROUGH PATTERN AND TEXTURE
Reforming stitches
To repair a dropped stitch, you need to
use a latch tool to reform the stitch by
hand. If a stitch has dropped through
several rows it can be picked up and
reknitted.
Reforming a dropped stitch
1. Insert a latch tool from behind the
knitting, directly into the stitch below
the one that needs reforming.
2. Push the latch tool forward, allowing
the stitch to fall behind the latch.
Catch the next floating thread in the
hook and pull the latch tool back,
closing the latch with the thread
inside.
3. Pull the latch tool further back, so
that the stitch slides down over the
closed latch, forming a new stitch in
the hook.
4. Continue to pick up any more floats,
always taking the one directly above
the stitch.
5. When reaching the top, use a single
transfer tool to place the stitch back
onto the needle (see illustration
below).
9781474251730_txt_app.indb 64
Tip
Technical file
Once you have mastered the basic
casting-on and plain knitting techniques
you will start to become familiar with the
machine and its workings. Keep all your
findings in your technical file. Ideally, the
file should contain the following:
●● How the knitting machine works, the
function of the carriage, and so on.
●● Care and maintenance of the
machine.
●● Knitted samples of manually
produced patterns: tension testing,
stripes, lace holes, ladders and
finishing details, such as hemming
and buttonholes.
●● Knitted samples of punch-card or
Mylar sheet patterns, such as Fair
Isle or slip-and-tuck stitch.
●● Knitted samples of ribbed fabrics,
such as different-size ribs made
on the double-bed machine and
mock ribs made on the single-bed
machine.
●● Design-related patterns and
samples; for example, part-garment
ideas, such as a cuff or a collar.
●● Illustrations and diagrams related to
samples.
●● Graph patterns used for Fair Isle
designs or stitch construction.
●● Notes and knitting patterns for
making garments, such as fully
fashioned shaping.
●● CAD information and any related
work, such as pattern printouts,
samples and notes.
●● Samples of yarn – write to
manufacturers for shade cards.
●● Keep cuttings of the latest
knitwear trends in magazines and
newspapers.
2/26/18 11:38 AM
 BASIC TECHNIQUES 65

Stitch dial: tension stripes

Always ensure that the correct stitch dial stitch dial are generally better for use with
number is selected for the yarn being fine yarns and higher numbers are best
used. The stitch dial regulates the size suited to the thicker yarns.
of the stitch. Setting the stitch dial to
After you have become accustomed
0 creates the tightest (smallest) stitch.
to creating the correct weight and
Setting the stitch dial to 10 creates the
handle in your knitted fabrics, you can
loosest (largest) stitch. If the tension is
experiment by creating striped samples
too tight it will be difficult to knit, and the
with contrasting tensions and varying
garment will be hard and uncomfortable
thicknesses, weight, fibre content, colour
to wear. If the tension is too loose, your
and texture.
garment will have no shape.
Practise knitting with a variety of yarns on
different tensions. Lower numbers on the

Design workshop
Making stripes

1. Cast on in the normal manner and knit
the required number of rows.
2. Break the yarn and thread up the
second colour in the second feeder
on the tension unit.
3. Pull the new and broken threads away
from the direction to be knitted, to
avoid loops. Knit required number of
rows and repeat.
4. Try repeating numbers of rows for
each colourway, then try changing
numbers of rows for each colour
group.
5. Exhaust all options, test different
textured yarns with different stitch
sizes.
When using horizontal stripes on a
garment, remember that the pieces will
need to be matched up carefully when
sewn together.
Vertical or diagonal stripes can be made
using a punch card or Mylar sheet, by
designing in CAD, or by using the partial
knitting technique (holding needles).

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 66 CHAPTER 3: CONSTRUCTION THROUGH PATTERN AND TEXTURE

3.9–3.11
Knitting for a purpose, these striped swatch variations were developed by Catherine Brown for a
project called Rebel Tartan. They were designed to sit alongside the Blue-Heart Tartan, designed by
Liberation Kilt Company, USA, to highlight the plight of human trafficking.

3.12–3.13
A selection of double-bed samples by Talia Shuvalov, with a
mixture of plain stripe and more complex patterned stripes,
displaying a variety of yarn weights and textures with the use
of tuck stitch, weave and ladder technique.

3.14
Fashion design image displaying
proportion of stripe within fitted
garments, by Talia Shuvalov.

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 LACE 67

Lace
Modern lace is a combination of
translucent nets and loose floats,
patterned eyelets and irregular dropped
stitches. It is usually knitted in lightweight,
fine yarns. The use of fine yarn on a
chunky-gauge machine will result in a soft,
transparent, pliable net. Giant stitches can
be made by only casting on every second
or third needle. Plain lace involves placing
one stitch onto an adjacent one, to make
a hole immediately next to it.
3.16
The sample chart shows an eyelet hole pattern
for lace.

3.15 3.17
Lace stitch formation: a basic transfer stitch Lace design by knitwear designer Mark Fast,
technique. LFW February 2017.

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 68 CHAPTER 3: CONSTRUCTION THROUGH PATTERN AND TEXTURE

Transfer stitches When working on a double-bed machine,

Lace knits are made using the basic
transfer stitch technique, which involves
transferring stitches from one set of
needles to another, with the use of
multipoint transfer tools. It is possible
to transfer many stitches in one move.
Stitches may either be transferred to other
needles on the bed or allowed to drop
and ladder the full length of the fabric.
Automatic lace carriages are available
for some single-bed domestic machines.
Selected stitches are transferred
automatically to adjacent needles.
Several stitches can be transferred to a
single needle, either to reposition stitches
for patterning or to alter the shape of a
ladder. A variety of eyelet designs and
small buttonholes are based on the
transfer stitch technique.
transfers can be made with a ‘bodkin’, a
tool that has an eyelet at each end. After
removing a stitch with one end of the
bodkin, it can be tilted so that the stitch
slides to the other end, making it easier to
replace the stitch on the opposite bed.
Ladders
Ladders create a lacy effect, made by
an exaggerated version of the transfer
stitch technique. Ladders can be made
into shapes, or they can be built up
horizontally by transferring a stitch on one
side of the ladder and putting an empty
needle back into action on the other side
of the ladder; this action is repeated after
every row or every second row of knit.

Design workshop
Lace technique / eyelet holes

1. Cast on as normal. Knit the required

number of rows.
2. Using the transfer tool, transfer one
stitch to an adjacent needle and
return the empty needle to position B
(working position).
3.18
3. Knit two rows to close the holes. Sample chart shows a ladder that is two needles
wide.
4. More complex lace patterns can be
achieved by experimenting with this
basic stitch structure. Try transferring
more than one stitch at a time and
take them in different directions.

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 LACE 69

3.21
3.19 Juliana Sissons, designer in residence, V&A
Shaped ladder knit, with eyelet hole detail, by Museum, London. Black and gold cotton and
Juliana Sissons. black wire, stripe, tucking, ladder and transfer
stitch techniques.
Domestic knitting machine, image by Sarah
Hodges.

3.20
Lace design by Rodarte, A/W08.

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 70 CHAPTER 3: CONSTRUCTION THROUGH PATTERN AND TEXTURE
Design workshop
Ladder technique
1. Transfer one stitch at required
intervals, leaving empty needles out
of action (position A). For example,
you could leave every fourth needle
in the nonworking position. This
forms a ladder while knitting. Bring
back the empty needles to working
position (position B) to continue plain
knitting. This technique can be used
to form decorative patterns, such as
threading contrasting yarn or ribbon
through the ladders.
2. Alternatively, for a ribbed effect, use
a latch tool on the wrong side (purl)
of the fabric and reform the stitches
by picking up the floats, two at a
time; continue pulling one through
the other until you reach the top.
This is more effective when leaving
two needles out of action at regular
intervals.
Surface texture
Basic stitch variations will add a
decorative element to your knitting and
considerably change the appearance and
suitability of the fabric. A fine-yarn knit, for
example, can be made to look heavier by
the use of fancy stitches.
The three main techniques for adding
surface texture are weave, tuck stitch and
9781474251730_txt_app.indb 70
3. Experiment with wide ladders using
multiple needles. You can create an
interesting lace effect by randomly
picking up floats with the latch tool
and hooking them onto the nearest
working needles.
4. To create a shaped ladder, try
transferring stitches out from each
side of the existing ladder, in between
rows of knit. Leave the empty needles
out of action (position A) until you
reach the desired width of the ladder.
Then, one by one from each side,
bring back the empty needles into
working position (position B). Explore
variations of this technique.
Note: if two adjacent needles are brought
back into action at the same time, one
enlarged stitch is formed, instead of two.
slip stitch. Woven (also known as inlay)
fabrics that have an all-over pattern have
very little stretch widthways; these fabrics
are more solid and may be cut with
little damage of unravelling. Tuck stitch
produces a warm bulky fabric, with lots of
stretch. It is a non-curling fabric with solid
edges, making it easier to make up into
garments. Slip stitch creates an opaque
2/26/18 11:38 AM
 SURFACE TEXTURE 71

fabric with little stretch; the all-over float Selecting needles manually allows you to
patterns may be used decoratively or to override the carriage and the information
create lightweight, textured fabrics with on the punch card or Mylar sheet, enabling
good insulating properties. Techniques you to experiment with more patterns.
such as lifting stitches and making cables Tucks can also be created manually,
are also effective ways of adding surface without the use of punch cards and Mylar
texture to your knit. sheets, by taking the selected needles
out of action, and setting the holding
Tuck and slip stitches use a similar
cam levers in action on the carriage. After
selection technique. Both types of stitch
several rows of tucking, the holding cam
can be produced automatically, with
levers are then taken out of action and a
either a punch card or Mylar sheet. Both
row of plain knit is knitted. You can vary the
tuck and slip stitches must be used in
number of rows in hold or knit position.
combination with knit stitches; each tuck
needle should have a needle knitting plain Tip
either side of it. It is also possible to set
On a punch card, the blank spaces tuck
the carriage to tuck or slip when moving
and the punched holes knit. If you are
in one direction and to plain knit in the using an electronic machine, you can
other direction. Both tuck and slip stitches mark the tuck stitches on the Mylar
can be combined with colour striping, for sheet. The result will be reversed on
colour-texture effects. the machine if you select the negative
option button.
Tuck stitch
Tuck stitch can produce textured pattern
on both sides of the fabric; however, the
purl side is most common. A small-scale
pattern will produce a honeycomb effect,
and a larger-scale pattern will produce
wider, raised pattern areas.
The stitch is held in the hook of the
needle until it is knitted in. The tuck loops
distort the knit by pushing the stitches
out of line, creating interesting patterned
textures. A bumpy texture can be made
by collecting loops in the needle head
through tucking several rows at a time,
on the same needles, before knitting in.
Bear in mind that there is a limit to the
number of rows that can be held on any
one stitch. This depends on the tension
and the type of yarn you are using. Most
domestic machines are capable of holding
six to eight loops of yarn. Using extra
weight and a tighter tension may help. 3.22
Tuck stitch formation.

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 72 CHAPTER 3: CONSTRUCTION THROUGH PATTERN AND TEXTURE

Design workshop
Manual tuck stitch

1. Bring every third needle out into
holding position. Put the holding cam
levers into action on the carriage.
2. Knit three rows. Take the holding cam
levers out of action. Knit one plain row.
3. Repeat the procedure. This gives you
the freedom to experiment with a
variety of tuck patterns.
The carriage can also be set to knit two
colours at once. You can create coloured
patterns by combining tuck with stripes.
1. Knit two rows in one colour, after
selecting odd needles to tuck and
even needles to knit.
2. Knit two rows in the second colour,
tucking on odd needles and knitting
on even needles.
3. Repeat the process to create a
spotted pattern.
There are many variations to the basic
stitch, with some interesting techniques
to explore: set a punch-card pattern on
hold and return to plain knit every third or
fourth row; this works well with vertical
patterns. For a lace effect, try tucking on
spaced-out needles over several rows
with a tight tension and knitting plain rows
in a contrasting, loose tension.

3.23–3.24
Images of fashion
garments by Pa
Byrne, displaying
transfer stitch and
tuck technique in
wool, with slight
felted procedure
after knitting.

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Slip stitch
Slip stitch misses the non-selected
needles, allowing the yarn to lie in front
of them and form ‘floats’. The purl side
of the work shows the texture of the
pattern, with all the floats. The strands of
yarns lying over the knit tend to be quite
compressed, narrowing the width of the
fabric and allowing very little stretch.
On punch-card machines, the punched
holes knit and the blank spaces slip. On
electronic machines, you can mark the
Design workshop
Slip stitch
1. Select odd needles to knit and even
needles to slip. Knit two rows of slip
stitch in one colour. Note: always
select the first needle in the row to
knit to ensure that the floats on the
purl side of the fabric are caught into
the edge of the knit.
2. Reverse the needles selected for
knitting and slipping. Knit two rows of
slip stitch in the second colour. The
9781474251730_txt_app.indb 73
SURFACE TEXTURE 73
slip stitches on the Mylar sheet, and the
result will be reversed if you select the
negative option button.
Slip stitch is also the basis of a two-colour
or Fair Isle patterning. The pattern can
be knitted in two rows of each colour.
If you use slip stitch in conjunction with
striping, you can achieve intricate, mosaic-
like patterns on the technical side of the
fabric.
slipped stitch will rise up, elongating
through the row above, forming a
pattern on the technical face-side of
the fabric.
3. A ripple effect can be created when
the same needles are selected to slip
over several rows (with a punch card
set on hold), followed by a row of
plain knit and then repeated.
3.25–3.26
Slip stitch produces floats on
the purl side (3.25) and can
be used to make two-colour
patterning on the reverse,
technical side (3.26).
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 74 CHAPTER 3: CONSTRUCTION THROUGH PATTERN AND TEXTURE

3.27 3.28
Swatch by Ruth Carpenter, which uses plating Additional yarn is passed under and over
technique. Drawing inspiration from slip stitch, alternate needles and then knitted in to create a
fabrics such as this can be created on industrial weave.
double-bed machines.

Weave
Weave, also known as inlay, is probably wrapped around the needles and stitches;
the most versatile technique for producing it can be woven through the knit; it can
different textured surfaces, but it is not make overall patterning and stripes and
strictly a stitch variation. Inlays are usually it can be used to create pile loops and
made on the purl side of the knit, making fringing.
full use of the weaving. These knits have
A basic punch-card method can be used
similar characteristics to woven textiles
for yarns, such as fine bouclé and mohair.
and have little stretch. Knitting is carried
The punch card is set and the weaving
out in the normal way, but at the point
brushes lowered. The secondary yarn is
when the additional yarn is woven in, the
placed in the weaving yarn guides, and
yarn is taken across the needle bed first,
the carriage is moved across the machine.
passing under and over alternate needles.
If the yarn is very thick or knobbly, a
It is then knitted into the fabric, catching
manual weaving method can be used.
under alternate stitches. Yarn can be

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 SURFACE TEXTURE 75

13

12

11

10

1 2 3 4 5 6

3.29
Weave pattern chart, showing a repeating
1 × 1 interlacement (top) and alternating 1 × 1
interlacement (bottom).

3.30–3.31
Knitted garment designs by Alison Tsai,
displaying complex weaving and fringing
techniques.

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 76 CHAPTER 3: CONSTRUCTION THROUGH PATTERN AND TEXTURE
Design workshop
Manual weave
1. Pull out all the needles to holding
position. Do not put the holding
cam levers into action, but lower the
weaving brushes.
2. Select a textured yarn or strips of fabric
for the woven effect.
3. Weave the yarn over and under the
needles. This can also be done in
pairs, over two needles and under two
needles, or in any combination.
4. Push the woven threads back, close
to the sinker gate pegs (so that they
do not become tangled around the
brushes).
5. Take the carriage across. Knit one or
two rows; the yarn will be woven in.
Repeat. Long floats can be knitted and
then cut through to produce tufts.
Slip stitch can be used as an alternative to
weaving. After knitting several rows of plain
knit, one row of slip stitch can be knitted
in a different yarn. The needles for this
row would need to be set up to alternate
between one needle knitting and five or six
needles slipping.
Lifting stitches
Stitches can be lifted from previously
knitted rows and hung again on the
needles; then, when the carriage is taken
across the bed, the lifted stitches will
be knitted into the fabric, resulting in a
gathered effect. This technique can be
used to lift single or multiple stitches as
well as floats and ladders.
9781474251730_txt_app.indb 76
Weaving yarns can be worked horizontally
or even vertically. The secondary yarn can
be e-wrapped around individual needles
within the body of the knit; it can also
be used to create decorative effects and
fringes.
Manual weave development: pile loops/
fringing
1. Pull out the required needles to
holding position (do not put the
holding cam levers into action).
2. Use a knitting needle, pencil or thin
rod. Hold the rod underneath the
needles in holding position.
3. Take the secondary yarn over one
needle, under the rod, then over the
next needle. Repeat over as many
needles as required. Take the carriage
across, keeping the loops firmly
pressed against the machine.
4. Finally, cut the loops to make the
fringing.
To lift stitches, a transfer tool is inserted
into the stitch. The tool is lifted upwards,
and the stitch is deposited onto a needle.
This will cause the technical face-side of
the fabric to pucker.
2/26/18 11:39 AM
 SURFACE TEXTURE 77

Tip
When you are starting out, wool is the
easiest yarn to work with, because it has
more stretch than cotton, linen or silk.

3.32–3.35
Bag designs by Justin Smith. A lifting stitch
technique has been used to create different
textural effects.

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 78 CHAPTER 3: CONSTRUCTION THROUGH PATTERN AND TEXTURE

3.36–3.37
Knitted jacket design by Alison Tsai, displaying
hooking-up stitches technique, with stripes and
slight felting. Sketchbook page displays design
development for pattern and form.

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 SURFACE TEXTURE 79

Cables
Cables are created by crossing two
Design workshop
groups of stitches between knitting rows.
Random hooking up Two transfer tools are used to remove
the two groups of stitches from their
needles; the stitches are crossed as they
1. Cast on as usual and knit 10 rows in are returned and then knitted as normal.
the first colour. Try experimenting with the number of
stitches crossed and the amount of rows
2. Change the colour and knit 10 rows. knitted in between.
3. Hook up the stitches from row 10 (row
1 of the different colour) and place on
the needles at random.
4. Change the colour and knit 10 rows.
Repeat in different colours, hooking up
where required.

Variations can include: single colour

hooking up, hooking up at regular intervals
to form patterns, and hooking up all the
needles in a row to create horizontal
ripples. Experiment with the following
techniques:

1. Knit between the lifted stitches and the

needles on which they are placed for a
more exaggerated textural effect.
2. Create a draped effect by lifting fewer
stitches and spacing them out.
3. Many more interesting textures can
be made by repeating lifted stitch
patterns, from carefully balanced
groups of lifted stitches to irregular,
distorted tucks.
4. Create a honeycomb design by
alternating groups of lifted stitches
with non-lifted stitches throughout the
knit.
5. Lift groups of stitches to the right for a
few repeats, then lift the same groups
of stitches to the left for a few repeats;
the result is an interesting, ruched 3.38
zigzag effect. Kenzo Menswear Fall/Winter 2017-2018

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 80 CHAPTER 3: CONSTRUCTION THROUGH PATTERN AND TEXTURE

Patterned knits
Learning how to create patterns for
knit will open up a whole range of new
possibilities. Patterns such as Fair Isle and
jacquard can be designed and made with
a pattern card, such as a punch card or
a Mylar sheet, or by using CAD. Intarsia
patterns are slightly different – they can
be knitted without a pattern card; they are
used to create large shapes, with many
colours in one row. All pattern designs
are usually drawn out on graph paper first
and new colour combinations worked out
through trial and error on the machine.
3.39
Being able to make your own pattern
Fair Isle design by Alexander McQueen, forming
cards means that you are not restricted to part of his A/W05 collection, entitled ‘The Man
existing designs; it will also enable you to Who Knew Too Much’.
alter existing patterns with an experimental
approach. Try exploring colours alongside
different stitch designs, such as tuck, the main colour; the punched areas of the
slip and lace. Create elongated patterns card knit the contrast colour.
by knitting each row twice, or by knitting
Traditional Fair Isles are separated by
a number of rows with the card locked
narrow borders and feature a frequent
(on hold). Alter a design by taping over
change of colour. An all-over Fair Isle
selected holes, or combine sections from
design is a continual repeating pattern,
different cards by cutting and clipping
with no obvious start or end; these work
them together. Pattern needles can be
well with many colour combinations. Fair
manually selected by bringing them
Isle motifs are simple designs with clean
forward before knitting each row. (Needle
outlines and bold colours; patterns consist
pushers are useful to push needles
of lots of enclosed shapes of colour and
forward in sequence, such as 1 × 1 for an
small floats. These designs are suited to
every-other-needle stitch pattern.)
textures and tones of the same colour.

Fair Isle and jacquard Jacquard is a double jersey knit made

Fair Isle knitting is known for its
traditional, two-colour patterns. The face
side has a patterned surface; the reverse
side has floats of yarn, each colour
passing over the other when not being
knitted into the pattern. The two yarns
are knitted simultaneously to produce the
design on the pattern card. The reverse
side of the card becomes the face side of
the knit. The blank areas of the card knit
using a punch card or electronic machine
to create a pattern. Up to four colours in a
row may be used. This technique allows
the floats to be knitted in at the back,
creating a reversible fabric.
Punch cards
Punch cards provide a fast method of
selecting needles, but patterns with
repeats need to be worked out on paper

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 PATTERNED KNITS 81

before knitting. This is done by sketching design in the middle of the graph paper
out a rough drawing first, and then putting using the required number of needles for a
a stitch plan onto squared paper. repeat pattern, then fill in the surrounding
area, making sure that the repeats match
Decide on the stitch repeat size for the
up as they should. This will give you a good
design; this is limited by the size of the
idea of how the overall pattern will look.
punch card. A width of 24 needles is usual
Curved lines will need to be drawn as steps
for a standard-gauge machine and 30
on the graph paper, which may alter the
needles for a fine-gauge machine. If using
design slightly, but alterations can be made
a chunky-gauge machine, a width of 12
after the sample has been knitted.
needles is usual.
Once you have drawn the design, the graph
A design can be repeated in a number of
paper template may be transferred to a
ways to form an overall pattern, such as
punch card or a Mylar sheet. Electronic
a drop repeat, half-drop or step repeat.
machines that use Mylar sheets are more
The pattern being repeated should be the
flexible than the standard punch card
correct number of stitches wide; so for
machines; they are capable of producing
example, if you are using a standard-gauge
much larger motifs and pattern repeats.
machine, the width of the motif should be
a number of stitches that will divide into 24
Pattern grids
exactly – the patterns can be 2, 3, 4, 6, 8 or
12 stitches wide. For a square of knitting there are always
more rows than stitches, which can make
The length of the repeat can be the number the pattern on the card seem elongated.
of rows you choose for the design; this There is special graph paper available for
can be as long as the punch card will allow, knitters, which consists of shorter squares
or longer, if the punch cards are joined to enable you to see what the finished
together. Work out the repeat pattern first, design will look like.
before filling in the whole design. Draw the

3.41–3.42
3.40
Images showing pattern development on a CAD power machine,
A series of punch cards
five-gauge Stoll.
with pattern designs.
Preppy folk-inspired jacquard and Celtic textured Fair Isle by Sophie
Steller.

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 82 CHAPTER 3: CONSTRUCTION THROUGH PATTERN AND TEXTURE
Design workshop
Using a punch card
The position of the punch card on
the needle bed is important. This is
predetermined by the type and gauge
of machine (standard, fine or chunky).
When the card is in the machine it will
automatically move one row at a time.
Cards can be joined together at top and
bottom with plastic clips in order to make
one continuous pattern.
1. On a standard-gauge Brother
machine, start the pattern seven
rows down. On a standard-gauge
Knitmaster machine, start the pattern
one row down.
2. Start with the carriage to the left.
Insert the card and lock it. On the
carriage, change the knob to KC (knit
card).
3. Thread up the main colour yarn in
feeder A, on a Brother machine, or
feeder 1, on a Knitmaster machine.
4. Knit to the right. Release the card
from being locked.
5. Select cam button(s): tuck buttons for
tuck stitch; part/slip buttons for slip
9781474251730_txt_app.indb 82
stitch; multicoloured/MC buttons for
Fair Isle (T, S and F on a Knitmaster).
Thread up the second colour in feeder
B, on a Brother machine, or feeder 2,
on a Knitmaster. For weaving, select
plain or no buttons pressed, and put
weaving brushes to WT.
6. Set the row counter to 000. Carry on
knitting.
7. You can investigate pattern, texture
and colour combinations through
the use of punch cards. Once you
have gained confidence, you could
try more complex repeat patterns.
Experiment with different levels
of contrasting colour, for example
through gradual change of colour
shades or by creating impact through
working with contrasting colours.
8. Try a break in the pattern with plain
knitting, for example, temporarily
putting the card out of action and
knitting stripes or lace and then
continuing with the card, by bringing
it back into action.
2/26/18 11:39 AM

Interview
Sophie Steller, designer and director of the Sophie Steller studio
Sophie Steller has over twenty years’ experience in yarn, colour and trend research
specializing in all aspects of knitwear design and selling one-off copyright swatch
designs to the worldwide fashion industry.
What is a swatch? (2D/3D)
A swatch in context to knitwear is a sample
of fabric that is a one-off original design for
sale to b2b customers within the industry
to use to inspire or put into production. It
can take on any form from stitch, pattern,
stripe, print and can be a square of fabric
all the way through to a mini mock up of a
garment with garment detailing etc.
What is a typical day for you?
Due to the nature of our business being
multifaceted on the work we do, there
really is no typical day, as we find our
schedules can change all the time. But
always a great deal of my day is spent
sending emails, communicating with
clients, following up with factories and
spinners. Constantly communicating
with the team and reviewing designs and
projects. My day also needs to have my
own research, designing and trend work
built into it, but often this comes after I
have all the administrative work done and
out of the way.
How do you begin the design approach?
Is it with the yarn decisions or the
technical construction? (2D/3D)
This really depends on what the project is
about. Some of our clients are spinners,
so yarn leads the design, but normally
we will sketch and plan our designs first,
program what we are thinking and then
9781474251730_txt_app.indb 83
INTERVIEW 83
work the yarn into the designs to find
yarns that will be suitable to bring the
best out in the design. Then if the yarn
does not work we then need to revisit
these decisions.
How important is research in the
design process? Where do you get your
inspiration?
Essential and all designing for us starts
with research and trend analysis. Inspiration
comes from everywhere, magazines, social
media such as Instagram and Pinterest,
exhibitions, films, trend services, trade
shows, stores and shopping, markets.
You never really stop researching and
looking because there is no beginning and
end to the design process, it is simply a
continually evolving process.
Do you work to a brief?
Yes, always, either a client brief if they have
something very specific in mind, or we
create our own brief, so we have an outline
of what is needed to work into. But we do
need to have focussed goals on a project to
make it successful and efficient.
Where/how do you sell your knitted
swatches?
We sell at trade shows and through
a sales person and an agent. We sell
globally with the focus on Europe and the
USA.
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 84 CHAPTER 3: CONSTRUCTION THROUGH PATTERN AND TEXTURE

Do factors such as sales figures impact
your design decisions?
Yes, in the swatch range, you keep an
eye on what is selling and replenish or
move in the direction of what is popular
or trending so you can maximize your
sales to be relevant to what the market is
looking for.
Do you design for a specific customer
in mind? What kind of customer wears
your designs?
We work our trends to suit different
customer profiles, so we can cover as
wide a range of a customer base as
possible. With knitwear it is possible to
design for most markets, so it can be
relevant for mens, womens, and kids. We
are known for colour and trends, so our
handwriting is quite trend forward and
youth driven and also very strong in the
casualwear market. However now we
have power machinery in-house of a Stoll
and Shima, we are able to create an even
wider range of fabrics and therefore can
cater for a larger audience. This means we
now design for more contemporary and
dressy markets too. That is the beauty of
knitwear that it is such a versatile design
category.
perspective. Though I set the directions
and the trends, to see where my team
take that and the ideas they come up with
is always a pleasure and inspiring to be
part of their design journey too.
What advice can you give to aspiring
knitwear designers?
Don’t be afraid of trying, whether it is
being adventurous or experimental with
colour; learning as many techniques as
you can; continually re-evaluating what
you are doing. Work hard to give as much
as you can to learn from jobs, tutors or
opportunities around you, even if they
are not the best paid, nothing can help
you more than experience. Be keen,
enthusiastic and be prepared to work
hard giving above and beyond what you
are asked for. It is a hugely competitive
industry, but hard work, enthusiasm and
gaining experience will take you a very
long way.

What is your favourite aspect of the job?

I love to work with colour, making a colour
palette and conceptualizing new ideas
and trends is definitely the most fun and
creative part of the job. It is always very
exciting to start a new concept or trend
and it doesn’t matter how many years
you have worked, that process is always
exciting because it is starting afresh every
time. I also love to work with my team and
with young designers and see what they 3.43
come up with. It is so refreshing to work Sophie Steller, the knitting workshop floor of the
with talented designers and see their studio

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 PATTERNED KNITS 85

3.44 3.47
Desert inspired fabric mixing a hybrid of tribal Fresh tape yarns adding dimension to textured
and rustic layered yarns. ladder and lace on Stoll.

3.45 3.48
Elaborate lace jacquard, playing with scales of Lush botanical inspired textures using
pointelle and holes. 12 gauge stitch size on the e-wrapping, weaving and fringing combinations.
Shima knitting machine.

3.46 3.49
Free-form crochet mixing scales and colours for Mixing yarns to create dimension and textures in
a modern traditional craft. reverse knit.

3.44–3.49
A selection of swatches by Sophie Steller, displaying a wide variety of techniques, with the use of hand
domestic knitting through to power knitting on the Stoll and Shima Seiki machines.

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 86 CHAPTER 3: CONSTRUCTION THROUGH PATTERN AND TEXTURE
Electronic machine patterning
Domestic punch-card machines
have evolved from the earlier ‘push
button patterning’ machines. Today’s
computerized machines have a built-in
programming capacity and offer huge
flexibility in patterns. Mylar sheets can
be used to make patterns with larger
repeats than can be achieved with the
punch-card method; these patterns can
be repeated, reversed, turned upside
down, mirror imaged, elongated in length
or doubled in width.
Newer models of electronic machines,
from the Brother 950i and 965i onwards,
are compatible with DesignaKnit for
Windows, a CAD/CAM program for
knitwear design. The program covers
garment pattern drafting and stitch
transfer designs, and it includes a
graphics studio for interactive knitting
and for manipulating graphics files,
photographs and scanned images. The
program can also be used to produce
templates for punch cards and Mylar
sheets, as well as charts for manual
machines and hand knitters. Designers
can draw stitch patterns in colour,
symbols or both, and there is a range
of textured-stitch types to give a more
realistic impression of the finished piece.
Industrial machine patterning
Hand-operated industrial machines
are incredibly versatile, offering great
possibilities for structure and pattern.
They feature a patterning system
that uses a high- and low-butt needle
selection in combination with tuck
and slip cam levers. Depending on the
position of the levers, all needles might
9781474251730_txt_app.indb 86
knit as normal; or low-butt needles will
tuck while high-butt needles knit as
normal. A similar procedure is applied
to the slip technique. Patterns can
be changed with each row, although
the butts are not interchangeable
mid-knitting; colours can be changed
halfway through a row. High- and
low-butt needles can be placed on the
front bed only, leaving one side of the
fabric plain while creating ripples and
stripes on the other. These machines
also have a ‘plating’ facility, which allows
a yarn to be invisible on the exterior of
rib fabrics; they can be used to create
fancy effects when needles are out of
action or in stitch.
Today in industry modern machines, such
as Shima Seiki and Stoll, do everything
automatically. Individual needle
selection is electronically controlled
to knit coloured and textural patterns
and to shape knitwear. The Shima Seiki
SDS-One design system is a Windows-
based system that uses three programs
for knitting: one is for pattern drafting;
plotting specific measurements from
the paper pattern to form the silhouette
of the garment (pgm). Another is for
drawing or scanning the design for the
fabric surface pattern, such as jacquard
(paint). The third is for creating the knit
pattern; the instructions to make the
structure, such as tuck, and the garment
shaping information (knit paint). This
package offers a visualization of the
fabric on the body; it can also illustrate
the various colourways and be used to
create yarn designs.
2/26/18 11:39 AM
 PATTERNED KNITS 87

3.50–3.51
Series of designs by Amy Dyer, using the Shima
Seiki design system.

3.52
From left to right: a spec
drawing, a knit paint
image, and a pgm image.

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 88 CHAPTER 3: CONSTRUCTION THROUGH PATTERN AND TEXTURE

Intarsia
Intarsia is a technique used for colour
Design workshop
patterning in which there are no floats,
Intarsia technique as each colour is separately knitted into
its own shape. Many colours can be
knitted into one row, and because there
1. A ball of yarn is required for each are no floats, large, bold pattern shapes
pattern shape; place them on the can be made. Special intarsia carriages
floor in front of the machine. are available for the more sophisticated
machines. Always start with needles
2. Place the end of each coloured yarn at intarsia position: latches open and
across the open latches of the groups needles forward about 1 centimetre (2/5
of needles in the pattern order for the in). This is usually achieved by a pass of
row, with the short end nearest to the empty intarsia carriage.
the carriage and yarns crossing under
needles.
3. Take the intarsia carriage across
the needles to knit the row; each
separate colour will knit with its own
needles.
4. Repeat the procedure, manually
placing the yarns back across the
needles in the order required for
each row, crossing under needles as
before.
5. Knit one row and continue.
6. When planning your intarsia pattern,
sketch your design and then transfer
this onto graph paper. One square
represents one stitch.

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 PATTERNED KNITS 89

3.53–3.55
Intarsia designs by Hannah Taylor.

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9781474251730_txt_app.indb 90 2/26/18 11:40 AM
 Construction
through shape
4
In Chapter 4 the knitted swatch is transformed into a three-dimensional piece.
There are a number of different shaping methods, such as draping and shaping
on a mannequin to create silhouettes. There are exercises to show you how to
plan shapes on paper (pattern cutting) and how to transfer these outlines into
knit patterns. You will be guided through the shaping of a basic bodice and sleeve
pattern, with detailed instructions for stitches and rows. Finally, there is a detailed
section that explains how to create three-dimensional effects, such as frills and flared
pieces, straight from the machine.

‘Fashion is a lot closer to the

body, not just the form, but
also the movement.’
4.1 Hussein Chalayan
‘Elizabeth’ dress by Jemma
Sykes for ethical label
Butcher Couture, hand-
knitted in organic wool.

91

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 92 CHAPTER 4: CONSTRUCTION THROUGH SHAPE

Partial knitting: three-dimensional

effects
Partial knitting can be used to create a
variety of three-dimensional effects: fabric
texture, sculptural surfaces and unusual
silhouettes; diagonal blocks of colour,
flared skirt panels and even slanting
shoulder shapes; as well as interesting
edges, such as looped or scalloped
effects.
4.2
The holding cam controls are set on hold. Partial knitting/holding technique was used in
Needles on the opposite side of the bed these swatches by Natalie Osborne.
from the carriage are manually put into
holding position. Groups of needles can
be put into holding position all at once, or
needles can be held one at a time. This
technique allows the carriage to pass over
these needles without knitting the stitches
in; however, when these needles are put
back into working position, the stitches
will resume knitting as normal. Other
needles that are not in holding position
will continue to knit rows, accumulating
length. It is important to keep your
weights under the working needles and
move them up the fabric as it grows.
4.3
Chart showing knitting a diagonal join between
Short-row patterning
two colours using holding technique.
Designs based on diagonal and horizontal
lines can enable a change of stitch size or
colour within a single row. You can create
a slanting edge by putting needles on
hold, gradually. A line of small lace holes
will appear between the two sections,
which can enhance the look of the design.
However, this can be avoided by wrapping
the free yarn under the first held needle
each time the carriage arrives at the point
where the working needles meet the
holding needles and before knitting the
next row. 4.4
Holding technique used in combination with
different weights of yarn. Design by Juliana
Sissons.

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Design workshop
Knitting a diagonal join
1. Always start with the carriage at the
opposite end of the needles that
are going to be brought into hold.
Thread up the first colour and cast on
approximately 60 stitches.
2. Knit several rows in plain knitting,
finishing with the carriage on the left.
3. Set the holding cam levers on hold.
Bring the first needle on the right-
hand side to holding position and knit
one row. Take the free yarn under the
held needle and knit the next row.
Bring the second needle on the right
to holding position and knit a row.
Take the free yarn under the second
held needle and over the first. Knit
the next row. Repeat the process until
there is only one needle still knitting.
Bring this needle to holding position.
4. Unthread the yarn from the feeder
and take the empty carriage across
to the other side. (The carriage has to
be moved to the side of the bed on
which the first needle was brought
out of hold.)
9781474251730_txt_app.indb 93
PARTIAL KNITTING: THREE-DIMENSIONAL EFFECTS 93
5. Thread up the second colour. The
next section is knitted by pushing the
needles back into working position.
Using a transfer tool, return the first
needle on the right-hand side to
working position and knit two rows.
Bring the second needle on the right
to working position and knit two
rows. Repeat the process until there
is only one needle still in holding
position. Bring this needle to working
position.
Note: when bringing needles into holding
position, lace holes will form along the
diagonal line if you do not take the free
yarn under the held needle each time.
To achieve variation in the depth of angle,
experiment by bringing two or more
needles out at a time or by knitting more
rows between these held needles. Also
try striping with different coloured yarns
to clearly show the short-row patterning.
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 94 CHAPTER 4: CONSTRUCTION THROUGH SHAPE
Three-dimensional effects
You can knit separate sections of fabric
by putting groups of needles into holding
position at various times, which allows
you to change the colour, stitch size and
so on.
1.
2.
3.
4.5
This chart illustrates knitting a raised pattern
within the fabric, using groups of needles
in holding position. The knitted sections are
worked individually, with all other needles on
hold. The held needles change as each separate
section is knitted.
9781474251730_txt_app.indb 94
Design workshop
Knitting a raised pattern
Hold the groups of needles, and then
put them back into working position,
either all at once or gradually, one
at a time. Repeat the pattern to
create three-dimensional, sculptured
surfaces.
Two halves of a knitted piece can
be worked separately, resulting in a
vertical slit between the two, which
can either be sewn together later or
left open for design purposes (such
as for buttonholes).
Try holding all needles on the left
while knitting 30 rows on the right;
then hold all needles on the right
while knitting 30 rows on the left.
Both sets of needles will have knitted
30 rows and knitting can resume as
normal with all needles in working
position. If one group of needles is
held longer than the other group,
allowing more rows to occur on one
side, you will create an interesting
loop of knitting. Try knitting and
holding alternate blocks of needles to
form an overall looped fabric, which
will provide exciting new starting
points for design developments.
The longer the needles are held, the
bigger the raised sections tend to be.
2/26/18 11:40 AM
 PARTIAL KNITTING: THREE-DIMENSIONAL EFFECTS 95

4.6–4.9
Swatches of three-dimensional knit by Victoria Hill.

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 96 CHAPTER 4: CONSTRUCTION THROUGH SHAPE

Creating flared shapes

Fullness in shaped garments, such as
those with frills or flare, is often achieved
by inserting triangular godets. These
godets can be knitted horizontally at any
length or width required. Tiny ruffles can
be achieved just as easily as a full-length
flare. These can be knitted in continuously
with the use of the partial-knitting
technique.

4.11–4.14
4.10 Swatches by Natalie Osborne showing flared
Felt wool frill top by Shelley Fox, A/W 2000. shapes achieved using partial knitting.

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Design workshop
Making a frilled edge
1. Start with the carriage on the right-
hand side. The frill will be made on
the left-hand edge. Thread up the yarn
and cast on the required amount of
stitches. Knit 21 rows of plain knitting,
finishing with the carriage on the left.
2. Set the holding cam levers to hold.
Bring all needles on the right-hand
side to hold, apart from 20 needles on
the left. (This will form the length of
frill.)
3. Knit two rows. Bring the first needle
on the right-hand side to holding
position and knit two rows. Bring the
second needle on the right-hand side
to holding position and knit two rows.
Repeat the process until there is only
one needle still knitting. Bring this
needle to hold position.
4. Take the holding cam levers off hold
to resume normal knitting. Knit two
rows, ending with the carriage on the
left-hand side.
9781474251730_txt_app.indb 97
CREATING FLARED SHAPES 97
5. Repeat steps 3 and 4 to produce a
triangular godet, which will have lace
holes outlining the edges.
6. Take the holding cam levers off hold
to resume normal knitting. Knit 20
rows of plain knitting, finishing with
the carriage on the left.
7. Repeat the entire process from the
beginning until you have created
enough godets to result in a frilly
edge along the left-hand side of the
knit.
Experiment with the length and width of
the godets by changing the number of
stitches and rows.
A singular spiral frill can be made in the
same way. Knit only the length of the
godet and repeat the process to create a
circular shape; if you continue further, a
spiral frill will be made.
2/26/18 11:40 AM
 98 CHAPTER 4: CONSTRUCTION THROUGH SHAPE

Flared skirts
Flared skirts can be knitted sideways
using the frilled edge technique (on the
previous page). It can be knitted in one
continuous piece; for example, to make
a skirt to fit a 66 centimetre waist, you
would need to divide this measurement
into the number of panels required. If six
panels are required (66 cm divided by 6 =
11 cm), each panel will need to measure
11 centimetres at the waist edge (to
convert to imperial, 1 cm = 0.39 in).
4.15
1. Knit a tension swatch to calculate the Illustration showing panel of skirt with two
number of rows in an 11 centimetre inserted godets.
length.
2. Cast on the number of stitches for
the required length of skirt (this Increasing and decreasing
can be calculated from the tension
A single stitch or many stitches can
swatch). The length of the skirt will
be transferred in one move by using a
be restricted by the length of the
transfer tool. This movement increases
machine bed; remember that you are
or decreases the total number of stitches
knitting sideways. Knit enough rows to
being knitted. Shaping can be used on an
measure 5.5 centimetres (half a panel).
outside edge or to form darts within the
3. Set the holding cam levers to hold. body of the knit.
Add a godet the full length of the skirt.
Shaping by ‘fully fashioning’ involves
The width of the godet will depend
transferring groups of stitches at the
on how many needles you put on
edge of the fabric. When decreasing or
holding position each time and how
narrowing the shape, a group of stitches
many rows you knit in between. For
is moved in one go; the inner-most stitch
example, holding one needle every
of the group is placed on top of the stitch
two rows will give you a fuller godet
adjacent to it, thus losing one needle
than holding five needles every two
at the edge. You must remember to
rows; knitting five rows between each
push this edge needle into nonworking
hold will give you a fuller godet than
position to avoid it knitting back in with
knitting two rows between each hold.
the next row. It is also possible to move
4. Take the holding cam levers off hold the stitches two or three needle spaces
to resume normal knitting. Knit the across, losing two or three needles at
other half of the panel, enough rows the edge. Repeating this action along the
to measure 5.5 centimetres. This outer edge of a knit creates a wale line, a
completes one panel. neat characteristic of fully fashioning.
5. Repeat the process another five When increasing stitches outwards
times. The waist edge will end up (making the knitted piece wider), a space
measuring 66 centimetres and the is created adjacent to the inner-most
hem edge will have flare. needle of the group being moved, which

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 INCREASING AND DECREASING 99

leaves an eyelet hole in the knit. Knitting

in this way will form a line of eyelets on
the edge; these can form a decorative
trim as part of the design or eyelets can
be filled in by moving a stitch up onto
the empty needle from the previous row.
To increase by more than one stitch at a
time, put the required number of needles
into working position and cast on using
the e-wrap method in the normal way.
These transfers are also used to create
eyelet designs for decorative trims. When
a single-stitch transfer is used, the stitch
can be placed on top of the stitch of its
adjacent needle, to be knitted together in
the next row; or it can be placed onto the
empty needle on the outside of the knit,
forming an eyelet when the next two rows
are knitted. Note: if the empty needle is put
into nonworking position, a ladder will form.
On a double-bed machine it is possible
to transfer stitches from one bed to the
other using a bodkin, which has an eyelet
at each end, making it easier to transfer a
stitch from one bed to the other.

4.17
4.16 Asymmetrical dress by Juliana Sissons, which
The fully fashioned shaping technique, showing has been made using the partial knit technique
decreasing (top) and increasing (bottom). and displays a fully fashioned silhouette.

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 100 CHAPTER 4: CONSTRUCTION THROUGH SHAPE

Decreasing by holding stitches

Shoulders and other shallow angles can
be shaped by using the holding technique
(partial knitting). The holding cam levers
are set on hold and each shoulder is
shaped in turn. The carriage should be
on the opposite side to the shoulder
being shaped. The needles are brought
into holding position gradually, working
in from the outside edge (for example,
two needles every second row) until the
shaping is finished. Each shoulder can then
be cast off separately in the normal way.

Design workshop
Shaping a vertical dart

Vertical darts can be found within the
body of a garment, such as on a shaped
neckline or skirt.
1. Thread up the machine and cast on
the desired number of stitches. Knit
several rows.
2. Transfer the centre stitch onto its
adjacent left needle, leaving an empty
needle in the middle.
3. Use a transfer tool to move the next
three stitches on the right by one
space to the left. Repeat this action
until all the stitches on the right are
transferred to the left. This will leave
an empty needle on the far right. Put
the needle into nonworking position.
4. Repeat the process every four or five
rows, until you have completed the
required amount of shaping. More
than one dart can be manoeuvred at
the same time, within the body of
knit. An adjustable multi-head transfer
tool is useful for this or a garter bar
can be used.

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 INCREASING AND DECREASING 101

Design workshop
Shaping a horizontal dart

1. Thread up the machine and cast

on the desired number of stitches.
Knit several rows, finishing with the
carriage on the right.
2. Set the holding cam levers on to hold.
Bring the first two needles on the left
to holding position and knit two rows.
Bring the next two needles on the left
to holding position and knit two rows.
Continue until 20 needles are held
and the carriage is on the right-hand
side.
3. Take the holding cam levers off hold
and resume normal knitting. The
width and length of the resulting
dart is dependent on the number of
needles put on hold and the number
of rows knitted.

4.18
Knitwear design by Juliana Sissons. The shaped
bodice panels have been darted and fully
fashioned. A holding technique has been used
to create different length slashes and circular hip
panels.

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 102 CHAPTER 4: CONSTRUCTION THROUGH SHAPE
Interview
Katherine Mavridis, knitwear designer, Ralph Lauren
Katherine Mavridis graduated from The New School, Parsons, New York, in 2015. Her
graduate collection was bought by Dover Street Market, New York, and she is now a
knitwear designer at Ralph Lauren Collections (for Runway).
What is your design background,
and why did you want to become a
designer?
I graduated from Sydney’s University
of Technology in December 2012. Here
I majored in knitwear in my graduating
year. Realizing I had only just begun to
explore the craft of knitwear, I realized I
wanted to pursue my masters. Soon after
graduating, I was accepted to the MFA
Fashion Design and Society program at
Parsons in New York.
I never grew up dreaming that I would
become a designer, I guess I kind of fell
into it, since I was always making my
own clothes, and altering/repurposing old
vintage pieces. Knitwear came naturally to
me, as I fell in love with creating my own
sculptural fabrics.
Your graduate collection gave you the
opportunity to develop a sculptural
approach to knitwear construction. How
would you describe your signature work?
During my time on the MFA program, I
developed a technique of coiling cord
into fully fashioned, three-dimensional,
seamless sculptural garments; construction
of these pieces stemming from my
knowledge of knitwear circular construction
and full-fashioned shaping techniques.
I approach these garments as abstract,
three-dimensional structures, which
can exist with or without the body. I am
9781474251730_txt_app.indb 102
fixated on this forgotten existence of
garments when they are not performing
their primary function – clothing a body –
their unexpected yet majority existence as
unused hanging objects, lifeless forms of
cloth, waiting to be filled by a body.
Through this initial process, I then work
directly from collage – breaking down
subject matter, then recontextualizing
materials; translating a singular entity into
an entirely new form.
Due to the handmade nature of
construction of these pieces, each piece
has a slight nuance to the next piece;
each piece essentially one of a kind.
How does your work take new direction,
and what are your inspirations?
My work is reinvented each season
through accidental exploration through
shape and form. I find inspiration through
creation, therefore I literally play with
my signature techniques and find new
realizations and sculptural forms.
I think New York City also influences me
mostly on a subconscious level. When I
consider New York, I think of it in terms
of space, three-dimensional structures,
and the way an enormous amount of
bodies move within this realm. I get an
overwhelming need for reduction – to
reduce the amount of elements around me.
2/26/18 11:40 AM

You now work as a designer for Ralph
Lauren Collection; how does working
for this label differ creatively from
working on your own collections, and
how has this experience helped you in
your own development as a designer?
This experience is completely different
for me, which is why I enjoy this dynamic
so much. Working for such a historic,
classic house is really an eye opener
and its great being immersed in a more
corporate job in a brand which has
successfully been running for almost 50
years. I am learning about how to design
the most high-quality luxury goods in the
world which is an amazing experience
and something I will always be able to
take forward with me in my career.
Working in two opposing ways really helps
me to reflect upon my own business,
how it is functioning, and in which ways
I am making it grow. It gives me time to
completely switch off from one job and
concentrate on the other, which I find
helpful in keeping a balance as a designer.
9781474251730_txt_app.indb 103
INTERVIEW 103
The creative industries today offer
designers many opportunities to
collaborate with projects in styling,
fashion, film, music and textiles.
Have you collaborated with any other
artists? And if so, how does working in
collaboration enhance creativity?
I am currently working on a collaborative
space, which involves a more artistic
approach and realization of my design
aesthetic. I cannot elaborate on this any
further, but I am very excited to have the
opportunity to announce this soon.
What advice could you give to fashion
knitwear design graduates starting out
in the industry?
Work very hard, do not pass up
opportunities as they arise, and trust your
instincts. It’s OK not to follow the pack and
find your own way of developing yourself
as a designer – as new generations of
designers – it is important that we innovate
the design process in itself!
4.19–4.21
Katherine Mavridis,
MFA Fashion
Design and Society,
graduate collection
from The New
School, Parsons,
New York; garments
displaying coiling
cord technique
developed into
fully fashioned,
three-dimensional,
seamless sculptural
garments.
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 104 CHAPTER 4: CONSTRUCTION THROUGH SHAPE

4.22–4.23
Katherine Mavridis, MFA Fashion Design and
Society, graduate collection from The New
School, Parsons, New York; close-up image of
garment displaying coiling cord technique and
worksheet of design development.

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Draping and shaping
The mannequin plays an important role
in the shape-making process. Blocks,
patterns and knitted pieces can all be
checked and fitted on the form. Blocks
can also be moulded straight onto the
mannequin, without the use of paper
drafts, for quicker visual results; this
is often a preferred method of pattern
cutting for the beginner. However,
the best results are gained through a
combination of flat pattern cutting and
modelling on the stand, and it is important
to have a knowledge and understanding
of both.
Block patterns
In flat pattern cutting, a basic-block
pattern is first drafted to fit a standard-
size figure. The block is used by designers
as a foundation for new styles, pleats,
tucks, godets and gathers; it can be
adapted into many design variations while
still retaining the original size and fit.
Different types of garments require
specific basic blocks, so for example,
the dartless bodice block and the over-
garment block, both of which have more
ease than a basic fitted bodice block, are
more suitable for jacket or coat designs
and can be adapted to have an even
easier fit. Dress blocks can have the ease
reduced to make them suitable for lingerie
styles. Stretch blocks have a tighter fit and
can be a good starting point for certain
knitwear designs. See how to make a
block pattern on page 112 and 114.
Patterns for knit
Bodice blocks used for knit fabrics are
different from those used for woven
9781474251730_txt_app.indb 105
DRAPING AND SHAPING 105
materials. They have no darts, are
slightly tighter and, due to the nature of
the stretch fabric, they have no seam
allowances added. Each designer or
company will use blocks that they have
personally adapted to suit their particular
style of knitwear.
After the block has been developed into
a designed pattern, the knitting pattern
can be calculated. The pattern contains
the number of stitches and rows in each
section, calculated by taking all the
horizontal and vertical measurements in
the pattern, as well as using the knitted
tension swatch.
Knitted samples and part-garment trials
can be made to test the stretch of the
knit against the stretch of the toile. The
knitted pieces are likely to vary from the
toile pieces and will need to be adjusted,
usually through trial and error, until a
perfect fit is achieved. See how to make a
knitting pattern on page 114.
Toiles and knitted sample garments
Finished patterns are often made up as
jersey toiles for knitted fabric designs. The
toile is used to check the design lines,
proportion and fit before the design is
made up into the final fabric or developed
into a pattern for knit. After the first
sample garment is complete, the design
is ready to show to buyers, and if orders
are received, the pattern is graded up into
the sizes required. The British Standards
Institution publishes tables of sizes, which
are used by manufacturers as a guide
when grading up or down from their
standard size.
2/26/18 11:40 AM
 106 CHAPTER 4: CONSTRUCTION THROUGH SHAPE

4.24
Basic bodice blocks in card.

Using a mannequin
Modelling on the stand opens up a
certain freedom and spontaneity with
three-dimensional design. Fluid jerseys
can be pinned at strategic points to
produce fullness in the form of cowls
and drapes. Large knitted shapes can be
wrapped around the mannequin to create
interesting grain and seam lines, with
jersey toile fabrics then moulded into the
negative spaces, in order to create pattern
shapes for the missing parts.
It is important to be able to make
your design readable so that it can be
transferred to a pattern. All the vertical
and horizontal markings from the 4.25
mannequin should be drawn onto the toile Jersey toiles can be pinned at points on the
fabric, such as centre front, centre back stand to produce a draped neckline.
and side seams, as well as the chest,
bust, armhole, waist- and hip-lines. All
darts, tucks, pleats and fold lines should
also be carefully marked, along with seams and joining style lines, whether
balance points; matching instruction they are straight or curved, need to match
notes, such as ‘point A to A’ and ‘B to B’, in length. This is difficult to achieve by
are particularly useful when working on pinning to the stand alone.
complicated draped designs.
Note: only drape with a toile fabric that
After the design has been completed has a similar weight and thickness as the
on the stand, measurements have to fabric in which the final design will be
be checked and made accurate. All side made.

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 DRAPING AND SHAPING 107

Padding the stand 4.26

Draped design by
Stands can be padded to obtain different Juliana Sissons,
measurements; this is useful when using ladder
making for individual clients, especially technique. Fine-linen
if figures are uneven in any way. A small yarn was used in
combination with
deficiency is made up with wadding and
soft, bouncy acrylic.
held in place with strips of calico. For a
larger alteration, a calico bodice block
is made from a drafted pattern to the
required size. The stand is padded with
small layers of wadding and built up
gradually to fit the toile. The thickness is
graded around the bust, calico strips are
used to keep the wadding in place, and
then the toile is fitted over the top.

Draped necklines
Draped necklines are created by inserting
a triangle shape, similar to a godet. A
V-shaped neckline can be drafted on the
basic bodice block pattern, about 1 to 3
centimetres away from the neck edge.
The triangular shape is drafted on paper
separately; its outside edges should be
the same length as the neckline edge. The
centre line of the triangle is slashed down
to the point and pivoted open. The pattern
is then redrawn along the top edge to
include the fuller shape; this top edge
width will give you the depth of the front
drape on the neckline. Experiment with
this basic technique to achieve different
lengths and fullness of drape. You can
also drape jersey toile fabric directly on
the stand for a quicker visual result.
Another way to achieve a draped neckline
effect is to knit the body vertically, using
partial knitting (see page 92). Decide on the
depth and width of the top of the triangle
first (to achieve the shape and size of the
drape), and then calculate the pattern by
holding the required number of needles
over the required number of rows. 4.27
Design with draped neckline in fine-knitted wool
by Natalia Pilpenka.

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 108 CHAPTER 4: CONSTRUCTION THROUGH SHAPE
Design workshop
Basic bodice form
Only one side of the stand is used, unless
developing asymmetrical designs, in which
case both sides of the mannequin are used.
1. Prepare a piece of toile fabric 10
centimetres longer than the back
length (nape-to-waist measurement)
and wide enough to cover half of the
back.
2. Pin the straight grain down the centre
back, with about 5 centimetres above
the neckline and 5 centimetres below
the waistline.
3. Hold the fabric straight across the
width of the back to the armhole and
pin in place at the underarm (make
sure the grain of the fabric is straight).
4. Work from the centre back neck, a
little at a time, cutting and marking the
fitting lines of the neck, shoulder and
armhole.
5. If using a stretch toile fabric, work
outwards from the centre back to
smooth the fullness in the back waist.
Mark in the side lines and waistline.
Pin to stand and cut off surplus fabric,
leaving about 2 centimetres for turning.
If using calico toile fabric, keep the
grain straight, mark in the side lines
and pin to stand. Pin and mark the dart
from the waistline where the fold of
fabric appears. Pin and mark waistline
and cut off surplus fabric, leaving
about 2 centimetres for turning.
6. For the front, prepare the toile fabric in
the same way as for the back. Pin the
9781474251730_txt_app.indb 108
straight grain down the centre front,
with about 5 centimetres above the
neckline and 5 centimetres below the
waistline.
7. Hold the fabric straight across the bust
line, pin to hold at the underarm point,
keeping the grain of the fabric straight.
8. Working round the neck and shoulder,
pin, mark and cut off excess fabric,
matching to the back shoulder. If using
a stretch toile fabric, work from the
centre front outwards to smooth the
fullness in the shoulder and armhole;
mark and pin. If using calico toile fabric,
keep the grain straight, mark and pin a
dart in the centre of the shoulder down
to the bust point. Smooth out at the
armhole, mark and pin.
9. Adjust and pin under the arm to the
back side seam. If using stretch toile
fabric, work from the centre front
to smooth out as much fullness as
possible into the side seam in order
to avoid creating a waist dart; mark
and pin the side seam and waist line.
Cut off surplus fabric, leaving about
2 centimetres for turning. If using
calico toile fabric, pin under the arm
to back side seam, pin and mark dart
at waistline, where the fold of fabric
appears. Pin and mark waistline. Cut
off surplus fabric, leaving about 2
centimetres for turning.
Note: the measurements here are in metric.
To convert to imperial, 1 cm = 0.39 in.
2/26/18 11:40 AM
 DRAPING AND SHAPING 109

4.28
Here, jersey has been pinned to the stand
through the centre-front line. It has been
smoothed over the shoulder and pinned under
the armhole. The neck and armhole have then
been cut away to form a bodice shape.

4.29
A series of images, draping of the knitted piece
directly on the stand, allowing the knitting to
dictate the garment shape, by Anna Maria
Gruber.

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 110 CHAPTER 4: CONSTRUCTION THROUGH SHAPE

4.30–4.31
A series of images, draping
the knitted structure directly
onto the stand and working
with jersey toiles on the stand
to develop silhouette, by Björg
Skarphéðinsdóttir.

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Creating a knitting pattern
There are a number of things to consider
before commencing a pattern. For your
first attempt, it would be best to work
on a simple garment that requires little
shaping. Ribbed bands, such as hems,
cuffs and neck bands and so on, must
be able to stretch and fit close to the
body. To calculate the number of stitches
needed to make the rib, calculate the
width of the part of garment it is being
attached to. When the rib is knitted onto
this edge, it will automatically pull in the
fabric to fit close to the body.
Stretch will differ in each knitted piece,
depending on the yarn, tension and
Design workshop
Measurements
Whenever possible, take the actual
body measurements of the person you
are knitting for, unless you are making
garments to a standard size. The following
measurements are required for a basic
bodice block.
• Bust: measure around the fullest part
of the bust (standard size: 88 cm).
• Nape to waist: measure from the bone
at the back of the neck to the natural
waistline. Extra length can be added
as desired (standard size: 40 cm).
• Armhole depth: measure from the
shoulder point to the underarm point
at the side seam. This measurement
can vary depending on the desired
length (standard size: 21 cm).
• Neck size: measure around the base
of the neck (standard size: 37 cm).
9781474251730_txt_app.indb 111
CREATING A KNITTING PATTERN 111
knitting technique used. The starting point
is the tension swatch. Knit a number of
tension swatches until you have achieved
the desired look and feel of the fabric. A
swatch should be made for each yarn and
pattern technique used.
Sketch the garment to help you calculate
the knitting pattern; this drawing need
not be to scale but should give all width
and length measurements. Add an extra 5
centimetres (2 in) in the width to allow for
ease (unless the design is close-fitting, in
which case less ease is needed).
• Shoulder: measure from the base
of the neck to the shoulder point
(standard size: 12.5 cm).
• Back width: measure across the
back from the point of underarm to
underarm (standard size: 34.5 cm).
• Arm length: measure from the shoulder
point to the wrist, over a slightly bent
arm (standard size: 58.5 cm).
• Top arm: measure around the
fullest part of the upper arm. This
measurement can vary depending on
desired effect (standard size: 28.5 cm).
• Wrist: make sure the wrist
measurement allows for stretch over
a clenched fist (standard size: 18 cm).
Note: the measurements here are in metric.
To convert to imperial, 1 cm = 0.39 in.
2/26/18 11:40 AM
 112 CHAPTER 4: CONSTRUCTION THROUGH SHAPE

Basic block with classic set-in sleeve

Draft a standard stretch block from the
measurements on page 111. You can add
more ease in the bust and armhole depth
as required and 5 centimetres or more
to the top arm measurement. To create
a closer-fitting, higher armhole, reduce
the armhole depth by around 2 or 3
centimetres. The length of the bodice and
sleeve can also be varied.

4.32–4.34
Selection of vintage knitting patterns.

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Design workshop
Front and back bodice block
1. 1–2 Nape to waist. Square across from
1 and 2.
2. 1–3 One-fifth of neck measurement.
3. 1–4 Armhole depth plus depth of
shoulder slope (for example, 3 cm).
4. 4–5 Square across by quarter bust
measurement.
5. 5–6 Square down to 6, to meet line
from 2.
6. 4–7 Half of the back width
measurement.
7. 7–8 Square up from 7 to meet line
from 1.
8. 8–9 Shoulder slope depth (for example,
3 cm). Join 3 to 9.
9. 5–10 Draw curve touching the line from
4, for approximately 3 centimetres. You
now have half a back bodice.
10. Draw in front neckline on top of
the drafted back bodice, from 3
as required. (Make sure that the
combined front and back neck
measurements are not less than half
the neck size.)
11. Trace off bodice with front neckline to
achieve two separate pattern pieces:
the half front and the half back bodice.
Set-in sleeve
1. 1–2 Sleeve length. Square across from
1 and 2.
2. 1–3 Half top arm measurement. Square
down to meet the line from 2.
9781474251730_txt_app.indb 113
CREATING A KNITTING PATTERN 113
3. 1–5 Draw a line from 1, which is the
measurement of the armhole depth, to
touch the line from 3 to 4.
4. 5–6 Square across from 5 to 6 on the
line from 1 to 2.
5. 5–7 One-third of length of 5 to 1; use
this point to direct sleeve head curve.
6. 5–1 Draw in curve touching the
line from 6 for approximately 3
centimetres, through point 7 to finish
at 1. Make sure that the length of the
sleeve head is the same measurement
as the armhole on the bodice. (You
may need to adjust the curve in order
to get the correct measurement.)
7. 2–8 Cuff depth. This can be any
measurement you choose, depending
on the design. Square across (from
8–9) by half the cuff width, bearing in
mind the wrist measurement.
8. 9–10 Square down to the line from 2 to
4. Join 9 to 5.
9. This gives you half the sleeve. The
other half is mirrored from the centre
sleeve-length line.
10. Once the bodice and sleeve blocks
have been drafted, a 1-centimetre
seam allowance can be added to all
outside edges. Make a stretch jersey
toile to check size and proportions. At
this point, the width of the waist can
be narrowed and fitted along the side
seams.
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 114 CHAPTER 4: CONSTRUCTION THROUGH SHAPE

1 3 8
1 3

6 5
10
4 5
7

Bodice Bodice

8 9

2 6
2 10 4
4.35
Simple pattern guide for basic block with classic
set-in sleeve.

Knitting pattern for a basic block

This simple body pattern is intended tension measurement of 3 stitches and 4
to illustrate the general principle of rows to 1 centimetre.
calculating a knitting pattern; the shape is
Note: all the measurements here are in
just a starting point and can be adapted to
metric. To convert to imperial, 1 cm =
alter the style. Shoulders may be sloped,
0.39 in.
the sleeve head and armhole may be
shaped and necklines may be varied.
Tip
All the width and length measurements
are written on the drawing of the Abbreviation
garment. This simple shape shows front Stitch(es) = st(s)
and back body and a square sleeve. The
sleeve head is double the armhole depth
measurement (for example, 19 × 2 = 38
cm). This example uses an estimated front
neck depth of 10 centimetres. The back
neck is straight across the back.
The next stage is to work out the
knitting pattern using the tension square
measurements. This example uses a

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 CREATING A KNITTING PATTERN 115

12.5cm (37sts) 15cm (45sts) 12.5cm (37sts)

10cm (40 rows)

19cm
(37 rows)

40cm (120sts)

58cm
(232 rows) Sleeve

43cm
62cm (248rows) (127 rows)

46cm (138sts) 38cm (114 sts)

Bodice

4.36–4.37
A simple, basic bodice knit block and sleeve, which have allowances for ease. Both include
measurements as well as the calculated stitches and rows.

9 sts 9 sts 9 sts 9 sts 9 sts

1 1
1 1
1 1
1 1
1 1
1 1
1 1
1 1
1 1
2 2
2 2
2 2
2 1 9 1 2

4.38
This illustration of the front neckline shows stitches and rows using a tension sample of 3 stitches and
4 rows to 1 centimetre.

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 116 CHAPTER 4: CONSTRUCTION THROUGH SHAPE
Design workshop
Knitting the pattern
1. Cast on 138 stitches.
2. Knit 172 rows.
3. Cast off 9 stitches on each side.
4. Knit 36 rows. The front neckline will
begin to be knitted from this row. If
knitting the back, continue for another
40 rows and cast off.
5. Front neckline: divide the neck width
(45 sts) into 5 equal parts (9 sts).
6. Put the carriage at the right-hand side
(120 sts on the bed).
7. Put 61 left-hand needles on hold.
8. Hold 5 right-hand side centre needles.
Knit 2 rows.
9. Hold 2 right-hand side centre needles.
Knit 2 rows. Repeat 3 times.
10. Hold 1 right-hand side centre needle.
Knit 2 rows. Repeat 8 times.
11. For the next 12 rows knit straight.
12. Cast off the right shoulder. The
shoulder should have 37.5 stitches,
but as a half stitch is not possible,
the number is either rounded up to
9781474251730_txt_app.indb 116
38 stitches or down to 37 stitches
per shoulder. This can be adjusted
at the neck edge and, because the
fabric is stretchy, one stitch will make
very little difference to the fit of the
neckline.
13. Put the 61 stitches on the left-hand
side back into action using a transfer
tool.
14. Rethread yarn and put the carriage to
the left-hand side of bed.
15. Hold 6 left-hand side centre needles.
Knit 2 rows.
16. Hold 2 left-hand side centre needles.
Knit 2 rows. Repeat three more times.
17. Hold 1 left-hand side centre needle.
Knit 2 rows. Repeat eight times.
18. Knit 12 rows straight.
19. Cast off the left shoulder.
20. Put all needles back into working
position with a transfer tool and cast
off remaining stitches.
21. Sleeve: cast on 114 stitches and knit
232 rows. Cast off.
2/26/18 11:41 AM
 CREATING A KNITTING PATTERN 117

Calculation of stitches and rows

Calculating stitches and rows is very
important for making up a garment; you
will often need to shape diagonal or
slanting style lines, such as for necklines,
shoulders, armholes and sleeves. All
shaped pieces are basically calculated
in the same way: divide the number of
stitches that need to be decreased by the
number of rows you need to knit them in;
this will give you the number of rows to
be knitted between each decrease action.
needles into hold every alternate row (or
according to the pattern calculations).
Continue in this way until only the
required number of stitches for the
shoulder is left in working position. After
completing one side and casting off the
shoulder, the other side can be worked.

Neckline shaping
Most necklines are worked in a similar way,
often part-working in the middle and then
knitting both sides separately according
to shape; while working on one side, the
other side is put on hold. Alternatively,
waste yarn can be knitted onto the side
that is not being shaped first: this takes the
knitting off the machine for a while and can
be useful when working in particularly fine
yarns, as it avoids the carriage having to go
many times over the held needles. One of
the simplest styles is the square neckline,
where the centre stitches are simply cast
off, then each side is separately knitted
straight up.
For a round neckline, you will need to
check that the overall measurement is
correct; if not, the shape will need to be
adjusted to fit. The back neck can often
be knitted straight, but for finer knitting, it
is better to have a slight curve. The round
neck can be easily converted to a V-neck
by drawing in the style line down from the
neck point to the centre-front line. Both
of these neckline styles are suitable for a
variety of collar designs to be attached.
(See collars and neckbands on page 124.)
When knitting a V-neck, you will need
to bring out half of the needles on the
opposite side to the carriage into holding 4.39–4.41
position, so they do not knit. Shape the Neckline designs by Sam Bartys, graduate from
‘V’ by bringing the required number of Nottingham Trent University and designer for Nike.

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 118 CHAPTER 4: CONSTRUCTION THROUGH SHAPE
Shoulder shaping
A set-in sleeve must have a sloping
shoulder line. Shoulders are shaped by
putting needles into holding position on
alternate rows, from the armhole edge on
the opposite side to the carriage.
To calculate the shoulder slant, draw
a horizontal line on the paper pattern,
from the outside, lower shoulder point,
inwards towards the neck; then draw a
vertical line up from here to touch the
neck edge. The vertical line will give you
the measurement for the height of the
slant and the number of rows that need
to be knitted. The horizontal line will give
you the length of the shoulder and the
number of stitches that need to be put
on hold. Divide the number of rows into
the number of stitches to calculate the
number of needles to be held on alternate
rows. When the shaping is complete, the
holding needles are put back into working
position with a transfer tool. One row can
be knitted before casting off (if the seam
is to be grafted later, you will need to knit
off with waste yarn).
A straight or dropped shoulder requires
no shaping. Often the neck and shoulder
lines are knitted all in one with the back.
If a slash neckline is required, the front
neckline can also be knitted in one with
the shoulder line.
Armhole shaping
To knit an armhole, you will need to
calculate how many stitches are to be
decreased and how many rows it will take
to decrease this number of stitches.
9781474251730_txt_app.indb 118
To decrease inwards 5 centimetres over a
height of 8 centimetres, first refer to your
tension swatch. This example is 3.7 rows
and 3.3 stitches in a 1 centimetre square:
8 cm × 3.7 = 29.6
(approximately 30 rows)
5 cm × 3.3 = 16.5
(approximately 16 stitches)
30 divide by 16 = 1.87 (approximately 2)
16 stitches need to be decreased over
30 rows. Therefore, one stitch can be
decreased/fully fashioned inwards every
2 rows for 30 rows, before continuing to
knit straight.
Remember to shape both sides at the
same time in order to achieve symmetrical
shaping, but also remember that knitting
is extensible, so rounding the calculations
up or down makes it easier for you
without altering the desired shape.
For a rounder armhole shape, try casting
off a number of stitches at the start of
the shaping. You will need to alternate
the start of shaping from one armhole
to the other as the carriage must begin
on the same side as the armhole being
decreased. So, the right-hand side
armhole will be started on one row of
knitting and the left-hand side armhole will
be started on the next row of knitting.
Note: the measurements here are in metric.
To convert to imperial, 1 cm = 0.39 in.
2/26/18 11:41 AM
 CREATING A KNITTING PATTERN 119

Design workshop
Simple armhole

1. Cast off 5 stitches at armhole side.

2. Knit 2 rows and decrease 2 stitches at
armhole side.
3. Knit 2 more rows and decrease 2
stitches at armhole side.
4. Knit 2 rows and decrease 1 stitch at
armhole side. Repeat three times.
5. Knit 6 rows and decrease 1 stitch.
4.42 Repeat.
Illustration showing straight bodice and
armhole shaping, and round or square neckline 6. This gives you armhole shaping of
placement. approximately 5 centimetres (2/5 in)
(15 stitches and 24 rows). Knit straight
to the shoulder point and cast off.

4.43
Talia Shuvalon design, displaying round neck and armhole with flat-tape
trim on neck, armhole and side seam.

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 120 CHAPTER 4: CONSTRUCTION THROUGH SHAPE

9cm (27 sts) Sleeve pattern

The crown of the sleeve must correspond
with the armhole shape in order to fit
13cm (52 sts)

correctly: a square or slit-style armhole

will require a rectangular shaped sleeve;
a shaped armhole will require a shaped
32cm (96 sts) sleeve head. All sleeve patterns can be
adapted to be straight, narrow or flared.
45cm (180 sts)

22cm (66 sts)

4.44
Sleeve pattern with example tension of 4 rows
and 3 stitches per 1-centimetre square.

4.45
3cm (12 rows)

Sleeve crown with example tension of 4 rows

4.5cm (13.5 sts)
and 3 stitches per 1 centimetre square.

2cm (6 sts)
5cm (20 rows)

3.5cm (10 sts)

5cm (20 rows)

5cm (15 sts)

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Design workshop
Sleeve pattern
The sample tension for this exercise is
4 rows and 3 stitches per 1 centimetre
square – refer to illustrations 4.44 and 4.45.
1. Draw a line down the centre of the
sleeve pattern and mark the horizontal
and vertical measurements.
2. Divide the sleeve head into sections,
according to the curve of the crown
– this will make shaping easier (see
illustration 1).
3. Calculate the number of rows and
stitches for each measurement (see
illustration 2).
4. Cast on 66 stitches. Knit 180 rows,
increasing 1 stitch on each side every
12 rows (calculated as follows: 30
extra stitches needed, 15 on each
side; 180 divided by 15 = 12).
5. The following instructions apply to
both sides of the sleeve. To begin the
sleeve crown we have to decrease 15
stitches over 20 rows (20 divided by
15 = 1.3). We cannot decrease every
1.3 rows so, in this case, you could
cast off 5 stitches and then decrease
1 stitch every 2 rows. Alternatively,
decrease 1 stitch every row for the
first 10 rows, then decrease 1 stitch
every 2 rows for the final 10 rows.
6. For the next part of the sleeve crown,
decrease 10 stitches over 20 rows (20
9781474251730_txt_app.indb 121
CREATING A KNITTING PATTERN 121
divided by 10 = 2). This allows you
to simply decrease 1 stitch every 2
rows.
7. The final part of the sleeve crown
is divided into three 1-centimetre
sections. For section one, decrease
3 stitches over 4 rows (knit 1 row,
then decrease 1 stitch every row for 3
rows).
8. For section two, decrease 6 stitches
over 4 rows. (You could decrease 1
stitch each row for 2 rows and then 2
stitches each row for 2 rows.)
9. For section three, decrease 13
stitches over 4 rows. One way of
doing this is to decrease 3 stitches
every row for 3 rows, then leave the
final 4 stitches to be cast off. The
final part of shaping can be achieved
by holding needles and then casting
off. If you are decreasing more than
two stitches at once, you may find it
easier if you cast off these stitches
instead of decreasing them.
Note: the measurements here are in
metric. To convert to imperial, 1 cm =
0.39 in.
2/26/18 11:41 AM
9781474251730_txt_app.indb 122 2/26/18 11:41 AM
 Details
and trims
5
The finishing of a knitted piece is an important consideration and can make or
break the look of a garment. Details such as trims, edges and fastenings should be
considered at the design stage and not left as an afterthought.
This chapter examines collars and neckbands, hems and edges, pockets and
fastenings. It also looks at hand-finishing techniques, such as blocking, pressing and
seams. Finally, it looks at embroidery and embellishment, with a handy section on
beading and beading stitches.
An interview with fashion knitwear designer, Hannah Jenkinson, serves to illustrate
the different ways you can work with knitted textiles and offers insight into her
career within the knitwear industry.

‘With all the stripes of

pink and blue, Hold sweet
thoughts to weave in, too;
Over and under, through and
through, Hold them fast and
weave them true.’
L. Glaiser Foster
5.1
Black knitted collar
displaying embellishment
of beading and fringing by
Alison Tsai.

123

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 124 CHAPTER 5: DETAILS AND TRIMS
Collars and neckbands
Collars generally extend the line of
the garment neck; neckbands follow
the line of the neck edge. Both collars
and neckbands may be knitted directly
onto a garment or knitted and attached
5.2
Knitted garment with extended neck shaping (collar in one with garment) by Natalia Pilpenka.
9781474251730_txt_app.indb 124
separately. Depending on the shape and
style of the design, they can be knitted
horizontally or vertically and can be plain
knit, ribbed, lace, patterned or have a
fancy style edging, such as picot.
2/26/18 11:41 AM

Neckbands
Polo necks and crew necks are common
styles based on the neckband principle. A
polo neck is a simple rectangle of ribbed
knit, turned over at the top. In order to sit
correctly, the under part (the part nearest to
the neck edge) can be knitted at a slightly
tighter tension than the outer part (the
part folded over). Polo necks fit round the
neck better if they are of rib construction;
therefore the tension must be established
separately from the body. The crew neck is
also a ribbed piece, but this is not turned
over and sits lower around the neck, as the
back and front necklines have the same
shape. These bands stretch to fit and are
joined at one shoulder seam.
5.3
Garment in felted wool, with large white shawl
collar and classic revere-shape cut work, by
Natalia Pilpenka.
9781474251730_txt_app.indb 125
COLLARS AND NECKBANDS 125
Neckbands for V-necks are sometimes
shaped at the centre front so that the
ends meet in the middle. Bands for square
necklines are made in several pieces and
joined by overlapping the ends, which is an
easier method of finishing.
Ribbed neckbands and collars need to
be elastic enough to go over the head
but still fit correctly at the neck edge.
Measure the neck edge and calculate the
number of stitches required based on the
tension swatches for the garment. The
neckband can be knitted with a slightly
smaller stitch size for a tighter fit. If the
neckline was knitted off on waste yarn,
the stitches can be hooked back onto the
machine in order to make the collar.
5.4
Knitted oversized garment with extended neck
shaping (collar in one with garment) by Natalia
Pilpenka.
2/26/18 11:41 AM
 126 CHAPTER 5: DETAILS AND TRIMS

Collars
There are three main types of collar:
flat collars, which include the Peter Pan,
Eton and sailor; stand collars, such as
the mandarin, polo and shirt collar; and
grown-on collars (which are knitted in one
with the garment), such as revere, roll
and reefer styles. All these shapes can be
developed into a variety of frilled collars,
using a simple pattern-cutting technique.
Collars may be knitted in various
ways. One method is to knit the collar
horizontally, in plain or patterned knit, on
a single-bed machine. The collar can be
folded in half to make a double thickness,
and it can be shaped into the fold line and
back out to the neck edge, or vice-versa,
depending on the style.
Another way is to knit the collar horizontally
on a double-bed machine and keep it as a 5.5
single thickness; this method lends itself Garment with large ribbed, wrap-over shawl
collar by Alison Tsai.
well to shaping possibilities. Either of
these collar types can be knitted onto the machine separately. The cast-on edge is
neckline by picking up the neck edge of usually neater than the cast-off edge and
the garment, or they can be cast onto the looks better as the outer edge of the collar.

5.6
Large frilled collar
by Juliana Sissons.

9781474251730_txt_app.indb 126 2/26/18 11:41 AM


Design workshop
Ruffled collar pattern
Ruffled collars are knitted on a single-
bed machine and can be attached to any
type of neckline. They can vary in shape,
fullness and depth. Multiples of lace knit
can be layered to build large frilled collars.
On a piece of pattern paper draw a
rectangle: the length should be the
measurement of the neckline from centre
front to centre back; the width should be
the required depth of frill. This can be a
shaped outside edge if you wish.
A third method is to knit the collar
vertically; it is knitted separately on
a single- or double-bed machine and
attached later. Paper patterns are used
to draft these collars; so for instance, flat
collars can be drawn straight onto the
neck edge of the body pattern and then
CB
neckline measurement
CF
width of frill
5.7
Illustration showing pattern-cutting technique for frilled collar.
9781474251730_txt_app.indb 127
COLLARS AND NECKBANDS 127
Divide the pattern into equal sections (see
Figure 5.7). Open up these sections from
the outside edge, keeping the neck edge
the original size. (This will make a curved
edge.)
Keeping the paper pattern flat, draw
around the new shape to include the
opened sections. The wider these sections
are, the fuller your frills will be. When you
come to knit it, partial knitting can be used
to shape the areas that are added.
traced off and adjusted. Alternatively, the
neck measurements can be used to draft
a variety of straight-edged collars. Shaping
can be knitted into a basic collar, with
partial knitting used to create darts around
the neck (useful for an Eton collar style), or
to add flare and create ruffles and frills.
CB
CF
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 128 CHAPTER 5: DETAILS AND TRIMS

Hems and edges

Hems and edges can be shaped,
scalloped, fringed or laced. Hand-knitted
trim can be transferred onto the needle
bed to be knitted in, and open stitches
can be picked up from the machine to be 1.
continued on needles.
A normal cast-on edge will curl, but by
hooking up the first row of knitting and
knitting in with the body of the garment, 2.
you will create a far neater, tubular
hem. The partial knitting technique also
provides great possibilities for both hems 3.
and trims. A double-bed machine can be
used to produce a variety of ribbed edges.
Mock ribs can be made on single beds; 4.
these are less elastic, but they can give a
good finish to a hem or cuff.
Design workshop
Picot edge
Cast on in waste yarn, using a
different colour to main knitting. (This
yarn will be unravelled and taken
away later.)
Change to main colour yarn and knit
10 rows.
Transfer every other stitch to the
adjacent needle (to form eyelets). Knit
10 rows.
Hook up the first row of loops from
the main colour to form a hem. Knit
as required.

Weighted hems 5. Unravel the cast-on yarn. The trim

will have a smoother join, without the
Weights can be used in more formal knits to
cast-on edge.
help the hang of a garment; they are usually
enclosed inside the hem. There are many
types, such as separate round or square
lead weights, which are usually spaced out
along the hem; weighted tapes, which have
small lead pellets enclosed inside a cotton
tube; various chain effects, which can be
used as decorative weights; or ordinary self
fabric/knit tape can be used to help give
lightweight structure to a hem or edge.

5.8
Translucent, rubberized garment with large,
knitted-rib, hem edge by Hannah Jenkinson.

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 HEMS AND EDGES 129

5.9 5.10
Detail of picot trim. Detail of single-bed mock rib.

Design workshop
Single-bed mock rib (1 × 1)

1. Make the tension slightly tighter than 5. Bring nonworking needles forward to
the main knitting tension. working position. Loosen the tension
to the original main knitting tension.
2. Cast on the needle selection with
Knit as required.
every other needle out of action.
6. A mock rib is quicker to do than a true
3. Knit 10 rows. Knit 1 row on a slacker
rib (on a double-bed machine), but it
tension (for fold line). Knit 10 rows.
is not so elastic.
4. Hook up the first row of knitting onto
the needles to form a hem.

Design workshop
Basic double-bed rib (1 × 1)

1. Set the needles as shown in the
diagram; the needles out of action
on one bed should be opposite the
needles in working position on the
other bed. Rack the beds so that the
empty needles are lined up with the
working needles on the opposite bed.
(On domestic machines, this is done
by moving the pitch lever to P.)
2. Take the carriage from left to right to
form a zigzag row. Insert the cast-on
comb and wire.
3. Hang the weights onto the comb and
set the cam levers to knit circular.
Knitting alternate beds each row, knit
2 circular rows.
4. Reset the cam levers to knit normal
(both beds together) and continue to
knit.
5. If changing to all needles after the
rib, rack the bed so that the needles
being brought into action do not
crash into working ones. (H on a
domestic machine.)

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 130 CHAPTER 5: DETAILS AND TRIMS

5.11
Illustration showing
double-bed needle
set-up.

5.12
Detail of double-bed rib.

5.13
Hannah Jenkinson’s translucent, rubberized
garment, displaying knitted flat-tape trim, hiding 5.14
seams. Hannah Jenkinson’s translucent, rubberized
garment worn as top layer for oversized knitted
sweater, both garments displaying knitted trims.

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 HEMS AND EDGES 131

Design workshop
Scalloped hem

1. Thread up the machine with waste 5. When only 1 needle is knitting,

yarn and cast on 30 needles (each
scallop will be 10 stitches wide).
2. Knit several rows in waste yarn and
then 2 rows in the main yarn, ending
with the carriage on the right-hand side.
3. Set holding cam levers to hold and
bring 20 needles on the left to holding
position. Knit 1 row.
6.
4. Pull out the first right-hand needle to
holding position and knit 1 row. Pull out
the next needle on the left to holding
7.
position and knit 1 row. Continue to
knit in this way, holding 1 needle after
every row (alternating sides).
continue to knit by returning 1 needle
after every row (alternating sides).
When all needles are knitting again,
stop and repeat this process on the
middle 10 needles and then on the
left 10 needles – when each scallop is
being made, the other 2 scallops are
on hold.
When all scallops have been made,
take the holding cam levers off hold
and knit 2 rows.
Pick up the first row in the main yarn
and hook onto the needles to form a
hem. Continue knitting.

5.15
Example of a scalloped hem on original Victorian
wool petticoat (hand-knitted).

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 132 CHAPTER 5: DETAILS AND TRIMS

Design workshop
Fringed trim

A braid with fringing can be knitted and

then applied to the main body of a knitted
piece at the edge, or it can be hung onto
the needles at any time during the knitting
process.

1. Set the needles as for a large ladder,

so for example, 5 needles in knitting
position on either side of 40 out-of-
action needles.
2. Cast on, leaving the 40 needles out
of action between the two groups of
needles in knitting position. 5.16
Graph showing partial-knit technique/holding
3. Knit the required number of rows and position on looped trim.
cut through the middle of the floats to
make two lengths of fringing.

Design workshop
Looped trim

1. This trim can be made by using the 5. Set the holding cam levers to hold.
partial knitting technique. Thread up Repeat as before by holding the
the machine and cast on 6 needles. first 2 needles on the left for 8 rows
before knitting 2 normal rows.
2. Knit 2 rows, finishing with the
carriage on the right. 6. Continue in this way until the required
length of braid has been knitted; the
3. Set the holding cam levers to hold.
resulting braid will be looped. Explore
Bring the first 2 needles on the left-
this idea by varying the length and
hand side to holding position. Knit 8
width of loops and by creating loops
rows.
on either side of the central braid.
4. Take the holding cam levers off hold
and knit 2 rows.

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 POCKETS 133

Pockets
There are three main styles of pocket, all
of which are made in different ways. One
style is the patch pocket, which is knitted
separately (in any shape or size). Patch
pockets are knitted upside down. A rib
or hem edge is made first, for the pocket
mouth. The rest of the patch is then
knitted and sewn on by hand.
The second type is pockets made with
horizontal slits. These have an opening in
the main fabric and a pocket bag hanging
inside. The pocket bag is most usually
made in woven fabric.
The third type is the vertical slit pocket,
which can be put in a side seam. If a
pocket has a slanting top edge or a vertical
opening, edging for the pocket mouth is
knitted separately. Alternatively, the pocket
may be knitted all in one with the garment
using the partial knitting technique. The
width of the pocket is knitted while all
other needles are held. The length of the
pocket bag will need to be twice the depth
measurement, so that it can be folded up
to meet the pocket mouth. Knitting is then
continued as normal, and the sides of the
pocket bag are hand-sewn later. The inside
pocket bag could be knitted long enough 5.17–5.18
for part of it to be pulled to the outside to Pocket designs by Missoni, A/W10.
form a flap.

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 134 CHAPTER 5: DETAILS AND TRIMS

Interview

Hannah Jenkinson, knitwear designer, HJK, own label

Hannah Jenkinson graduated with a knitwear degree from the University of

Brighton, UK, before going on to the MFA Fashion Design and Society program
at Parsons, New York. After graduation from Parsons in 2013, she has continued
working for her own label, as well as working as a designer for a more commercial
brand, in California.

What is your design background/training,
and why did you go into knitwear? Why
are you attracted to knitwear?
I was initially attracted to knitwear by
the scope of design potential it offered –
being able to design a garment from fibre,
to yarn, to textile, to pattern, to garment.
I loved the concept of being able to knit
something with no seams – the potential
of shaping at the same time as making,
something you just can’t do with a woven
fabric. Being inspired by the technology
and allowing that to inform the design
rather than drawing a sketch and trying to
work out how to achieve it. The reverse
engineering approach made sense, and I
loved the process from the get-go.
I started off knitting, crocheting and
hand-embroidering with my grandparents
when I was really young. I was lucky that
at school they offered art textiles, and that
is what I loved doing the most. I followed
that through to an art foundation course
and then to a degree from the University of
Brighton doing fashion textiles design with
business studies, specializing in knitwear. I
had a full work-placement year in industry,
which was a great opportunity to work for
a wide range of companies and really see
what I might like to do once I graduated.
After the University of Brighton, I worked
for a small knitwear swatch design studio
developing knitted fabrics in London. It was
a great first job, and I got to travel to New
York and Paris on sales trips a few times
per year. I applied to the MFA program in
Fashion Design and Society at Parsons
after three years of working in London and
was lucky enough to get a full scholarship
to fund my studies. Parsons allowed me
to explore and develop my own design
process and establish my personal identity
as a designer. It also opened up a number
of great opportunities for work in New York
and, following that, in California.
You currently work with the latest
knitwear technology for a large company,
but also find time to continue working
on your own label; how do you manage
this? Please tell us more about your work
developing fabrics for a bigger brand?
I have worked in the design and
development department of a Southern
California-based knitwear company for
a number of years, creating new knitted
fabrics for multiple divisions. Nearly
every style has a unique fabric designed
and developed to work with the colours/
textures/inspiration of the season. I
collaborate with a team of programmers
and machinists who utilize the latest
knitwear technology (Stoll and Shima
Machinery) in a facility dedicated to the
creation of new fabrics. It is a unique
in-house facility that uses a huge selection
of yarns, sourced from all over the world.

9781474251730_txt_app.indb 134 2/26/18 11:42 AM


There is also a spinning facility to develop
and twist yarns, giving a lot of control over
the entire process.
Working for a large company is very
different from doing my own work; a lot
of the designing is taking into account
cost, knitting speed, yarn availability,
colour balance, hand and, of course,
aesthetic. The consideration of many
elements is necessary to get the perfect
fabric that works with the whole collection
but is also unique.
I continue to do my own work under my
label HJK – Hannah Jenkinson Knitwear. I
always have ideas and things I want to try
out: a constant stream of inspirations that
either get tried, listed, or forgotten about
in place of something else. Personally, I
am most inspired when making things
myself – experimenting with knitting,
hand-embroidery and crochet, then
mixing those traditional techniques with
unexpected fabrics, such as a plastic or
mesh. I am also inspired by concepts that
touch the heart or are challenges that
humans face individually that can serve
to unite. Images of the aftermaths of the
San Francisco earthquakes of 1906 and
1989 were an element of inspiration for
the latest collection – what that must
have been like to face; being left in a
position with no other option than to
come together and rebuild. The words,
‘What happens when you leap? Does the
world catch you, or do you fall?’ were
embroidered into pieces of the collection
as a reflection on courage and faith.
Can you talk us through your design
process for HJK? How does your work
take new direction, and what are your
inspirations?
I am very inspired by the process of
making – starting off with a technique
9781474251730_txt_app.indb 135
INTERVIEW 135
and letting that lead to one idea and
then another. I also try to get absorbed
into my own world and not look at
anyone else’s work. There is a lot of
appropriation out there, made easy
by the accessibility of people’s work
online and through social media. I
really believe in establishing one’s own
design techniques and doing thorough
development to create something new
and unique. If you know what you are
going to make when you start a project,
then you are not really getting into the
process. You have to be totally open
to what might happen when you start
experimenting. I sometimes get a bit
overwhelmed with ideas and options, so
it is good to have some visual references
to come back to. I like quite a minimal
look, so I usually try to pare it down.
How would you describe your signature
work?
An oversize sweater embroidered with
graphic wording or a floral motif, using
soft, luxurious Italian wool and mesh.
What advice could you give to
graduates starting out in the industry?
I would advise new graduates to really
focus on whatever opportunity is in front
of them at the time. You never know how
something you learn now will inform
your career or life later, so don’t dismiss
the chance to learn something when
you can. I really appreciate the year in
industry I had at university and the work
that I did in London before applying for
an MFA. It was so valuable to have the
experience of working in the real world
and then going back to study. It meant
that I made the most of my education
and knew what I wanted to get out of it.
2/26/18 11:42 AM
 136 CHAPTER 5: DETAILS AND TRIMS

5.19
Image of oversized sweater
by Hannah Jenkinson, from
her graduate collection
entitled ‘Inside My Heart’.
The sweater shows incredible
close-up stitch detail and
embroidery.

5.20–5.22
Catwalk images of New
York Fashion Week,
SS14, displaying Hannah
Jenkinson’s collection
of oversized translucent
knit sweaters with
embroidery in text and
geometric patterns.
Outfits of layered pieces,
including rubberized,
protective outer layers.

5.23
Hannah Jenkinson’s
graduate static
exhibition stand,
displaying the whole
collection.

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 BUTTONHOLES AND FASTENINGS 137

Buttonholes and fastenings

There is a great variety of fastenings that
can be used on knitwear and facings can be
placed on knitted openings in much the same
way as for openings on woven garments.
For example, you could place a zip between
the facing and the front edge or behind a
knitted hem. Ties, cords, buttons, buckles
and belts; hooks-and-eyes or fancy frogs and
even crocheted bobbles and loops could all
be considered as fastenings. Buttonholes,
which could be the main design feature on a
garment, can be made in a number of ways:
horizontally or vertically, tiny or large. Vertical
buttonholes are often made by partial knitting,
whereas horizontal holes are made by casting
off and casting on the required length (see
the methods described on page 137 and
138). You could keep the buttonholes discreet 5.24
Design by Simone Shailes, which features an
or make a feature of them by embroidering
unusual metal fastening.
with various stitches. You can also create
buttonholes by leaving gaps when attaching
a front band to a garment edge. More
formal buttonholes may be made using the
Design workshop
buttonhole attachment on a sewing machine.
Large buttonhole

1. Cast off the required number of

Design workshop
stitches using a contrast or same
Small buttonhole colour yarn. The ends of the cast-off
yarn are left hanging on either side
of the buttonhole and will need to be
1. Choose two adjacent needles. sewn in later.

2. Transfer 1 stitch to the left and 1 to
the right. Knit 1 row.
3. Take the yarn out of the hooks of
the two chosen needles and wind
around each needle (as for an e-wrap
cast-on).
4. Pull needles forward and knit 1 row.
Pull needles forward and continue
knitting.
2. Cast on to the empty needles using
the e-wrap method. Pull these
needles fully forward and continue
knitting.
3. Use a latch tool to neatly weave in the
ends of yarn. A hand-sewn buttonhole
stitch can be used to neaten the
opening (see page 138).

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 138 CHAPTER 5: DETAILS AND TRIMS
Design workshop
Vertical buttonhole
1. Put the carriage to the right. Set the
holding cam levers to hold.
2. Put all needles on the left of the
buttonhole to holding position. Knit 6
rows.
3. Pull all the needles on the right of the
buttonhole to holding position.
4. Break the yarn and take the carriage
across to the left. Rethread the yarn.
Design workshop
Rouleau loops
Knitted rouleau loops can be used as
button loops or can be pressed flat and
used as an edging. The button loops can
be set either individually or a whole row of
loops can be made in a continuous strip
and stitched between an outer edge and
facing or sewn along a folded edge.
1. Cast on approximately 4 stitches.
2. Press one part button and knit as
required. Alternatively, set all needles
to slip when knitting every other row.
If the tension is tight the cord will
close to form a circular tube.
9781474251730_txt_app.indb 138
5. Push all needles on the left of the
buttonhole back into working position
with a latch tool. Knit 6 rows.
6. Pull all needles on the left of the
buttonhole to holding position.
7. Break the yarn and take carriage
across to the right. Rethread the yarn.
8. Take the holding cam levers off hold
and continue to knit.
Design workshop
Buttonhole stitch
Buttonhole stitch is used to strengthen a
button loop (which should be large enough
for the button to go through). Contrasting
or matching threads can be used, as can
decorative cords and narrow braids.
1. Take a length of sewing thread and
stitch an arch with a loop of the
thread.
2. Starting on the left, thread the needle
in and behind the arch of the thread,
but in front of the new loop being
formed with the stitch.
3. Continue making stitches tightly
together, until the arch is covered,
then secure the last stitch with a knot.
2/26/18 11:42 AM
 BUTTONHOLES AND FASTENINGS 139

Buttons
Buttons can be modern, plastic, glass or
Design workshop
vintage, they can be covered in contrast
fabrics or fine knits; they can be bobbles Sewing on a button
or toggles or made from crochet.
Whichever you choose, the garment
should be finished and steamed before The length of the stem should allow
the buttons are sewn on. If the button is the button to sit in the buttonhole
for decoration only, it can be sewn flat comfortably but it should not be so long
against the knit; otherwise it will need a that the button flops to one side when not
stem. buttoned up.

1. Hold the button just above the

surface of the knit to make the stem.
2. Make approximately 6 stitches
through the holes of the button,
holding the button and adjusting
the stitches to make them the same
length.
3. Sew a buttonhole stitch around the
group of threads, from the button
down to the base of the stem.
4. Finish with several small stitches to
fasten the thread.

5.25
Rouleau loop braid on a Victorian wool jacket.

5.26
Illustration showing
buttonhole stitch.

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 140 CHAPTER 5: DETAILS AND TRIMS

Hand-finishing techniques
Making up a garment is one of the most (a blocking board) to set. Special care
important parts of production. The knitted should be applied to the edges, as some
pieces may look even, but incorrect yarns curl more than others. Wool and
blocking, pressing and making-up can ruin natural fibres can be steamed or, if you
an otherwise well-knitted garment. do not have a steam iron, cover the knit
with a damp cloth. Ribs can be steamed
When knitting a long length of fabric, it is
if they are made of natural fibres, but
a good idea to put yarn markers along the
keep them closed up: if they are steamed
edges of the knit, at regular intervals – for
when extended, they will stay extended.
example, every 100 rows or so. These
Synthetic fibres should not be steamed at
can be matched at the making-up stage
all because it makes them less elastic. It is
to keep the edges straight and in line. The
possible to iron the fabric from the wrong
knitted fabric tends to be very stretched
side, with no pressure applied.
when it first comes off the machine, so it
is important to block out the size and press
Seams
each garment piece before making up.
Seams on knitted garments should be
Blocking and pressing invisible; they should be sewn together
using a similar tension to the pieces that
Blocking involves pinning out the
are being joined. If the seam is sewn too
garment pieces to the required shape and
tight it will gather and the stitches will
measurements and then steaming them.
break; if too loose, it will gape and the
It is possible to pin the knit over the paper
stitches will be visible.
pattern, but this may ruin the paper, which
would make it difficult to reuse. Another Knitted pieces can be sewn together by
method of blocking is to mark the pattern hand, with a sewing machine or by using
shape onto a cotton calico fabric and pin a linker (see Linkers). For hand-sewing,
the knitted piece over that. use a blunt knitwear needle with a thinner
version of the main thread. If the knitting
When steaming, gently move the iron
yarn is textured, a matching plain yarn can
above the surface and release the steam.
be used. Fine or weak yarns will need to
(Do not press down on the fabric at
be doubled.
all.) Let the fabric rest on a flat surface

5.27–5.28
Blocked and pressed samples by Annabel Scopes. These were made on a Dubied machine with
alternative needles transferred to the back bed and then mattress-stitched together.

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Tip
Linkers
Linkers are used to join knitted fabrics
together. Smaller versions of industrial
linkers are available, which are either
electronic or hand-operated. A linker
allows any length of knitting to be
joined, because the work is pushed onto
a ring of circular needles, right sides
together. As the machine is operated,
a chain stitch is formed, joining the two
fabrics together. After the first part of
the work is linked it can be removed,
to make room for the other end of the
knitting to be placed on the needles.
Design workshop
Mattress stitch
Mattress stitch is used to make an
invisible join or when a strong seam is
required, without bulk. It is worked from
the right side, making it a useful stitch for
matching patterns and stripes.
1. Hold the two pieces edge to edge
and work from right to left. Pass the
needle under two bars, one stitch in
from the edge, on both pieces.
2. Continue stitching; after every few
stitches, gently pull the thread to
close the seam.
3. Finish with the end of the thread
down the inside of the seam.
9781474251730_txt_app.indb 141
HAND-FINISHING TECHNIQUES 141
Tip
Sewing machines
Making up on a sewing machine is a
very quick and efficient way of stitching
garment pieces together. Many mass-
produced garments are made from a
cut-and-sew method, and the edges
are overlocked to stop the knit from
unravelling. Some makes of machine
have a special stitch foot for sewing up
knitwear. It is a good idea to baste the
edges of the garment pieces together
and use a polyester thread in the
machine and bobbin case.
Design workshop
Backstitch
Backstitch can be used to sew an open
edge onto a closed edge. It is useful
for casting off ribs and can be used for
seams without stretch.
1. Overlap the two pieces by one or two
rows.
2. Push the needle into the first stitch,
through the under layer and then up
through the second stitch.
3. Take the needle back into the first
stitch and under layer again and up
through the third stitch, then back
into the second stitch and up through
the fourth. Repeat along the row of
stitches.
2/26/18 11:42 AM
 142 CHAPTER 5: DETAILS AND TRIMS

Tip
Waste yarn
Waste yarn is also used when a piece
of knitting needs to be returned to
the needles on the machine, at a later
stage. The waste yarn is unravelled
to the last row and then unravelled a
stitch at a time while the main knitting
is placed back onto the needles with
a transfer tool. Alternatively, the main
colour stitches can be picked up while
the waste is still attached (either above
the bed or tucked below) and then
unravelled before knitting starts.
Waste knitting can also be used for
shaping. If part of a garment is cast
on or finished off in waste, it can be
temporarily taken off the machine to
allow the remainder to be shaped.
Design workshop
Hemming stitch
Design workshop
Grafting
Grafting is used to join two sections of
knit together to give the appearance of a
continuous piece of knitting. The knitted
stitches are held on waste yarn, which is
unravelled during the grafting procedure.
If done neatly, it is an invisible join
because it imitates a row of knitting.
1. Hold the two pieces of knitting edge
to edge and face up. Start from the
right side.
2. Push the needle through the first and
second stitches on the top edge,
through the first and second stitches
on the bottom edge, then through the
second and the third stitches on the
top edge and continue along the row.
3. Do not pull the sewn stitches any
tighter than the knitted stitches.

Hemming stitch can be used to attach

top edges, bands and hems. If sewing
open edges, remember to sew each stitch
separately.

1. Turn the hem or collar and baste or

pin in place.
2. Starting on the right, push the needle
into the first open stitch and up
through the corresponding stitch of
the main knitting. The stitch should
be invisible from the right side.

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Embellishment
Embroidery, appliqué and beading are all
forms of embellishment often used on
couture garments, whether they are woven
or knitted. Knitted swatch makers often
employ a dedicated embellisher, whose job
is to embroider or bead swatches before
they are put on headers, ready to be sold.
There are specialized embroidery firms that
offer a variety of embellishment services.
Consider the scale and size of the garment
before designing any embellishments.
Paper patterns can be made to check
the size of a motif. Embroidery frames
are helpful for appliqué, embroidery and
beading because they hold the fabric
tight, making it easier to work with. Most
embellishments are worked from the right
side of the fabric, apart from some beading
techniques, which are worked from the
wrong side.
9781474251730_txt_app.indb 143
EMBELLISHMENT 143
Appliqué
Appliqué is one of the most versatile
embellishments, formed by applying
decorative fabrics to the surface of the
main fabric. These can be contrasting
silks, cottons, linens or leather, they can
be knitted, woven or felted shapes, cut
or fully fashioned. Appliquéd fabrics
can be hemmed and hand-sewn or left
raw-edged and embroidered. For thicker
materials, such as leather, it is easier
to punch holes through the edges and
embroider them onto the garment. Larger
motifs are easier to sew if they are basted
onto the garment with large tacking
threads, to keep them in place while
sewing. Bear in mind that non-stretch
appliqué fabrics will restrict the stretch of
the garment.
5.29–5.30
A series of images displaying black knitted
dress by Björg Skarphéðinsdóttir, with
Swarovski crystal embellishment.
Tip
Waste knitting techniques
There are various useful techniques
that involve knitting in waste yarn. If
two edges are to be joined by grafting,
the edges need to have open stitches.
Waste yarn is knitted onto the row of
the main knitting instead of casting
off in the normal way, which holds
the stitches together until the grafting
process; the waste yarn is unravelled
during this process or at the end.
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 144 CHAPTER 5: DETAILS AND TRIMS

5.31
1950s cream lambswool and pearl button cardigan with ribbon and silk thread floral embroidery;
provided by Cosprop.

Embroidery
The art of embroidery can add colour and
durability to a knitted garment. Stitches
can be used to transform plain knits into
creative pieces of art. Decorative stitches
can be made in silk, wool, linen threads
or with unusual materials, such as leather
and ribbons. Consider colour proportion
and weight of yarn along with texture,
stitches, lines and masses. Many rich or
light and dainty designs in embroidery can
be produced.
When designing for embroidery, it is
better to keep the shapes simple because
of the intricacy of the pattern formed
by the stitches. In many instances, it is
possible to produce good embroidery
design without drawing first. The simplest
form of design is based on repetition,
when stitches are placed together to form
5.32
decorative borders.
Selection of machine-embroidered trims.

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 EMBELLISHMENT 145

Simple stitches
A line of stitches with a coloured thread on
5.35
a contrast background fabric is a simple Running stitch.
form of decoration in itself. There are a
variety of simple, well-known stitches,
which may form the basis of more
advanced embroidery design, if required.
5.36
Double tracking.

5.37
Upright row of stitches between running stitch.

5.38
Double rows.

5.33–5.34
Hand-embroidered knitted swatches by Zuzana 5.39
Fierro-Castro. Slanting stitch.

5.40
Cross stitch with running stitch.

5.41
Vertical upright stitches with cross stitch.

5.42
Combination of cross stitch and tacking stitch.

5.43
Hannah Jenkinson’s translucent, knitted
garment, with chunky, threaded, floral
embroidered detail and ribbed stand collar

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 146 CHAPTER 5: DETAILS AND TRIMS

Beading
Beading is another form of embroidery,
which may be used to cover the whole
of the knitted piece or to decorate
edges, trims and motifs. Beads may be
attached at the knitting stage, by weaving
5.44
in beaded lengths of thread, or else by
Fringes.
threading onto the stitch with a special
tool.
Beaded embellishments can be worked
with gold or silver thread, using a variety
5.45
of beads, from cultured pearls to steel, Finishing stitch.
glass and wood. Lengths of sequins
and fancy braids may also be attached
in similar ways. The process is time-
consuming, which adds considerable cost
to the end design.
If sewing beads onto the knit, you will 5.46
need to use a sewing needle that is large Picot-edge stitch.
enough for the thread to fit through the
eye but small enough to go through
the hole in the bead. There are various
different stitching methods, such as 5.47
backstitch, parallel stitch, couching stitch Backstitch.
and running stitch, as shown in Figures
5.44 to 5.51. In specialist workrooms a
tambour hook is usually used for beading.
This tool is similar to a crochet hook, and 5.48
it is used to attach strings of beads with Three-bead backstitch.
chain stitch. This method allows for finer
work with small beads: the tambour hook
makes chain stitches around the thread
holding the beads and, as such, does not
need to fit through the beads. However, if 5.49
the thread breaks, the beads will soon fall Parallel stitch.
off. Beads that are individually sewn with
a needle are more secure (although this
is, of course, very time-consuming).

5.50
Couching stitch.

5.51
Running stitch.

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 EMBELLISHMENT 147

5.52
Beads knitted in with the garment by Cassie
Green; additional straw beads embellished on
sleeves.

5.53–5.54
Images displaying rectangular, translucent beads knitted in with the garment, and beads strung
together before being knitted in; work by Cassie Green.

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9781474251730_txt_app.indb 148 2/26/18 11:43 AM
 Practitioners
in context:
6
menswear
This chapter offers a visually stimulating fresh perspective on knitwear design for
menswear. It is different in content and style to the other chapters in the book, as it
focuses on examples of work from contemporary knitwear design practitioners.
This subtly complex area in fashion is examined through a number of designer case
studies, each specializing in menswear and exploring totally different aesthetics. These
case studies demonstrate how the knit techniques, explored in previous chapters, can
be easily utilized in menswear design.
A brief overview from historical context to technological advances introduces the
reader to the concept of menswear design, and an interview with Cozette McCreery, of
the former SIBLING clothing brand, gives insight into the business. Through detailed
images, this chapter looks at the design process and at how themes, concepts and
influences can be translated into valuable sources of research for menswear design.
All knit techniques utilized within this chapter are based on continual exploration from
previous chapters. Design and technical skills are developed through the consideration
of menswear sizes, proportions and garment silhouette.
An example of a basic pattern block with a dropped shoulder has been provided to
give you an understanding of menswear measurements and a starting point for further
pattern drafting.
Menswear is an emerging area in knitwear design, with exciting developments in
scale, texture and colour. The variety of inspirational imagery, together with insightful
information about the application of various knit techniques, means this chapter
should stimulate your interest and enhance your appreciation in the fascinating area of
menswear design.

6.1 Abigail Coop, graduate of Nottingham Trent

University; runner-up for Graduate Fashion
Week’s ‘Gold Award’ and ‘Knitwear Award’, 2017.
Her research looks at dolls and teddy bears as initial
reference points, and her oversized jumpers are a
representation of the stuffing inside teddy bears and
the idea of ‘bursting at the seams’.
149

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 150 CHAPTER 6: PRACTITIONERS IN CONTEXT: MENSWEAR
Historical contexts
Knitwear has been seen as a staple
garment in a man’s wardrobe for a
long time, from the original fisherman’s
jumpers, Aran knits and guernseys
displaying personalized knit patterns,
to the thick woollen fabrics worn by the
military throughout the many wars to
the traditional Fair Isles vests, as worn
and made popular in 1930s by the Duke
of Windsor who abdicated the throne to
marry Wallis Simpson; he was known
for his impeccable taste, making him a
menswear trendsetter.
Classic knit garments were also worn in
the 1960s and made popular by the Mods
(the term is derived from modernist). They
typically wore slim-fitting suits in mohair
and two-tone fabrics, with button-down
shirts and fine-knitted sweaters.
Many tailors in Savile Row have adopted
the classic staple knit vest, sweater and
cardigan to sell with shirtings, ties and
suits. Classic brands, such as Burberry,
traditionally known for the trench coat,
have also developed the staple knit
garment for each menswear collection.
Designer Paul Smith started his business
in 1970s selling menswear from a small
shop in Nottingham, England; he is
now one of the most influential British
menswear and womenswear designers,
developing his brand and signature style
to include distinct ranges of print and
knitwear.
‘You can find inspiration in
everything. If you can’t, then
you’re not looking properly.’
Paul Smith
9781474251730_txt_app.indb 150
Androgynous contexts
Androgyny is a recurring theme in fashion
design, and knitwear adapts to this
concept with great success. The current
trend for oversized silhouettes lends itself
to knit and designs for extra-large jumpers
can be worn by men and women alike.
Womenswear designers have popularized
the term ‘boyfriend jumper’, which draws
to mind the famous image of Marilyn
Monroe wearing a large, hand-knitted
jumper and not much else, interestingly,
using a masculine garment to promote
feminine sexuality.
The term androgyny has given designers
the opportunity to push boundaries
over the years, inspiring the blurring
of lines between what is traditionally
thought of as masculine or feminine.
Punk Rockers from the 1970s often wore
large dishevelled jumpers, with purposely
laddered stitches, along with the spiky
hair and graphic makeup trends for both
boys and girls; these jumpers helped to
blur the lines between the genders.
Androgyny was also popularized in the
early 1970s through the emergence of
Glam Rock artists, such as Mark Bolan
and David Bowie, who questioned
stereotypical masculine attire through
musical influences. The Japanese
designer Kansai Yamamoto designed the
iconic knitted one piece suit, influenced
by the Kabuki Theatre, for Bowie, which
further influenced the style of other artists
such as 1980s singer Boy George and
also the style of the New Romantic trend.
Today designers are still drawing upon
influences from everywhere. There is
scope for different trends to emerge and
coexist within menswear design, and the
designer case studies within this chapter
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 ANDROGYNOUS CONTEXTS 151

display a wide range of styles, from Pa

Byrne’s traditional, but urban-inspired,
menswear knits to Kendall Baker’s brightly
coloured lace and crochet androgynous
knits; if the design and quality is good,
there is a space on the market for it.

6.2
David Bowie in asymmetric knitted bodysuit, 1973, designed by Kansai Yamamoto for
the Aladdin Sane tour.

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 152 CHAPTER 6: PRACTITIONERS IN CONTEXT: MENSWEAR

Interview

Cozette McCreery

Cozette McCreery works as a consultant designer for a number of brands; she is

particularly known for being a founding member of the former SIBLING brand. This
label was known for its vibrant, youthful and directional work, pushing boundaries
and producing diverse seasonal collections from 2008, when it was founded, until
2017, when like many other smaller businesses at that time, it was adversely affected
by the crunch and had to close shop. Cozette talks candidly about how the label
started and gives insight into the business.

What are your design backgrounds?
How did you meet Sid Bryan, and why
did you want to become designers?
Sid and I met at Bella Freud’s. Bella was
a guest at the RCA graduate show and
came back with the brochure, and Sid’s
work stood out. She was working on a
short film (the first of three) with John
Malkovich and needed her ideas for some
knitted showpieces made, so we got Sid
in for an interview. He made me a cup of
tea, and that was the start of our working
relationship.
Neither of us really set out thinking that
we’d be designers, although yes, both
of us wanted to do something or be
part of something creative. We are both
very good at going into businesses and
interpreting the designer’s own signature
without distorting their work, vision or
brand image. We’d like to think that it’s
quite a skill.
SIBLING came about as it was an itch we
wanted to scratch. It really started out as a
project and just grew naturally from there.
You are known for your experimental
approach to knitwear construction.
How would you describe your signature
work?
Bold, knitted and fun. When we first
started we put a lot of onus on technique.
Sid is very much obsessed with technique
and structure and that knowledge and
passion rubs off. However, I look after
sales, and it became apparent rather
quickly that the buyers, and therefore
the consumer, although intrigued by
the backstory, kind of didn’t care. It
made us rethink how we worked, if
the end result could be the same but
simpler, we did that. This didn’t apply to
everything though as our showpieces are
a true labour of love and are both time-
consuming and very much hands-on with
their starting point or references always
coming from knit.
How does your work take new direction
and what are your inspirations?
It’s really dependent on the season for
one and what excites us for two. Constant
themes though are reportage imagery,
youth tribes, club culture, and music. It
might come across as a bit Smash Hits/
teenager’s bedroom, but that’s what we

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like. We are very social, always have been,
and friends and groups of like-minded
people are very ‘us’. It’s good to get your
character into your brand; we like to think
that it makes it feel more authentic.
I understand that Sid has also worked
as a freelance designer for other labels,
such as Alexander McQueen. How does
working on your label differ creatively
from working with other designers; do
you enjoy working in a variety of ways?
McQueen, Giles, Jonathan Saunders,
Hiller Bartley, Victoria Beckham, yes, he
worked on their showpieces very much
in the way he worked with Bella. I, too,
still consult, but it’s more range planning,
research, branding and thematic, so
perhaps less glamorous [laughs]. To be
honest it’s not that different from how
we worked at SIBLING. Whether we are
consulting at catwalk or high-street level,
we always work for the brand. We were
always asking, ‘but is this SIBLING? Is
this SIBLING enough?’ and sometimes
although it feels a bit heart-breaking
because we may love the piece or idea,
the answer can be ‘no’.
The creative industries today offer like-
minded designers many opportunities
to collaborate with projects, such as
fashion, film, music and textiles. You
have collaborated with Judy Blame in
the styling of your collections; how
does working in collaboration enhance
creativity?
SIBLING was named because we wanted
to work with other creatives; that was
our ethos. It’s the idea of taking your
friendships and pushing it further. It’s also
bloody good fun to bounce ideas around
with your mates. Judy, I’ve known since
I was nineteen, through the DJ Fat Tony
and the design directors Michael Nash
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INTERVIEW 153
Associates, and Sid (who is younger than
me) met him independently. SIBLING
has worked with artists Nobel & Webster,
Pure Evil, Jim Lambie to name just a few,
and stylists Katie Grand and Matthew
Josephs. We’ve produced art knits, short
films, animations, all kinds of collateral.
What are the overriding challenges
of running a small creative Fashion
business and what are your plans for
the future?
SIBLING combined mens- and
womenswear and held coed shows. To
be honest we’d been doing this since our
AW12 presentation at Somerset House
styled by Katie Grand but soon moved
to the more traditional show schedule
due to press and buyers still working
to this calendar. Full coed afforded us a
lot of freedom and I still believe that it
makes sense. Look at the others who
followed: Vetements, Westwood, Gucci
– it was a collective eureka moment. It
also importantly cut costs in sampling
and shows. Shows cost a fortune and
presentations are often just as expensive.
Things have got to change there I think;
designers and brands have to be a bit
more creative in how they present new
collections, especially when starting out or
if you are relatively small. You don’t have
to do catwalk if it doesn’t suit you to do
so. It’s almost feeling old-fashioned as
a way of showcasing. OK, yeah, there’s
charm in that, but coupled with the fashion
calendar seeming completely out of sync
with the consumer, and I feel that it’s time
for something new. Maybe it’s time to take
a breather and be more aware of what we
are offering. Even this see-now-buy-now is
problematic, and I think both Thakoon and
Tom Ford are questioning it going forward
as a business model.
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 154 CHAPTER 6: PRACTITIONERS IN CONTEXT: MENSWEAR
Other difficulties for small manufacturing
business would be the additional stresses
of Brexit and all the uncertainty in the
world today. Our overseas buyers have
become very wary, hitting our already
narrow bottom line, and the factories,
paid in dollars or euros, are now more
expensive. How are you supposed to
grow your business without profit? In
fact it means that you aren’t running
a business; it’s an expensive hobby
masquerading as a business. In addition,
tax on the self-employed has increased,
and businesses in East London are
looking at a potential 300 per cent rate
increase. Everyone is being hit and
who’s going to cover those costs? The
consumer? Doubtful when we’ve all
become so discount and internet search
savvy. I hate to say it, but I don’t think that
we will be the first brand to take the step
to step off the fashion hamster wheel
over the next year.
Our archive is being housed at Kingston
University. We have an agreement with
Elinor Renfrew and her team headed
up by Samantha Elliott. Potentially once
catalogued, garments or looks could
head to Bath and Westminster. Three full
catwalk looks are already at a museum
in Hamburg, and one full look is with The
Met. However having SIBLING at Kingston
means that pieces will be available
to students as well as museums. It’s
basically keeping the brand alive, and we
are incredibly grateful to Elinor for her
foresight. It also importantly and legally
remains ours.
9781474251730_txt_app.indb 154
What advice could you give to fashion
knitwear design graduates starting out
in the industry?
Get experience. There is this huge push
for people to graduate and become stars
and do catwalk. Our suggestion is that
you don’t, that you get some experience,
learn from someone else’s mistakes and
triumphs, watch and learn and make
contacts. OK, yes, so some people seem
to come straight from college and are
international superstars, but in all honesty,
they are a rarity. There is a long and
quite depressing list of ‘this season’s hot
thing’ that have fallen off the face of the
Earth. The industry has changed, once
you could do a show and it was your
public CV, and a big design house would
snap you up. More and more it’s the less
flamboyant graduate who perhaps wasn’t
feted by the press or their course head
who quietly gets into a job and makes
their mark there. It’s something to think
about. Catwalk shows and films and
even presentations are costly, don’t let
someone tell you otherwise, especially
with regards to presentations, which are
often more expensive than catwalks.
Get some experience, make a name for
yourself working for someone else, get
a backstory. Those who last often are
ex-design assistants. If you want to burn
fast and bright though: go for it. In the
end, it’s up to you, isn’t it?
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 INTERVIEW 155

6.3
Sad Teddy, AW15 finale.

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 156 CHAPTER 6: PRACTITIONERS IN CONTEXT: MENSWEAR

6.4
SIBLINGsquad, AW15.

6.5
Look 1: Showpiece made in-house.
Machine-knit engineered Baruffa yarn frills, hand-stitched to oversized Pinori yarn knit base.
Lurex machine-knit Blame cycling shorts with tux frill.
Look 2:
Gaudi’s zebra hand-knit crew using Pinori yarns. Made in EU.
Gaudi’s zebra mosaic, Lurex, jacquard knit shorts. Made in China.
Baruffa yarn engineered Lady Di Collar. Made in-house.
Look 3:
Gaudi’s hand-crocheted sweater using Baruffa yarns. Made in EU.
Lurex machine-knit, Blame cycling shorts. Made in-house.

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 INTERVIEW 157

6.6
Look 1.
California Leaf Doodle jacquard cardigan.
California Leaf Doodle jacquard shorts.
Made in China.
Look 2: Showpiece made in-house.
Towelling onesie, machine-knit base using Baruffa yarns, with hand-tufted appliqué leaves and hand-
sequined flashes. Made in-house.
Look 3: Showpiece made in-house.
Towelling pool wrap, machine-knit base using Baruffa yarns with hand-tufted appliqué leaves.
SIBLINGsquad monogramed towel, machine-knit base using Baruffa yarns with hand-printed logo.
Made in-house.
Look 4: Showpiece made in-house.
Net oversized jacket with hand-tufted appliqué leaves and hand-sequined flashes.
Cable cricket dress. Made in China.
Linda Farrow for SIBLING, zigzag sunglasses.

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 158 CHAPTER 6: PRACTITIONERS IN CONTEXT: MENSWEAR
Designer case study
Pa Byrne
Pa Byrne is a graduate from MA Fashion Knitwear, Nottingham Trent University,
England. He now works as a menswear knitwear designer for the company Garcia
Jeans in the Netherlands.
His MA collection, entitled HOME, is
an exploration of knitwear processes,
testing the combination of traditional
and technological applications to
produce a contemporary, menswear
collection for commercial production. The
inspiration came from examining original
photography exploring social identity and
youth culture in Ireland in the 1970s and
80s, combined with his own personal
knit heritage passed from his mother and
grandmother.
Concept/inspiration/design
methodology
Byrne has researched the social identity
of the occupants living in a notorious
housing estate on the outskirts of Dublin,
Ireland, comprising seven towers. It has
housed families from the 1960s onwards,
and original images have provided
a wealth of inspiration for a knitted
menswear collection. He also explored
how this research mirrored the ideal
of Shakespeare’s ‘The Seven Ages of
Man’; he used this research to inform the
design process, exploring how knitting
techniques can reinforce or deconstruct,
depending on which stage of the ‘Seven
Ages’ it represented.
Irish knitwear heritage is something that
is sadly in decline, and although Byrne
9781474251730_txt_app.indb 158
learned how to hand-knit at a young
age, he has combined his traditional
techniques with technology within
knitwear, using handcraft but exploring
replication on machinery. He feels that
in order to reinvigorate the knitting
industry in Ireland, there needs to be a
level of openness to adapt to change and
embrace new technology in order to move
forward. Hopefully with more students
choosing knitwear as a specialism, this
will start to gain more traction.
Techniques used/machines
This collection was produced with
a combination of power industrial
machinery (Stoll and Shima Seiki), hand-
flat industrial machinery (Dubied) and
hand-knitting. He gained sponsorship
from Knoll Yarns in the UK, a renowned
supplier of beautiful traditional wool
yarns. He used 70 per cent wool across
the collection, the other 30 per cent was
made up of British alpaca and Italian
cotton yarn. The only synthetic material
used was a vinyl, which he bonded
to a lambswool jacquard to make it a
reversible fabric. Techniques utilized
throughout this collection are felting,
striping, tuck stitch, and transfer stitch.
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 DESIGNER CASE STUDY 159

6.7
Pa Byrne’s fashion photo shoot with knitwear, displaying an urban theme.

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 160 CHAPTER 6: PRACTITIONERS IN CONTEXT: MENSWEAR

6.8-6.11
Pa Byrne’s design development boards, displaying the concept, mood of collection, colour palette, knit
and hand stitch development, and garment design ideas.

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 DESIGNER CASE STUDY 161

6.12
Pa Byrne’s design development board,
displaying geometric knit pattern technique
investigation.

6.13
Pa Byrne’s fashion photo shoot with knitwear,
displaying an urban theme.

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 162 CHAPTER 6: PRACTITIONERS IN CONTEXT: MENSWEAR
Designer case study
Ella Nisbett
Ella Nisbett is a graduate from BA Fashion Knitwear with Knitted Textiles,
Nottingham Trent University, England, and the winner of two awards: Best Knitwear
Award and Best Menswear Award, 2015, Graduate Fashion Week, London.
Her graduation collection, entitled ‘Papa
Wemba’, named after the Congolese
musician, won two awards at Graduate
Fashion Week 2015, the success of
this collection was credited for the
combination of its creativity and high
impact on the catwalk while also holding
the potential to be easily transferred into a
commercial, sellable product. Artsthread.
com describes the collection:
Papa Wemba is a celebration of the male
body and its decoration. . .the reassertion
of the decorated man. Inspired by
subculture it fuses a rebellious attitude
with a decadent aesthetic, capturing the
contemporary zeitgeist and confident
return to expression in modern menswear.
A rich [colour] palette, oversized
silhouettes contrasting with slim pieces
and luxurious fabrics create a distinct
look evocative of extravagant zoot suits,
elegant gentlemen’s wear and traditional
African dress. Ornament and decoration
are integral, confronting traditional
ideologies of masculinity in society. Whilst
a meticulous consideration of proportion,
placement, scale and detail maintain a
formality and refinement. Reconciling
the traditional and the revolutionary,
the micro and massive, the vibrant and
monochrome, the celebratory and refined.
9781474251730_txt_app.indb 162
Concept/inspiration/design
methodology
The collection was influenced primarily by
two subcultural groups: the 1940s Zooties
and the Congolese Sapeurs, both of
whom used extravagant styles of dress as
a badge of success over adversity and as
a signal of defiance to the establishment
in the face of extreme poverty and
political upheaval.
The eclectic styling, strong colours and
beautiful tailoring captured Nisbett’s
attention and imagination; their distinctive
use of clothing to convey deeper
statements and aspirations prompted her
to think further about the way in which
men use their dress as a means to express
themselves and their identities. Dress has
power as a symbolic visual code through
which individuals can communicate and,
more importantly, mark social and political
allegiances in society. Post-war subculture
in particular served to convey rebellion,
political statement, aspiration, masculinity
and belonging – rejecting historically
prescribed sartorial codes.
One of the most important aims for
Nisbett’s collection was to recreate the
sense of men dressing beautifully, in a
seemingly dandyish manner, but with
a tough, rebellious attitude and stark
circumstances underpinning their sartorial
choices.
2/26/18 11:43 AM

Techniques used/machines
High-quality fine-gauge yarns have been
utilized in this collection. Merino wool
from the Italian spinner Biella and 100 per
cent silks and fine cashmere yarns have
been knitted mostly on the fine 12- and
14-gauge hand-flat industrial machines.
Slip stich and tucking techniques have
been explored to create intricate stitches
and patterns to emulate beautiful woven
silk tailoring fabrics.
When these fine-knitted fabrics were
steam ironed, the yarn properties became
very smooth and flat in quality, with a
handle more akin to that of a woven;
from these fabrics Nisbett was able to
drape beautifully to create the voluminous
silhouettes of her zoot-style trousers.
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DESIGNER CASE STUDY 163
Jacquard and stripe were also particularly
important in this collection: the stripe
rapport often worked along the entire
length of the outfit. This was a luxury
afforded by being able to construct the
fabric from scratch, where she could
carefully calculate stripe placement and
proportion up the body – something seen in
luxury bespoke and tailor-made garments.
Her signature style can be seen as
decorative and ornamental, making use of
striking colour combinations and pattern,
placement, proportion and balance are
imperative. Other textile approaches
explored within this collection, are flock
printing, bonding and dying of yarns to
complement and enhance the knits.
6.14
Ella Nisbett:
graduate fashion
show collection.
6.15
Ella Nisbett: trousers, striping and
flock-printing techniques.
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6.16 6.18
Ella Nisbett: oversize garment, striping and flock- Ella Nisbett: matching garments, striping and
printing techniques. flock-printing techniques.

6.17
Ella Nisbett: matching oversized scarf, striping
and flock printing.

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Designer case study
Ben McKernan
Ben McKernan is a graduate from MA Fashion Knitwear, Nottingham Trent University,
England. He now works as a freelance, technical knitwear designer and consultant.
McKernan is attempting to bridge the
gap in the knitwear design market, as a
technical designer; knitwear designers
tend to collaborate with technologists
when it comes to working with Stoll or
Shima industrial machines, and this can
often result in miscommunication of the
designers’ intentions. McKernan is a
designer who has an understanding of
these highly technological machines and
can therefore draw on this knowledge
when designing or communicating with
colleagues.
His work is an investigation into how
technical knitting can be applied to sports-
inspired menswear through alternative
use of materials, yarns and technical
applications. The combination of yarns
and techniques are examined to explore
the effects of how they wear and how
they feel on the skin.
Concept/inspiration/design
methodology
McKernan is inspired by the technical
leaps in classic knitting-machine
technology and the changes in the
industrial machine-knitting industry, as
seen in recent years, so that it no longer
just produces for fashion but also for
medical applications, sportswear and
architecture, as well as homeware and
furnishings.
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DESIGNER CASE STUDY 165
He feels that even with the new
advances in technology, there is still
not a comprehensive understanding of
what is possible in the realm of design
and in what can be achieved with this
new technology. Breakthroughs in the
market have occurred in both Stoll and
Shima Seiki industries, and the leading
fashion brands have been quick with this
technology to develop their own signature
knitwear style.
Sportswear brands, such as Nike and
Adidas, have spent significant time and
money pioneering technical flatbed
knitting for sportswear trainers, a four-
bed fully fashioning technique that allows
them to eliminate cut and sew from the
process.
McKernan believes that there is a
knowledge gap between the designer and
the technician. While it is unnecessary for
the designer to understand perfectly the
technical complexity of a shoe like the
Flyknit, it is necessary to understand the
advancements of technology to be able to
design effectively and innovatively.
To try to be truly innovative, McKernan
has familiarized himself with the latest
technology on the power-knitting
machines, through developing and
producing work on the industrial
Dubied hand-knitting machines first; it
was important for him to use the old
technology as well as the new technology.
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His aims are to translate craftsmanship
into a high technological machine;
bringing the zeitgeist of the old and
the new together to create something
different but that remains universally
knit. His MA menswear collection of
contemporary engineered knitwear
design was fully fashioned (shaped on
the machine) and sportswear inspired,
but it adopted a broader, more eclectic
aesthetic that was influenced by his own
cultural heritage as well as a number
of contemporary artists working with
geometric prints and shapes.
The title of his collection is Ceremony,
and it takes inspiration from vintage
sportswear, as well as the ceremonial
act of fashion in competitive sports. A
celebratory aesthetic to imbue confidence
as well as instilling fear in the opponent.
Techniques used/machines
McKernan prioritized the technical
research and development of knitting
skills for this collection. Techniques
were first developed on the industrial
hand-flat Dubied machine, and then
ideas progressed in computer-aided
design to utilize the Stoll and Shima
Seiki power machines. His aims are to
continue increasing his knowledge of
pattern cutting for garment shapes and
in programming on the power machines
to gain a good functional understanding
of this technology, in order to work as
a designer/knitwear programmer and
developer.
His combination of different machinery
and diverse knitting techniques has given
him the opportunity to push boundaries
in knit structure. Sportswear applications
in knitwear are often incorporated with
a weave technique or knitted with Lycra
on circular knitting machines; he is more
9781474251730_txt_app.indb 166
interested in creating men’s leisure wear
with a looser, more comfortable fit. His
work explores travelling ribs, interlocked
to create wavelike effects, sports mesh,
and fully fashioning, partial knit with
goring and double-faced fabrics with
jacquard designs.
His primary sketchbook investigation,
includes sourcing patterns, such as
geometric shapes in different visual forms
and then using them in collage to inform
design process. There is an emphasis on
collecting materials and again using them
to create collaged shapes to inform the
details of garment design, such as collars,
necklines and ribs.
Materials and resources
Durability and sustainability were
considerations for McKernan, when
researching yarns to work with for this
collection. Tencel yarn is a widely used
lyocell fibre. It is a natural, biodegradable
man-made yarn from purified wood pulp
cellulose and is 100 per cent plant-based
fibre. It possesses a breathable feel for
clothing and so good for both sportswear
and fashion. This was one of McKernan’s
primary yarns.
Another chosen yarn was mixed merino
wool with polyester, for durability and
stretch. Merino wool is soft, naturally
breathable and warm even when wet;
merino wool regulates your body
temperature, has a great warmth-to-
weight ratio, naturally controls odour and
stretches as you move. It is widely used
in outdoor wear that is environmentally
conscious and interested in quality
fabrication.
He also used specific worsted wool yarns
that are designed for being waterproof.
The technology for treatment of these
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 DESIGNER CASE STUDY 167

yarns is somewhat similar to the one differently. McKernan has explored the
used in Burberry trench coats, except idea of bonding these knitted fabrics for
these yarns are woven, which means outerwear garments.
they are much tighter and will function

6.19–6.22
A series of images displaying the
complexity of technical programming
on the industrial power-knitting machine
(colour, striping and yarn allocation is
displayed) by Ben McKernan.

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 168 CHAPTER 6: PRACTITIONERS IN CONTEXT: MENSWEAR

6.23
Asymmetrically striped garment
design by Ben McKernan, with
the use of technical yarns.

6.24–6.25
Images display Ben McKernan’s
signature stripes, in garments
made from a variety of technical
yarns, including monofilament.

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Designer case study
Latasha Hammond
Latasha Hammond is a graduate from BA Fashion Knitwear with Knitted Textiles,
Nottingham Trent University, England, now working as a freelance knitwear designer.
This collection takes inspiration from
the community of the Kuba Kingdom,
based in central Africa; the Kuba Art
and the Shoowa Textiles. The Kuba King
provides inspiration through his display of
bold pattern and texture. Many aspects
of the theme directed design towards
handcrafted elements and heavily ornate
graphic clashes. Direct connections can be
seen in her collection through the use of
cowrie shells and woven inspired knits. In
addition, modern influences, such as the
work of Joseph Francis Sumegne, have
inspired the use of more unconventional
materials and tones of colour.
Concept/inspiration/design
methodology
The collection, entitled KUBA TRAIT,
conjures up a number of key words
to feed into the design research and
development of knit techniques and
garment outcomes: assortment,
ancestral, bold, fanciful, folk, decorative,
reformative.
These words allowed a more
concentrated focus for research and
pushed the direction of the concept
further to create heavily textured, as well
as graphic, elements within the work.
A traditional and ornate colour palette is
rendered within the collection, along with
a number of extreme contrasts of beaded
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DESIGNER CASE STUDY 169
embellishment, graphic patterns and
textured surfaces. Trends of confluence
and graphic mash have also influenced
her approach to drawing, sampling and
pattern making.
Silhouettes designed in the garment-
creating process are oversized and
boxlike, featuring angled, staggered
hem lines inspired by African geometric
patterns.
Her aims for this collection are to
draw awareness to the native tribes
overseas and, in doing so, highlight the
value of their community, morals and
craftsmanship of original hand-rendered
techniques of weaving and beading, as
well as an appreciation of ornate crafts.
Her approach to design development
through sketchbook work encompasses
the use of a number of unconventional
mark-making tools to gain a quality
that cannot be produced by man-made
objects. Fine liner pens form the base of
the intricate details, along with the use of
acrylic paint and collage. Additional key
inspirations are found within the work
of contemporary African artists, Joseph
Francis Sumegne and Moshewa Langa.
Through identifying past and present
influences together with the African
origin, a unique menswear collection has
emerged.
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Techniques used/machines
Yarn choice was considered to reflect a
conscious responsibility in design, aiming
to promote natural fibres, such as cotton
and lambswool. The use of mixed weights
and textures has given the opportunity
to achieve dramatic contrasts within
the collection. A sustainable approach
to the construction of the collection is
reflected in the garments produced on
the domestic machine. Garments were
shaped as knitted, disregarding any
unnecessary overlocking or cutting of
excess fabrics.
A variety of machinery was utilized in the
construction of this collection, in order to
9781474251730_txt_app.indb 170
develop the different techniques used.
Domestic machine and Dubied hand
industrial knitting machinery, together
with power knitting on the Stoll, gave
the opportunity to explore the different
weights and gauges of yarns used.
Knitted techniques of stripes, Fair Isles
and jacquards were used in contrast to
the exploration of weaving, fringing and
laying in surfaces, with the resulting
fabrics ranging from 2.5- to 10-gauge knit.
Embellishment was focused upon scarves
and leggings and side seams, in order to
display decoration but still allow ease in
movement.
6.26–6.29
Catwalk images displaying layered
garments by Latasha Hammond,
with striping in different colourways;
terra-cotta, blue, black and white, and
red. A number of knitting techniques
have been explored, including striping,
weaving, fringing and power-knit
jacquard patterning.
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Designer case study
Matilda Draper
Matilda Draper is a graduate from BA Fashion Knitwear with Knitted Textiles,
Nottingham Trent University, England, now working for Paul Smith.
What passing-bells for these who die as
cattle?
Only the monstrous anger of the guns.
Only the stuttering rifles’ rapid rattle
Can patter out their hasty orisons.
No mockeries now for them; no prayers
nor bells;
Nor any voice of mourning save the choirs,
The shrill demented choirs of wailing shells;
And bugles calling for them from sad
shires.
Wilfred Owen, ‘Anthem for Doomed
Youth’, 1917
The collection, entitled ‘No Man’s Land’, is
inspired by the First World War and brings
together historical and psychological
contexts to push the boundaries of
menswear and the capabilities of knitted
textiles. A dark palette evokes a brooding
message, and juxtapositions can be
drawn, from the masculinity that is carried
with the concept of war, in contrast to
feminine associations with knitting,
The main investigation is in the frenzied,
shell-shocked mind, in contrast with the
therapeutic qualities of knit, and how
this can be portrayed through knitted
textiles. Artist Maggi Hambling’s series of
paintings – Victim (2014) – have provided
further inspiration, as her work studies
victims of war and her painterly style
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DESIGNER CASE STUDY 171
evokes the frenzied mind. The military
uniform has also been an important
area for exploration, with the resulting
garments taking inspiration from shape,
detailing and the multifunctional aspects,
in terms of keeping soldiers warm and
protected when in combat, but also being
worn as a more formal outfit to intimidate
the enemy and give the wearer identity.
Concept/inspiration/design
methodology
Draper’s primary research for this collection
began within her own family history, having
accessed many photographs, letters and
diaries from ancestors who fought in the
First World War. This has provided an
initial understanding of what it was like to
be fighting and living in those times. She
also visited the Imperial War Museum in
Manchester and was particularly inspired
by the uniforms and being able to see the
fabric qualities close up, which cannot be
fully understood and analysed through
photographs.
Documentaries, literature and the works
of the war poets provided a greater
understanding of the meaning of shell-
shock; what it was and how soldiers
were affected by it. Draper is fascinated
by the inner turmoil, the psychological
damage endured by the soldiers and has
investigated the therapeutic qualities
of knitting in terms of the focus on
rhythm and the calm, soothing feel of
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 172 CHAPTER 6: PRACTITIONERS IN CONTEXT: MENSWEAR
the action in order for soldiers to regain
psychological and physical restoration.
Her garment silhouettes reflect the
functionality and formality of uniform dress,
and her colour palette plays an important
role in reinforcing the idea of discord. The
varying grey tones, from dark to light,
look quite monotone alongside accents of
whites and oranges to lift the palette.
Techniques used/machines
Draper has focused on fabric manipulation
techniques, such as felting, flocking, print
9781474251730_txt_app.indb 172
and needle punch, to explore further the
capabilities of knitted fabrics other than
what can be produced on the machine.
These techniques are evocative of her
painterly styles of primary research
and mark making; she is interested
in exploring how materials can reflect
and communicate meaning. She uses
predominantly natural fibres, such as
untreated merino and lambswool, which
lend themselves to boiling and felting;
these fabrics have a luxury handle to
them.
6.30
Matilda Baker’s felted
wool coat design from
her graduation collection,
inspired by her thought-
provoking research into the
First World War. Jacquard
knitting techniques
explored.
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 DESIGNER CASE STUDY 173

6.31
Matilda Baker’s
graduation collection
of oversized, layered
garments in felted
jacquards, with
plaiting and striping
techniques.

6.32–6.35
Images display Matilda
Baker’s sketchbook
pages and a concept
board with poetry and
design illustrations,
conveying the darker
mood of her oversized
garments.

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 174 CHAPTER 6: PRACTITIONERS IN CONTEXT: MENSWEAR
Designer case study
Kendall Baker
Kendall Baker is a graduate from BA Fashion Knitwear with Knitted Textiles,
Nottingham Trent University, England. She was the winner of the Best Knitwear
Design Award, 2016, Graduate Fashion Week, London.
Kendall Baker, winner of the Graduate
Fashion Week Knitwear Award 2016,
created a collection entirely made on
the domestic knitting machines and by
hand-knit and crochet. Her androgynous
menswear collection was made up from
bright coloured cotton and wool yarns in a
variety of handcrafted textile fabrics. Her
casual collection included garments such
as fitted, transparent jumpers, bomber
jackets and oversized coats in plastic and
crochet combinations. Detailed fine-
lace fabrics merged with intricate cable
techniques, and knitted oversized yarns
made from stuffed tubes provided her
with the unusual textured fabric to create
huge slouchy bags.
Concept/inspiration/design
methodology
The inspiration behind her work has always
involved nature, and this collection looked
closely at the life cycle and movement
of butterflies. Baker wanted to capture
the fluidity of their movements, the
delicateness of their wings and the vibrancy
of their lives. The strong colour palette
of acid green, lemons and peachy pinks,
mixed with greys, jewelled greens, purples
and black, helped to push this collection
into an androgynous theme, which was
further cemented by the strong use of lace
and transparency in fabric construction.
The collection is also highly technical in the
development of domestic machine-lace
9781474251730_txt_app.indb 174
stitches, with many techniques executed to
the highest standard.
Designers, such as SIBLING and Julien
MacDonald, have inspired her to push
the boundaries of knit and crochet within
menswear and dare to be different.
Techniques used/machines
All lace work has been produced by
hand and on the Brother and Silver Read
domestic knitting machines. Power-knit
jacquards have been developed on the
Shima Seiki machine. Crochet pieces
(Amanda Whirl) were embroidered
together, connected to knit and trapped
between plastic, bringing another material
quality into the collection.
A combination of cotton, rayon viscous,
monofilament and wool yarns were used
to explore a variety of knit techniques.
Ladders and lace holes (pointell/lace
technique) were used for jumpers, trousers
and jackets. Cables, crochet and partial-
knit techniques added further structure
and detail. Bonded knit to plastic provided
opulent fabrics for coats; rib structure was
used for trimming, and further detail was
added through the ornate techniques of
embroidery and appliqué. All knitting was
developed on a standard-gauge domestic
knitting machine, and crochet was worked
on a variety of crochet hook sizes, from
size 2.5 to 7.
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 DESIGNER CASE STUDY 175

6.36
Androgynous menswear from Kendall
Baker’s graduation collection. Yellow
lace knit and crochet techniques with
transparent plastic layer.

6.37
Oversized garments from Kendall Baker’s
graduate collection. Purple lace knit and
crochet techniques with oversized yellow
crochet bag.

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 176 CHAPTER 6: PRACTITIONERS IN CONTEXT: MENSWEAR

6.38–6.39
Kendall Baker’s display artwork, exploring colour palette and design proportion through cut work and
mark-making techniques.

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Designer case study
Carlo Volpi
Carlo Volpi is a graduate with an MA in knit design at the Royal College of Art,
England. He now designs for his own fashion label.
Carlo Volpi’s website says:
Carlo has had a life long affair with
knitting. Born in a small town near
Florence, he grew up amongst cones of
yarn and knitting machines: both of his
grandmothers worked for a very small
knit factory in the village and from them
he inherited the passion for his craft. After
completing his BA in Textiles at Goldsmiths
College and a few years later his MA
at The Royal College of Art, Carlo was
selected as one of the 12 Texprint finalists
and was awarded one of their prestigious
prizes at Premiere Vision in Paris. A
genuine passion for all things hand crafted
and new innovative technologies, Carlo
regularly collaborates as a consultant for
various brands and the Research Area at
Pitti Filati, developing fabrics and garments
for their shows in Florence twice a year.
In 2014 Carlo founded his eponymous
label: the same year he received an
award sponsored by the Haberdashers’
and Framework Knitters companies that
enabled him to set up a studio at Cockpit
Arts. In 2015 Carlo was selected by Sara
Maino, senior editor of Vogue Italia, to
show his collection during Milan Fashion
Week. . .
Carlo’s work is characterised by a vibrant
clash of colours and an eclectic mix of
stitches and textures. Traditional hand
crafted techniques are reinvented,
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DESIGNER CASE STUDY 177
updated and joyfully mixed with the latest
fashion manufacturing technologies,
creating exclusive and limited pieces. All
of his work is produced in Italy.
Concept/inspiration/design
methodology
His collection for S/S17 is an explosion
of colour and oversized sweaters. The
collection, called Domestic Queen, takes
its name from the figure of the housewife
of the 1950s, a woman often defined
by narrowing stereotypes dictated by
men. These elements, like cooking,
cleaning and doing the washing, become
the source of inspiration for innovative
intarsia motifs realized with thermal
welding technologies by Bond Factory.
The atomic bomb that concluded World
War II was also a significant moment
that shocked the world but that enabled
society to rebuild peace and economic
stability a few years later. This idea of
explosion (the atomic bomb but also
the economic boom) is central to the
collection: Lichtenstein’s paintings, which
were a great source of inspiration, are
translated into knitted garments that
portray explosions with intarsia patterns.
Colour, geometry and stitches are also
trademarks of Carlo Volpi: the vivid
colours of Pop Art and adverts from the
50s and the 60s become the inspiration
for subtle stripes and knitted structures.
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Techniques used/machines
Volpi has pushed the boundaries of
knitwear, updating traditional techniques
with advanced manufacturing technology,
but he has a love of the domestic knitting
machine. His designs come about through
the tactile, hands-on methodology
of making. He enjoys pushing the
boundaries with domestic knit techniques,
from striping, punch-card patterning, lace
and ladders, partial knit, and weave to
name a few.

6.40–6.43
Carlo Volpi
displays a graphic,
colourful, Pop Art–
inspired collection
with subtle stripes
and knitted
structures.

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Block patterns for menswear
The flat, basic-block pattern is first drafted
to fit a standard-size figure. The block is
then used by designers as a foundation
for new styles and a number of design
adaptions can be made to this block,
without affecting the original size and
fit. As with the women’s basic blocks,
seen in Chapter 4, different types of
garments require specific basic blocks,
so for example, the easy fitting block or
the over-garment block, which both have
more ease than a basic, fitted T-shirt
block, are more suitable for oversized
jumpers, jackets or coat designs and can
be adapted to have an even easier fit. See
how to make an easy fitting block with
dropped shoulders on page 181.
Patterns for knit
After the block has been developed into
a designed pattern, for example, the
required adjustments made to the length,
width and neck style, the knitting pattern
can be calculated. The pattern contains
the number of stitches and rows in each
section, calculated by taking all the
horizontal and vertical measurements in
the pattern, as well as using the knitted
tension swatch.
A jersey fabric toile can be made of the
silhouette to check the proportions of the
design, however, the knitted pieces are
likely to vary from the toile pieces and will
need to be adjusted, usually through trial
and error, until a perfect fit is achieved.
See how to make a knitting pattern for the
easy fitting block with dropped shoulders
on page 181.
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BLOCK PATTERNS FOR MENSWEAR 179
Creating a knitting pattern
The example draft shown, is for a simple,
easy fitting, dropped shoulder block
with a V-shaped neckline. This block can
easily be turned into a flat kimono shape
if required. Ribbed bands, such as hems,
cuffs and neck bands, must be able
to stretch and fit close to the body. To
calculate the number of stitches needed
to make the rib, calculate the width of the
part of garment it is being attached to.
When the rib is knitted onto this edge, it
will automatically pull in the fabric to fit
close to the body.
Stretch will differ in each knitted piece,
depending on the yarn, tension and
knitting technique used. The starting point
is the tension swatch. Knit a number of
tension swatches until you have achieved
the desired look and feel of the fabric. A
swatch should be made for each yarn and
pattern technique used.
Sketch the garment to help you calculate
the knitting pattern; this drawing need not
be to scale, but it should give all width
and length measurements. An extra
5 centimetres (2 in) is usually added in
the width of a standard fitting garment
in order to allow for ease, more ease has
been added to the easy fitting, dropped
shoulder block to create an oversized
silhouette.
Measurements
Whenever possible, take the actual
body measurements of the person you
are knitting for, unless you are making
garments to a standard size. The
following measurements are required
for constructing a basic e-block. (The
example measurements are given is to fit
a standard size 100 cm chest.)
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 180 CHAPTER 6: PRACTITIONERS IN CONTEXT: MENSWEAR
Taking measurements form existing
garments can assist your design choice
measurements, such as length and width
on an oversized garment.
●● Chest: measure around the fullest
part of the chest (standard size: 100
cm; measurement used for example
easy fitting block: 124 cm; 1/4 chest
measurement: 31 cm).
●● Back neck to waist: measure from the
bone at the back of the neck to the
natural waistline. Extra length can be
added as desired (standard size: 44
cm; measurement used for example
easy fitting block: 46.5 cm).
●● Length of garment: Designers choice
(measurement used for easy fitting
block: 80 cm).
●● Half back width: measure across
the back from the point of underarm
to underarm and then half this
measurement (standard size: 25 cm;
measurement used for easy fitting
block: 31 cm).
●● Armhole depth: measure from the
shoulder point to the underarm point
at the side seam. This measurement
can vary depending on the desired
length (standard size: 25 cm;
measurement for easy fitting block
size: 29 cm).
●● Neck size: measure around the base
of the neck (standard size: 40 cm;
measurement used for easy fitting
block: 40 cm).
●● Back neck width: measure from
shoulder seam to shoulder seam
at back neck points (standard size:
18 cm; measurement used for easy
fitting block: 18 cm; 1/2 back neck
width measurement: 9 cm).
9781474251730_txt_app.indb 180
●● Front neck measurement: measure
around the base of the neck from
shoulder seam to shoulder seam at
front neck points (standard size: 22
cm; measurement used for V-shaped
neck is a design choice).
●● Front neck drop: measure from
centre-front neck point, in a straight
line to a point on the centre-front
body (standard: approximately 23 cm;
measurement used for easy fitting
block: 23 cm; measurement when
applied to the construction of the
block: 29 cm).
●● Shoulder seam: measure from
the base of neck to the shoulder
point (standard size: 17.5 cm;
measurement used for easy fitting
block with dropped shoulder: 22.5
cm). This measurement will be
affected by the width of the block
and can vary depending on desired
length.
●● Sleeve overarm length: measure from
the shoulder point to the wrist, over
a slightly bent arm (standard size:
60 cm; measurement used for easy
fitting, dropped shoulder block size:
55 cm).
●● Closed wrist measurement: measure
around the wrist, making sure the
wrist measurement allows for stretch
over a clenched fist (standard size:
18 cm; measurement used for easy
fitting block size: 28 cm). A ribbed
cuff can be added to the wrist, to
bring it in closer to the body.
Note: the measurements here are in
metric. To convert to imperial, 1 cm
= 0.39 in.
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 PATTERN CONSTRUCTION FOR EASY FITTING DROPPED SHOULDER BLOCK WITH V-NECK SHAPE
Pattern construction for easy fitting
dropped shoulder block with V-neck
shape
Draft an easy fitting, dropped shoulder
block from the measurements on page
180. You can add more ease in the
chest and armhole depth as required. To
create a closer-fitting block with higher
armhole, reduce the chest measurement
and the armhole depth by around 2 to 3
centimetres. The length of the body and
sleeve can also be varied.
Front and back bodice
1. 1–2 Fold pattern-cutting paper in half.
From the fold line, square across 1/4
of the chest measurement (example:
31 cm).
2. 2–3 Square down the finished
garment length (example: 80 cm) and
form a rectangle of 1/4 chest width x
garment length measurements.
3. 1–4 Measure across the 1/2 back
neck width (example: 9 cm). Square
down 2.5 cm, then square across
to meet the fold line. Draw in back
neck curve, as seen in illustration, as
dotted line.
4. 5–6 Measure the front neck drop,
from the back neck drop, along the
centre-front fold line (example:
29 cm).
5. 4–6 draw a diagonal line from the
beginning of the shoulder point to the
front neck drop measurement. This
forms the V-neck shape, as seen in
illustration as dotted line.
6. 2–7 Measure down 4.5 cm, from the
shoulder edge. Join with a straight
line to the neck point, to form the
9781474251730_txt_app.indb 181
181
shoulder slope, as seen in illustration
as dotted line.
7. 7–8 Measure the armhole depth
(example: 29 cm) and square across
to meet the fold line, as seen in
illustration as dotted line.
8. Add rib-depth line to the block
pattern, if required (depending on
design).
9. Trace off block with front neckline to
achieve two separate pattern pieces:
the half front and the half back body.
(Designs can be developed on half
body blocks and then mirror imaged.)
10. Unfold pattern-cutting paper to
construct full body block pattern, if an
asymmetric design is required.
Sleeve for dropped shoulder
1. 1–2 Fold pattern-cutting paper in half.
From the fold line, square across
1/2 sleeve width measurement
(example: taken from armhole depth
measurement: 29 cm).
2. 2–3 Square down to finished sleeve-
length measurement (example:
55 cm) and form a rectangle of
1/2 sleeve width x sleeve-length
measurements.
3. 4–5 Measure across the cuff width
(example: 15 cm).
4. 5–6 Square up approximately 4
centimetres and then square across
to centre fold line, to add rib/
cuff depth line to block pattern, if
required (depending on design).
This can be any measurement you
choose, depending on the design.
Consideration of wrist measurement
will be taken into account.
2/26/18 11:44 AM
 182 CHAPTER 6: PRACTITIONERS IN CONTEXT: MENSWEAR

5. 5–2 From the bottom of the cuff 6. This gives you half the sleeve. The
width, draw a diagonal line to other half is mirrored from the centre
touch the sleeve width and form sleeve-length line.
the underarm measurement. (The
7. Once the bodice and sleeve blocks
sleeve-length measurements can
have been drafted, a 1 centimetre
be checked at this stage; remember
seam allowance can be added to all
that the dropped shoulder affects the
outside edges. Make a stretch jersey
measurement of the sleeve length.)
toile to check size and proportions.

Back Pattern Front Pattern

Pattern pieces required

for a V neck block with
a drop shoulder

Centre front
Centre back

Sleeve Pattern
Cut straight
Fold for centre

6.44
Simple pattern guide showing pattern pieces
required for basic body block with dropped
shoulder.

2 7 8 3
2 3
underarm line

Hem line

Arm hole

6 5
4

1 5 6 Centre fold line 1 4

Centre fold line

6.45 6.46
Simple pattern guide for basic easy fitting body Simple pattern guide for basic sleeve block to
block with dropped shoulder. go with easy fitting body block with dropped
shoulder.

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 KNITTING PATTERN FOR EASY FITTING DROPPED SHOULDER BLOCK WITH SLEEVES
Knitting pattern for easy fitting
dropped shoulder block with sleeves
The next stage is to work out the
knitting pattern using the tension square
measurements. Please refer to the
example knitting pattern for basic block
on pages 112 to 114.
This simple block pattern is intended to
illustrate the general principle of calculating
a knitting pattern; the shape is just a
starting point, and measurements can
be altered to suit individual designs. This
example uses a tension measurement
of 3 stitches and 4 rows to 1 centimetre;
so, with this tension measurement, the
easy fitting dropped shoulder block would
require you to cast on 186 stiches for each
of the front and back body pattern pieces.
The sleeve would require you to cast on
75 stitches for each sleeve, starting at the
cuff edge and then increasing stitches
evenly over the 220 rows in the length of
the sleeve to gain the required amount of
87 stitches at the armhole. (Increase one
stitch approximately every 18 rows.)
Note: all the measurements here are in
metric. To convert to imperial, 1 cm = 0.39 in.
Tip
Calculation of stitches and rows
(As referred to on page 115.)
Calculating stitches and rows is very
important for making up a garment;
you will often need to shape diagonal
or slanting style lines, such as for
necklines, shoulders, armholes and
sleeves. All shaped pieces are basically
calculated in the same way: divide
the number of stitches that need to
be decreased by the number of rows
you need to knit them in; this will give
you the number of rows to be knitted
between each decrease action.
9781474251730_txt_app.indb 183
183
Tip
Reminder note: neckline shaping
(As referred to on page 117)
Most necklines are worked in a similar
way, often part-working in the middle
and then knitting both sides separately
according to shape (for example, as
with a square neckline shape); while
working on one side, the other side is
put on hold. Alternatively, waste yarn
can be knitted onto the side that is
not being shaped first; this takes the
knitting off the machine for a while
and can be useful when working in
particularly fine yarns, as it avoids the
carriage having to go many times over
the held needles. The V-neck is knitted
in this way, working on one side at a
time, decreasing the required number
of stitches until reaching the neck point.
For a round neckline, you will need to
check that the overall measurement is
correct; if not, the shape will need to be
adjusted to fit. The back neck can often
be knitted straight, but for finer knitting
it is better to have a slight curve.
A variety of collar designs are suitable
to be attached (see collars and
neckbands on page 124).
When knitting a V-neck, you will need
to bring out half of the needles on
the opposite side to the carriage into
holding position, so they do not knit.
Shape the V by bringing the required
number of needles into hold every
alternate row (or according to the
pattern calculations). Continue in this
way until only the required number
of stitches for the shoulder is left in
working position. After completing one
side and casting off the shoulder, the
other side can be worked.
2/26/18 11:44 AM
 184 CHAPTER 6: PRACTITIONERS IN CONTEXT: MENSWEAR
Tip
Reminder note: shoulder shaping
(As referred to on page 118.)
Shoulders are shaped by putting
needles into holding position on
alternate rows, from the armhole edge
on the opposite side to the carriage.
To calculate the shoulder slant, draw
a horizontal line on the paper pattern,
from the outside lower shoulder point,
inwards, towards the neck; then draw
a vertical line up from here to touch the
neck edge. The vertical line will give you
the measurement for the height of the
slant and the number of rows that need
to be knitted. The horizontal line will
give you the length of the shoulder and
the number of stitches that need to be
put on hold. Divide the number of rows
into the number of stitches to calculate
the number of needles to be held on
alternate rows. When the shaping is
complete, the holding needles are
put back into working position with a
transfer tool. One row can be knitted
before casting off. (If the seam is to be
grafted later, you will need to knit off
with waste yarn.)
A dropped shoulder design often
requires no shaping and can be knitted
straight. Often the neck and shoulder
lines are knitted all in one with the back.
If a slash neckline is required, the front
neckline can also be knitted in one with
the shoulder line.
9781474251730_txt_app.indb 184
Pattern construction for sleeve
development
The easy fitting dropped shoulder block
has a versatile silhouette and lends itself
well to a variety of developments, such
as bomber jackets, workwear-inspired
designs, smock shapes and coats. This
block translates easily into the batwing
sleeve block, which then opens up further
garment design possibilities. (For more
androgynous styles, see batwing sleeve
illustration for a sample construction.)
1. Trace around the easy fitting dropped
shoulder body block and sleeve.
2. Place the flat sleeve head against the
dropped armhole.
3. Trace around the two pieces to make
them one shape.
4. Draw in desired style lines from
sleeve wrist to body hem.
5. The cuff width might need to be
increased to allow for a separate trim
to be attached.
6. Consideration must be given to
the pattern width as a long-sleeved
batwing could be too wide to knit
on the knitting machine. Alternative
methods could be to change the
direction of the knit.
2/26/18 11:44 AM
 PATTERN CONSTRUCTION FOR SLEEVE DEVELOPMENT 185

and centre back

E

Centre front
A
C
D

Fold of pattern
6.47
Simple pattern guide for basic batwing block
(body with integral sleeve).

6.48
Carlo Volpi, illustration of batwing-sleeve design
with block colour detail.

9781474251730_txt_app.indb 185 2/26/18 11:44 AM

 Conclusion
The aim of this book has been to offer
inspiration and insight into the different
elements of knitwear design and to introduce
you to as many basic machine techniques as
possible. I hope that the knitting techniques
have inspired you to play with yarns, scale
and different sequences. Remember, only a
few techniques need to be mastered at the
beginning – one technique can be used in
numerous ways.
The insightful designer interviews within
this book have highlighted the broad and
diverse opportunities for design within the
knit industry. A designer may pursue a career
within a large company, as Katherine Mavridis
has with Ralph Lauren, or as a designer/
maker in a small business, taking advantage
of knit’s unique bespoke factor, as seen in
design companies HJK and SIBLING. Some
designers work for, or set up, swatch studios,
such as Sophie Steller’s studio, creating knit
concepts to be sold to the fashion and interior
design industries; others go on to work in
trend forecasting, styling or costume design.
London-based textile artist and educator,
Freddie Robins, has used Shima Seiki knit
technology, normally associated with large
scale manufacturing, to produce works,
therefore merging industrial technology with
art. Contrary to popular perceptions, the
relationship between knitting and pushing the
boundaries of technology is extremely close.
The technology behind the industry and
contemporary creative knitting practice,
is not always visible in outcomes, but it
is fundamental to knitting and a source
of incredible innovation. Graduates with a
good technical expertise may wish to work
186
9781474251730_txt_app.indb 186
as consultants on collaborative research
projects, within medical textiles, geo-textiles
or architecture.
Recently, there has been significant interest
in fashion and well-being. Researcher Vikki
Haffenden, from the University of Brighton,
for example, has applied knit technology
to large-size women’s body shapes; with
the use of three-dimensional body scans
and specialist software, she has developed
better-fit knitwear for the larger lady ‘Knit to
Fit’. In 2004, researchers Tilak Dias and Will
Hurley, from Nottingham Trent University,
developed a three-dimensionally knitted
upper for Nike Flyknit shoe concept. ‘Scan to
Knit’ technology, also developed by Tilak Dias,
enables precision fit and correct graduated
pressures for compression garments. His
latest research is exploring the potential of
knitted conductive fabrics for communication
systems. All of these developments place
knitting at the forefront of technical innovation
unlimited by traditional concepts of fashion.
The career opportunities are hugely varied, so
take time to consider the ways in which you
can take your knitwear design when you finish
your course.
It is hoped that the contents of this book
will encourage you to become more curious
about different aspects of knit and to start
your own investigations. Remember to learn
the basics first and then start experimenting.
Hopefully this book will help you feel
confident in making your own patterns and
further your interests in knitted textiles and
fashion.
2/26/18 11:44 AM
 Glossary
Acetate Semisynthetic yarn made from
cellulose pulp and acetic acid.
Acrylic Synthetic version of wool, developed
by DuPont in the 1940s.
Agent Person authorised to act on your
behalf to sell your garments.
Alpaca Soft, fine hair from the alpaca goat.
Angora Fine, light hair combed from the
angora rabbit.
Appliqué Fabric, beads or stitches sewn on
to a fabric/knit as embellishment.
Aran A textured knit that incorporates cables;
it is made using transfer tools.
Asymmetrical A garment that has two
different sides.
Beaded knitting The beads are threaded on
to the yarn; they can then be knitted into
the work using the knit weave method.
Bind off The technique of finishing and taking
the knit off the machine (cast off).
Block Primary pattern used as the starting
point for garment patterns.
Bodice The upper body of a garment.
Bouclé Fancy yarn containing loops.
Brief Set of instructions directed at a
designer to outline project aims, objectives
and final outcomes.
Cable stitch The crossings of groups of
stitches, repeated at intervals in the same
wales (ornamental twisting of wales).
Cam Part of the mechanics found under the
carriage of a knitting machine; when put
in position, these determine the needle
movement and therefore the stitch effect.
Carriage The principal part of a knitting
machine, the carriage carries the cams
across the bed.
Cashmere Hair from the fine, soft undercoat
of the cashmere goat; a luxury yarn.
Cast on Various ways of initiating stitches on
empty needles.
Chainette Fancy yarn consisting of chain-
looped stitches or a tube of stitches.
Chart A knitted pattern plotted on graph
paper.
Chenille Fancy yarn with a velvet-like texture.
9781474251730_txt_app.indb 187
Computer-Aided Design (CAD) The use of
computers in fashion and knitwear design.
Conceptual A design vision based on ideas
and principles.
Cone Support for yarn.
Cord Small tube of knitting.
Cottage industry The garments are usually
produced in the home of the maker.
Cotton Fibre from the cotton plant. Versatile
and soft.
Crepe Yarn or fabric with a crinkled texture,
often with an element of stretch.
Dart Shaped area of knit, tapered at one end
or both ends to enable a better fit.
Decrease Way of reducing the width of fabric
by knitting two or more stitches together.
Design swatch Finished design for sale
through an agent.
Double bed Knitting machines that have two
beds, hence two rows of needles facing
each other.
Double jersey Plain, double-faced, reversible
knit, made on a double-bed machine. Ideal
for jackets and heavier garments.
Drape The way a fabric hangs.
Embellishment Decoration stitched or
appliquéd onto a fabric/knit.
Embroidery Decorative stitches sewn onto
knit as an embellishment.
Eyelet A hole formed by transferring a stitch
and leaving the empty needle in action, so
that it casts on in the next row knitted (one
of the basic techniques for lace knitting).
Face/right side The most interesting side of
a fabric/knit.
Fair Isle A single jersey knit with small
patterns using two colours at a time;
creates floats at the back of the fabric.
Fashion forecasting The process of
predicting forthcoming trends.
Felt A thick fabric made from wool. The
fibres are matted and fused together
during a process involving water and heat.
There is no grain to these fabrics, and they
are ideal for cutting as they do not unravel.
Float Threads that pass the needles and are
not knitted in.
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2/26/18 11:44 AM
 Fully fashioned The shaping of a knitwear
garment so each edge has a wale
travelling along the line of the selvedge.
Garter stitch Alternate rows of knit and purl.
Gauge The number of needles in one inch of
the bed. The resulting fabric is knitted in
a certain gauge, depending on the size of
the machine.
Gimp Fancy yarn with a wavy structure.
Grafting A sewing technique that creates an
invisible join.
Guernsey/gansey A traditional fisherman’s
jumper.
Hank/skein Quantity of yarn that has not
been wound onto a cone.
Haute couture Exclusive garments
individually designed for private clients.
High end Expensive garments, below haute
couture, usually produced in limited
numbers.
Holding stitches Stitches that are held on
non-knitting needles over a series of
courses when other needles are knitting.
Increase Methods for increasing the width
of the knit by adding new stitches. Inlay
technique for holding an inlay yarn in place
between or over the needles; it is then
woven in when knitted.
Intarsia A method of knitting single,
nonrepeating motifs or large areas
of contrasting colour. A more time-
consuming technique than Fair Isle and
jacquard.
Jacquard A double jersey knit using a punch
card or electronic machine to create a
pattern. This technique allows the floats to
be knitted in at the back.
Knit pattern Instructions for knitting up a
garment; it will indicate how many stitches
and rows to knit for each section of the
silhouette, as well as the gauge, yarn and
stitch types to use.
Knitted lace A single jersey fabric with eyelet
hole patterns; made with a lace carriage or
by hand-tooling techniques.
Knit weave This involves placing a thick
yarn across a fine one while it is knitted.
188
9781474251730_txt_app.indb 188
The thick yarn is then knitted in with the
fine knitting, giving one side of the work a
woven appearance.
Knop Fancy yarn with small lumps along its
length.
Lace Fabric with transparent and opaque
areas, which can be made using a lace
carriage or transfer tools.
Ladders Technique in which stitches are
dropped and left to unravel; this can be
achieved accidentally or by design.
Lambswool A 100 per cent virgin wool.
Latch up The use of a latch tool to reform
dropped stitches or to pick up floats of a
ladder.
Linen Fibre from the flax plant.
Lurex Fancy yarn made from laminate or
plasticized metal.
Lycra Synthetic elastic fibre, developed by
DuPont.
Market The business or trade of a particular
type of product.
Marl/twist yarn Yarn made from two or more
yarns twisted together.
Mass-market fashion Ready-to-wear clothes
produced in large quantities and standard
sizes.
Merino High-quality wool from the merino
sheep.
Mohair Yarn made from the hair of the
angora goat. Moss stitch technique of
single plain and purl stitches that alternate
both vertically and horizontally.
Niche Specialized product group targeting a
specific area of the market.
Nylon Synthetic, polyamide yarn.
Partial row knitting (holding technique)
Working with part of a row at one time.
Over a series of rows, the knitter can
decrease the number of stitches to create
a three-dimensional texture or shaped
blocks of colour.
Pattern pieces Paper templates used to
inform the silhouette of a garment; these
shapes can be the starting points for
creating knit patterns (see Knit pattern).
2/26/18 11:44 AM
 Picot hem A lace-patterned hem made with
eyelet holes.
Plating The knitting of two yarns
simultaneously; when knitting a single
jersey, one yarn is visible on the face and
the other on the reverse; when knitting a
double jersey the second yarn is hidden in
the centre of the knit and is only revealed
when stitches are taken out of action to
show the interior.
Racking Technique used when knitting on
two beds; one needle bed can be moved,
so that it is not lined up with the other,
crossing stitches over each other in a
lateral direction.
Rayon Regenerated cellulose yarn made
from wood pulp.
Rib Wales of plain and purl stitches forming a
stretchy fabric. Ideal for trims on garments
at the waist, neck or wrists.
Row count The number of passes of the
carriage as counted by the row counter on
the machine.
Sample swatch First versions of a design to
trial technique and colour.
Selvedge Closed side edges of the knit.
Short row Technique for changing direction
of knitting before the end of a row.
Silhouette The outline shape of a garment or
collection.
Single jersey A lightweight fabric made on a
single-bed machine. Ideal for T-shirts and
lingerie.
Sinker gate A row of pins along the front of
the needle bed.
Stand A dress-making mannequin or
dummy; also known as form.
Stitch A single loop of yarn within the knit.
Target market The group of customers that a
retailer aims to sell to.
9781474251730_txt_app.indb 189
Tension swatch A knitted swatch used to
calculate stitches and rows for knitting
final designs.
Toile First version of a garment in cheap
fabric.
Transfer stitch Moving a stitch loop to a
nearby needle.
Tuck stitch The yarn is collected and held on
a needle without being knitted in.
Wale Column of knit stitches.
Warp knitting Consisting of vertical chains
of loops, these loops connect with each
other across the entire width of the knit.
Ideal for summer wear, sportswear and
lingerie.
Waste knitting Knitting worked with waste
or scrap yarn; when casting on it provides
an area of knit to hang weights on and
can act as a stitch holder for knitting that
needs to be put back onto the needles.
Weft knitting Consisting of a succession of
loops repeated across the width of the
knitting, one row of loops connects with
the next row of loops, forming a length of
knit.
Woollen-spun yarn Yarn that is soft, bulky
and light, which has been spun from fibres
that have been carded but not combed.
Does not necessarily have to contain wool.
Worsted Tightly spun, smooth wool yarn. The
fibres are combed parallel, which makes
the yarn smooth and strong.
Yarn count Information on the thickness of
yarn, in relation to the length and weight.
There are a number of systems: in the
metric system, the finer the yarn, the
higher the number; for example, 2/32s is
finer than 2/28s.
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2/26/18 11:44 AM
 Reading basic symbols
Symbols and charts are the easiest way to
explain step-by-step instructions for a knitting
technique. Simple machine-knitting charts
are usually written to show the reverse face
side of the fabric, as the knitter would see
Tuck stitch. Alternating pattern produced by
it hanging off the machine. More complex, tucking every other needle. This pattern can
fashioned charts may be written to be read be knitted by selecting the tucking cams on
from the front and will not have the purl the carriage or by using holding position to
symbols. This is because in fashioned work accumulate tucks.
it is necessary to indicate the final sloping
direction of the stitches.

A diagram will illustrate the needle set-up,

and it should indicate which stitches to move,
which direction to move them in and how
many stitches to transfer in one move. It will
also indicate how many rows to knit. The
symbols shown here are for simple charts.

Slip stitch. This shows on the purl side of the

fabric; it can be formed by selecting slip stitch
on the carriage or can be formed manually.

Lifted stitch. An arrow indicates where to lift and

hang a stitch. The base of the arrow shows the
stitch being lifted, and the point of the arrow
shows the needle and row on which the stitch is
being hung. Holding position. This sample shows needles 2
and 4 being held. Tuck stitches are formed over
rows 2, 3 and 4.

Holding position. Needles are held to form

Purl or reverse stitch. When work is hung on the short rows. The holding needles are gradually
machine, this is the side that faces the knitter. increased with each row.

190

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 Useful resources
Yarn counts
Yarn counts are systems that indicate the
thickness and relative weight of yarn. These
systems can provide a way of working out the
length of yarn needed. A traditional system
uses two figures, such as 2/6s (pronounced
two sixes). The first figure relates to how
many single ply/strands make up the yarn.
The second figure points to the weight
of each single strand. In most traditional
systems, it refers to the number of hanks to
the pound of yarn. The higher the number of
hanks to the pound, the thinner the yarn is
likely to be.
In order to work out the length and weight of
yarn required, you would first need to know
the standard length of yarn in a hank. This
will vary, depending on the type of yarn. For
cotton, the standard length is 840 yards. For
worsted wool it is 560 yards.
If, for example, you wanted to use a worsted
wool yarn at 560 yards per hank, which is
9781474251730_txt_app.indb 191
labelled 2/6s, you would first multiply 560
by the number of hanks (6) and divide by the
ply number (2). Two-ply worsted wool would
have 1680 yards to a pound in weight. Coned
yarns tend to be sold in multiples of 500g
(approximately one pound); knowing the
length of yarn on the cone can give you an
indication of the thickness of yarn.
The metric system uses the same hank length
of 1000 metres for all fibres and is concerned
with the number of hanks to a kilogram in
weight.
Other systems include the Denier system,
used for man-made filament yarns, and the
International Tex system, both of which are
based on units of weight by grams.
This is a good resource for learning about
yarn counts: www.offtree.co.uk/converter/
index.html.
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2/26/18 11:44 AM
 Index
A Carpenter, Ruth, 74
acetate, 10, 187
acid dyes, 13
acrylic, 11, 187
agent, 83, 187
alpaca, 7, 158, 187
androgyny, 150–51, 174–75, 184
angora, 10, 187
appliqué, 143, 187
Aran knitwear, 2, 4, 5,
150, 187
argyle-patterned hose, 6
armhole shaping, 118, 119
asymmetrical, 99, 108, 168, 187
B 86, 187
Backlund, Sandra, 1
backstitch, 141, 146
bag designs, 77
Baker, Kendall, 4, 151, 174–76
Bartys, Sam, 12, 117
beaded knitting, 187
beading, 122, 123, 146–47
bed of machine, 17
binding off, 60, 62–63, 187
blend yarn, 12
block patterns, 105, 114–15,
179, 187
blocking, 140
bodice block, 105, 106, 113,
181, 187
Bolan, Mark, 150
bouclé, 32, 74, 187
Bowery, Leigh, 35
Bowie, David, 150, 151
boyfriend jumper, 150
Braille, 36, 38–39
brief, 30, 31–32, 187
British Standards Institution, 105
Brother machines, 19
Brown, Catherine, 6, 66
Bryan, Sid, 152
Butcher Couture, 91
buttonhole stitch, 137–39
buttonholes, 137–38
buttons, 82, 137, 139
Byrne, Pa, 72, 151, 158–61
C Hammond, Latasha,
cable stitch, 4, 79, 187
CAD patterning, 57, 80, 81
cam, 18, 82, 92, 187, 190
cam levers, 62, 71–72, 76, 86,
93, 97–98, 100–101, 129,
131–32, 138
192
9781474251730_txt_app.indb 192
carriage, 18, 187, 190
cashmere, 10, 28, 187
casting off, 60, 62–63
casting on, 60, 61, 187
chainette, 187
Chalayan, Hussein, 91
Channel Islands, 3
chart, 187, 190
chenille, 187
closed-edge cast-on, 61
collar, 122, 123, 124–27
colour, 44, 45–46, 47
Computer-Aided Design (CAD),
19, 57, 64–65, 80–81,
concepts, 35–37, 158, 162, 165,
169, 171, 174, 177
conceptual, 24, 38–40, 52, 187
cone, 12, 13, 177, 187
Coop, Abigail, 149
cord, 15, 22, 48, 61, 102–4,
137, 187
cottage industry, 5, 187
cotton, 10, 187
crepe, 187
D Fast, Mark, 67
Dalby, Jennifer, 8
darts, 100, 101, 187
design development, 23, 29,
41–44
design methodology, 158, 162,
165, 169, 171, 174, 177
design process, 48–49
design swatch, 187. See also
swatches
design workshop, 31–32, 35,
43, 47, 53, 65, 68, 72–73,
76, 79, 82, 88, 93–94, 97,
100, 101, 108, 111, 113,
116, 119, 121, 127–29,
131–32, 137–39, 141–42
DesignaKnit, 19, 52, 86
designer case study
Baker, Kendall, 174–76
Byrne, Pa, 158–61
Draper, Matilda, 171–73
169–70
McKernan, Ben, 165–68
Nisbett, Ella, 162–64
Volpi, Carlo, 177–78
Dias, Tilak, 186
domestic knit machine, 57
double-bed machines, 17, 18,
19, 22, 64, 66, 68, 74, 99,
126–29, 187
double jersey, 80, 187
drape, 49, 105–10, 187
Draper, Matilda, designer case
study, 171–73
drawings, 51–52
dropped stitches, 64
dyeing yarns, 13
Dyer, Amy, 87
Dylon dyes, 13
E
Edelkoort, Li, 55
electronic machines, 19, 20, 86
‘Elizabeth’ dress, 90
embellishment, 32, 122, 123,
143–47, 169–70, 187
embroidery, 144–45, 187
eyelet, 21, 67–69, 99, 128, 187
F
Fair Isle, 5, 7, 14, 73, 80,
81, 187
Farrow, Linda, 157
fashion forecasting, 187
fastenings, 137–38
felt, 36, 38–40, 72, 78, 96, 125,
143, 158, 172–73, 187
feng shui, 44
fibres, 7
Fierro-Castro, Zuzana, 145
flared shapes, 96–98
float, 64, 67, 70–71, 73, 76, 80,
88, 132, 187
Foster, L. Glaiser, 123
Fox, Shelley, 36, 37, 38–40, 96
frilled collar, 126, 127
fringed trim, 132
fringing, 76
fully fashioned, 64, 98–99,
101–3, 118, 143,
165–66, 188
G
ganseys, 3
garter stitch, 7, 22, 188
gauge, 17–21, 188
Gaydon, Jessica, 14
gimp, 188
grafting, 142–43, 188
granderelle yarn, 12
Green, Cassie, 147
2/26/18 11:44 AM
 Gruber, Anna Maria, 109
guernseys, 2, 3, 150, 188
H 62, 82
Haffenden, Vikki, 186
hair, 10
Hammond, Latasha, designer
case study, 169–70
hand-finishing techniques,
140–42
hand-knitting, 1–3, 22–23, 150,
158, 165
hand-operated machines, 20,
86, 141
hank/skein, 188
Hannah Jenkinson Knitwear,
135, 186
haute couture, 188
hemming stitch, 142
hems, 128–31
high end, 40, 188
Hill, Victoria, 11, 95
holding techniques, 92–94, 100,
188, 190
holes sweater, 39
horizontal darts, 101
Hoyle, Alice, 41, 42, 44
Hurley, Will, 186
I latch tools, 16, 21, 188
industrial hand-flat machine, 57
industrial machines, 20, 86–87
inlay, 74–76
inspiration, 158, 162, 165, 169,
171, 174, 177
intarsia, 80, 88–89, 188
interviews
Fox, Shelley, 38–40
Jenkinson, Hannah, 134–36
McCreery, Cozette,
152–54
Mavridis, Katherine, 102–4
Robins, Freddie, 24–26
Steller, Sophie, 83–85
J McQueen, Alexander, 4, 29, 35,
jacquard knitwear, 80–81,
85–86, 156–58, 163, 166,
170–74, 188
Jenkinson, Hannah, 123, 128,
130, 134–36, 145
jersey toiles, 105, 106, 109,
110, 179
jerseys, 3, 49, 106
9781474251730_txt_app.indb 193
K measurements, 52, 58–60,
Kenzo, 79
Knitmaster machine, 18, 19,
knitted lace. See lace
knitted samples. See samples
knitting
basic techniques, 60–66
binding off, 60, 62–63
brief history of, 2–3
casting off, 60, 62–63
casting on, 60, 61
construction of, 15
jerseys and guernseys, 3
measurements, 52, 58–60,
108, 111, 113–15, 179–84
needle positions, 62
pattern creation, 111–21,
179–80, 183–85, 188
reinventing traditional, 2
knitting machines, 15, 17–20, 23
stitch formation, 16
tools for, 21–22
Knitting Madonna, Master
Bertram of Minden, 2
L
lace, 7, 67–69, 151, 174–75,
178, 188
ladders, 68–69, 70, 107, 188
Lawlor, Derek, 48
Lee, Rev. William, 2, 23
lifting stitches, 76, 79, 190
linen, 10, 188
linkers, 22, 141
looped trim, 132
Lurex, 11, 188
Lycra yarns, 28, 188
M
machines, designers, 158, 163,
166, 170, 172, 174, 178
Malkovich, John, 152
McCreery, Cozette, 149, 152–54
McKernan, Ben, 165–68
36, 80, 153
man-made yarns, 10–11
mannequin, 106–10
market research, 35, 188
marl yarn, 12, 188
mass-market fashion, 188
mattress stitch, 140, 141
Mavridis, Katherine, ix, 102–4, 186
108, 111, 113–15,
179–84
merino, 10, 163, 166, 172, 188
Missoni, Margherita, ix, 133
Miyake, Issey, 23
mohair, 10, 32, 74, 150, 188
Monroe, Marilyn, 150
mood boards, 30, 32, 41
Mylar sheets, 19, 21, 64–65, 71,
73, 80, 81, 86
N
natural yarns, 9–10
neckbands, 124, 125
necklines, 107, 117, 183
needles, 18, 21, 62
nepp yarn, 12
niche, 188
Nike, 117, 165, 186
Nisbett, Ella, designer case
study, 162–64
nylon, 11, 28, 188
O
open-edge cast-on, 61
Osborne, Natalie, 92, 96
P
partial knitting, 92–95, 99, 188
pattern grids, 81
pattern pieces, 44, 46, 49, 113,
181–83, 188
patterned knits, 80–81
picot edge, 128, 129, 146, 189
pile loops, 74, 76
Pilpenka, Natalia, 107, 124, 125
Pitti Filati fair, 46
plating technique, 74, 86, 189
plying yarns, 8
pockets, 133
polyester, 11, 141, 166
power-knit machine, 57
Première Vision, 46
presentation, 50–52
pressing, 140
primary sources research, 35
punch cards, 21, 71, 73, 74,
80–81, 82
purl stitch, 70, 71, 73, 74, 190
R
racking, 189
raised pattern, 94
193
2/26/18 11:44 AM
 Ralph Lauren Collections,
102–3, 186
rayon, 10, 189
Rebel Tartan, 66
reforming stitches, 64
research, 33–37
reverse (purl) stitch, 70, 71, 73,
74, 190
rib, 17–18, 20, 64, 86, 111,
124–26, 128–30, 133, 140,
166, 174, 179, 181, 189
Robins, Freddie, 24–26, 27, 186
Rodarte, 69
rouleau loops, 138, 139
rows, 117, 183, 189
ruffled collar, 127
S Steller, Sophie, 81, 83–85, 186
Sad Teddy, 155
samples, 42–43, 50–51, 189
Savage, Orla, 14
scalloped hem, 131
Scare Isle Knit Monster, 54, 55
Scopes, Annabel, 52, 58, 140
sculptural form, 46–49, 102
seams, 140
self-evaluation, 52
selvedge, 189
set-in sleeves, 112, 114, 118
sewing machines, 141
Shailes, Simone, 137
Shao Yen Chen, 28, 29
shaping, 46, 47, 96–98, 105–10,
117–19, 181–84
Shima Seiki machines, 20,
23–24, 27, 84–87, 134,
158, 165–66, 174, 186
short row, 92–93, 189, 190
Shuvalon, Talia, 53, 66, 119
SIBLING clothing brand, 55,
149, 152–54, 156–57,
174, 186
silhouette, 31, 33, 40–42, 49,
52, 86, 92, 110, 150,
179, 189
silk, 3, 7, 9, 10, 77, 143, 144, 163
Silver Reed machine, 19
Simpson, Wallis, 150
single-bed knitting machine, 17,
64, 126, 189
single jersey, 189
sinker gate, 61, 63, 76, 189
194
9781474251730_txt_app.indb 194
Sissons, Juliana, 49, 69, 92, 99,
107, 126
Skarphéðinsdóttir, Björg, 1,
110, 143
sketchbooks, 9, 32, 33, 37, 42,
45, 46, 50–52, 78, 173
sleeve patterns, 112, 114, 118,
120, 121
sleeves, 181–82, 183–85
slip stitch, 73–74, 190
smart textiles, 12
Smith, Justin, 77
Smith, Paul, 149, 150, 171
space dyes, 14
spinning yarn, 8
stands, 189. See also
mannequin
stitch dial, 65
stitch gauge, 18
stitches, 117, 183, 189
embroidery, 144–45
formation, 16
increasing and decreasing,
98–99
Stoll machines, 20, 81, 84–85,
86, 134, 158, 165–66, 170
stripes, 32, 42–43, 45, 65, 66, 168
surface texture, 70–79
cables, 79
lifting stitches, 76, 79
slip stitch, 73–74
tuck stitch, 71–72
weave, 74–76
Swann, Rebecca, 48, 50
Swarovski crystal
embellishment, x, 143
swatches, 34, 50–51, 74, 95, 96
colour, 45
Steller, Sophie, 83–85
tension, 56–60
Sykes, Jemma, 90, 91
symbols, 190
T
target market, 35, 53, 189
Taylor, Hannah, 5, 89
technical file, 43
techniques, designers, 158, 163,
166, 170, 172, 174, 178
technology development, 23
tension, 17, 59, 60, 65
tension swatch, 56–60, 189
texture, 32, 42–43, 70–79
themes, 35–37
three-dimensional effects,
92–95
toiles, 105, 106, 108–10, 189
tools, 21–22
transfer stitches, 68–69, 72, 99,
158, 189
transfer tools, 21, 62–64, 68,
79, 93, 98, 100, 116, 118,
142, 184
trend forecasting, 46
Tsai, Alison, 7, 9, 75, 78, 122,
123, 126
Tsao Chin Ke, 30, 31, 33, 34,
47, 57
tuck stitch, 43, 64, 66, 70–72,
158, 189, 190
twist yarn, 12, 188
V
vegetable dyes, 13
vertical darts, 100
Volpi, Carlo, designer case
study, 177–78, 185
volume creation, 49
W
wale, 15–16, 98, 189
warp knitting, 15, 189
waste knitting, 142, 143, 189
waste yarn, 142
weave, 57, 74–76
weft knitting, 15, 23, 189
weighted hems, 128
weights for machines, 22
Wells, Rachel, 6
Westwood, Vivienne, 6
wool, 2–4, 7, 10–13, 36, 39, 57,
77, 140, 144, 150, 174
woolen-spun yarn, 189
worsted yarn, 3, 10, 166, 189
Y
Yamamoto, Kansai, 150, 151
yarn count, 189, 191
yarns, 7–14
Yates, Charlotte, 45, 51
2/26/18 11:44 AM
 Acknowledgements and picture credits
I would like to thank everyone who has
supported me during this project, in
particular to all the talented designers and
to the students who have graduated from
Nottingham Trent University, The University
of Brighton, London College of Fashion, The
Royal College of Art, St Martins College of
Art, and Parsons, The New School, New York;
your contributions of fantastic design and
portfolio work have made this book what it is.
Thank you also to the designers who have
kindly contributed to the book with inspirational
interviews and amazing images: Freddie
Robins, Shelley Fox, Sophie Steller, Katherine
Mavridis, Hannah Jenkinson and Cozette
McCreery, designer of the former label
SIBLING. Special thanks to Carlo Volpi for
contributing to the menswear chapter at the
last minute.
Thank you to Sandy Black for her continuing
support and for the inspiring and insightful
words of wisdom in the foreword introduction
to the book. I would particularly like to thank
Shelley Fox, Donna Karan professor and head
of MFA Fashion Design and Society at Parsons,
The New School, New York, for her very
generous help and support and for introducing
me to some very talented designers. A
special thank you also to my dear friends
Elizabeth Owen and Gina Ferri at Cosprop Ltd
costumiers, London, who tirelessly helped
source historical knitted garments when I was
initially researching styles of knit and trim.
Thank you to Janet Sischgrund at Alexander
McQueen for sourcing some beautiful images;
thank you to Sarah Hodges at the V&A Museum
for her wonderful images of my knitted
swatches, and thank you to Jo-Jo Ma for her
beautiful images also.
Of course, a very big thank you to everyone at
Bloomsbury, especially to my editor Lucy Tipton
for her vital contribution and organization; I
would like to thank her again for putting up with
my endless requests for more time and for her
amazing ability to keep patient. Thank you for a
great learning curve.
9781474251730_txt_app.indb 195
Prelims
0.1 Rebecca Swan
0.2 Abigail Coop, photography Isabel
Woodrow-Young
0.3 Katherine Mavridis, MFA Fashion Design &
Society, Parsons School of Design
Chapter 1
1.1 Björg Skarphéðinsdóttir, MFA Fashion
Design & Society, Parsons School of Design
1.2 Visit of the Angel, Wikipedia/public domain
1.3 Photo by The Print Collector/Print Collector/
Getty Images
1.4 Shetland Museum and Archives
1.5 Kendall Baker
1.6 Photo by Antonio de Moraes Barros Filho/
WireImage
1.7 Hannah Taylor, photograph by Jo-Jo Ma
1.8 Photo by Michelle Leung/WireImage/Getty
Images
1.9 to 1.10 © 2016 Catherine Brown all rights
reserved
1.11 to 1.12 Rachel Wells
1.13 Shetland Museum and Archives
1.14 Cassandra Verity Green www.cassandra
veritygreen.com Photographer: Jarek Kotomski
1.15 Andrew Perris Photography
1.16 Alison Tsai, MFA Fashion Design & Society,
Parsons School of Design, photography by Paul
Jung
1.17–1.20 Andrew Perris Photography
1.21–1.23 Sam Bartys
1.24–1.25 Courtesy of Jo-Jo Ma
1.26–1.27 Andrew Perris
1.28–1.30 Penny Brown
1.31–1.34 Juliana Sissons
1.35–1.48 Andrew Perris
1.49 Photo by Siemoneit/Sygma via Getty
Images
1.50 Courtesy of Freddie Robins, photography
by Ben Coode-Adams
195
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 Chapter 2
2.1 Shao Yen Chen, photo by Christopher
Moore
2.2–2.8 © Tsao Chin Ke
2.9 Shelley Fox, photography by Lon Van Keulen
2.10 Photo by Stephane Cardinale/Corbis via
Getty Images
2.11 Shelley Fox, photography by Chris Moore
2.12 Shelley Fox, photography by Chris Moore
2.13–2.18 Alice Hoyle
2.19–2.21 Charlotte Yates
2.22 Photo by Kristy Sparow/Getty Images for
Première Vision
2.23 © Tsao Chin Ke
2.24 Courtesy of Derek Lawlor (www
.dereklawlor.com), photography by Squiz
Hamilton
2.25–2.26 Rebecca Swann
2.27 Juliana Sissons, photography by Mitchell
Sams
2.28–2.30 Rebecca Swann
2.31–2.33 Charlotte Yates, photography Tchad
Findlay, model Freya Butler
2.34 Andrew Perris Photography
2.35–2.36 Talia Shuvalov, MFA Fashion Design &
Society, Parsons School of Design
Chapter 3
3.1 Knit monster; Photographer: Thomas
Giddings; stylist: Santi Rodriguez; Model: Benoni
Loos
3.2 Andrew Perris
3.3–3.6 Tsao Chin Ke
3.7–3.8 Andrew Perris Photography a–f Annabel
Scopes
3.9–3.11 © 2016 Catherine Brown all rights
reserved
3.12–3.14 Talia Shuvalov, MFA Fashion Design &
Society, Parsons School of Design
3.15–3.16 Penny Brown
3.17 Photo by Rob Ball/WireImage/Getty Images
3.18 Penny Brown
196
9781474251730_txt_app.indb 196
3.19 Juliana Sissons, Andrew Perris
Photography
3.20 Photo by Carlo Buscemi/WireImage/Getty
Images
3.21 Juliana Sissons, designer in residence,
V&A Museum London
3.22 Penny Brown
3.23–3.24 Dorje De Burgh/Brian Teeling/
forget.rip
3.25–3.26 Penny Brown
3.27 Andrew Perris Photography
3.28–3.29 Penny Brown
3.30–3.31 Alison Tsai, MFA Fashion Design &
Society, Parsons School of Design, photography
by Paul Jung
3.32–3.35 Justin Smith
3.36–3.37 Alison Tsai, MFA Fashion Design &
Society, Parsons School of Design, photography
by Paul Jung
3.38 Photo by Antonio de Moraes Barros Filho/
WireImage/Getty Images
3.39 Photo by Stephane Cardinale/Corbis via
Getty Images
3.40 Andrew Perris Photography
3.41–3.49 Sophie Steller
3.50–3.52 Andrew Perris Photography
3.53–3.55 Courtesy of Jo-Jo Ma
Chapter 4
4.1 Jemma Sykes and Butcher Couture
4.2 Andrew Perris Photography
4.3 Penny Brown
4.4 Andrew Perris Photography
4.5 Penny Brown
4.6–4.9 Andrew Perris Photography
4.10 Courtesy of Shelley Fox, photography by
Chris Moore
4.11–4.14 Andrew Perris Photography
4.15–4.16 Penny Brown
4.17 Courtesy of David Wilsdon
4.18 Andrew Perris Photography
2/26/18 11:44 AM
 4.19–4.23 Katherine Mavridis, MFA Fashion
Design & Society, Parsons School of Design
4.24–4.26 Andrew Perris Photography
4.27 Natalia Pilpenka, MFA Fashion Design &
Society, Parsons School of Design, photography
by Monica Feudi/Feudiguaineri.co
4.28 Andrew Perris Photography
4.29 Anna-Marie Grüber
4.30–4.31 Björg Skarphéðinsdóttir, MFA Fashion
Design & Society, Parsons School of Design
4.32–4.34 Andrew Perris Photography
4.35–4.38 Penny Brown
4.39–4.41 Samuel Bartys
4.42 Penny Brown
4.43 Talia Shuvalov, MFA Fashion Design &
Society, Parsons School of Design
4.44–4.45 Penny Brown
Chapter 5
5.1 Alison Tsai, MFA Fashion Design & Society,
Parsons School of Design, photography Paul
Jung
5.2 Natalia Pilpenka, MFA Fashion Design &
Society, Parsons School of Design, photography
by Monica Feudi/Feudiguaineri.co
5.3 Natalia Pilpenka, MFA Fashion Design &
Society, Parsons School of Design, photography
by Monica Feudi/Feudiguaineri.co
5.4 Natalia Pilpenka, MFA Fashion Design &
Society, Parsons School of Design, photography
by Monica Feudi/Feudiguaineri.co
5.5 Alison Tsai, MFA Fashion Design & Society,
Parsons School of Design, photography Paul
Jung
5.6 Juliana Sissons, photography by Jo-Jo Ma
5.7 Penny Brown
5.8 HJK: Hannah Jenkinson Knitwear, MFA
Fashion Design & Society, Parsons School of
Design
5.9 Andrew Perris Photography
5.10 Andrew Perris Photography
5.11 Penny Brown
9781474251730_txt_app.indb 197
5.12 Andrew Perris Photography
5.13 HJK: Hannah Jenkinson Knitwear, MFA
Fashion Design & Society, Parsons School of
Design
5.14 HJK: Hannah Jenkinson Knitwear, MFA
Fashion Design & Society, Parsons School of
Design
5.15 John Bright archives at Cosprop Ltd,
London, photography by Juliana Sissons
5.16 Penny Brown
5.17 Photo by Vittorio Zunino Celotto/Getty
Images
5.18 Photo by Vittorio Zunino Celotto/Getty
Images
5.19 HJK: Hannah Jenkinson Knitwear, MFA
Fashion Design & Society, Parsons School of
Design
5.20–5.22 HJK: Hannah Jenkinson Knitwear,
MFA Fashion Design & Society, Parsons School of
Design, photography by Monica Feudi
5.23 HJK: Hannah Jenkinson Knitwear, MFA
Fashion Design & Society, Parsons School of
Design
5.24 Simone Shailes
5.25 John Bright archive at Cosprop Ltd,
London, photography by Juliana Sissons
5.26 Penny Brown
5.27–5.28 Andrew Perris Photography
5.29–5.30 Björg Skarphéðinsdóttir, MFA Fashion
Design & Society, Parsons School of Design
5.31 John Bright archives at Cosprop Ltd,
London, photography by Juliana Sissons
5.32–5.34 Andrew Perris Photography
5.35–5.42 Penny Brown
5.43 HJK: Hannah Jenkinson Knitwear, MFA
Fashion Design & Society, Parsons School of
Design
5.44–5.51 Penny Brown
5.52–5.54 Cassandra Verity Green, www
.cassandraveritygreen.com, photography by
Jarek Kotomski
197
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 Chapter 6
6.1 Abigail Coop, photography by Perry
Alexander Gibson
6.2 Photo by Keystone-France/Gamma-
Keystone via Getty Images
6.3 Sad Teddy Aw15 Finale; photographer:
Christopher Dadey; stylist: Matthew Josephs;
model: Matt Rodwell
6.4 Siblingsquad AW15; photographer:
Christopher Dadey; stylist: Matthew Josephs
6.5 Siblingsquad Backstage Aw17;
photographer: Portia Hunt; stylist: Judy Blame
6.6 Siblingsquad Backstage Ss17;
photographer: Portia Hunt; stylists: Matthew
Josephs & Phoebe Arnold
6.7–6.13 Dorje De Burgh/Brian Teeling/forget.rip
6.14–6.18 Ella Nisbett
6.19–6.25 Ben McKernan
6.26–6.29 Latasha Hammond,
www.artsthread.com/profile/latashahammond/
6.30–6.35 Matilda Draper
6.36–6.39 Kendall Baker
6.40–6.43 Carlo Volpi, www.carlovolpi.co.uk
6.48 Carlo Volpi

198

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