Some time last year I wrote about my intentions of knitting a sweater, based on a picture from an 1950s Dutch knitting book called Het Breien in Betere Banen, or A Better Course in Knitting:
Although this book deals with knitting, it doesn’t contain a single pattern for garments. Nevertheless, it is scattered with inspirational outfits, one of which was this beautiful sweater, knitted in alternating textural stripes of brioche rib and honeycomb brioche.
As you can see, the original sweater is very much of its time, with its high waist and tight fit. Not a shape I would want to wear, but almost everything else about it I love: the texture of brioche stitch, the zips, the small pockets at the waist line, referred to in the book as “ticket pockets” and the collar. The only thing I wasn’t so keen on were the chest pockets, but they could easily be left out.
Me posing in a decidedly urban setting
For this sweater I spent a lot of time swatching and calculating, to arrive at the right fabric and shape. Apart from the hints and tips from the Dutch book, I also used a lot of ideas from Catherine Lowe’s book on couture knitting techniques The Ravell’d Sleeve. I thought a lot about the right selvedges to use to make seaming up easier, using bound edges to create a finished look, and using many needle sizes to make a good ribbing and transition from ribbing to main fabric.
The sleeve cap has been fully shaped for a nicely set-in sleeve. You can also see the waste yarn at the ribbing that helped me make a very nice tubular cast-on
One of the things I’m particularly happy with, are the sleeves. Knitting is a very forgiving fabric as it is so stretchy, and many knitting patterns nowadays do away with a curved sleeve cap as things will kind of find their way after a few wears. It is also a nightmare for pattern writers to write up the instructions for a fully curved sleeve cap, as the decrease rate changes every few rows, so many knitting patterns don’t bother. But as I didn’t have to worry about that, I could do exactly as I pleased and I made fully curved sleeve caps (as an aside, some knitting pattern writers did use nicely shaped sleeve caps, such as James Norbury.)
Tubular cast-on and 1×1 ribbing and about five different needle sizes to keep the ribbing under control
I’m also really pleased with the ribbing on the sleeve cuffs and the welts. I decided to use Lowe’s preferred method of a tubular cast-on with waste yarn. I find that using the waste yarn method (you can still see it in the picture of the unseamed sleeve, as I only took it out after final assembly) it is much easier to be consistent with the cast-on. I used to favour the Italian cast-on, also sometimes known as the alternate cast-on, but that relies on attempting to be consistent with the tension whilst casting on. A bit of a challenge when casting on roughly 180 stitches! As a tubular cast-on looks very nice, but isn’t necessarily that resilient, Lowe advocates the use of a very small needle size for the casting on, and then gradually increasing the needle size as the ribbing is worked. To make the transition from ribbing to main fabric smoothly, the first inch or so of the main fabric is also knitted in a smaller needle size than the bulk of it.
The collar of the sweater has bound edges for a neat finish
Another area where I used graduating needle sizes was the collar. The outside edge of the collar was knitted on a large needle size, and then I gradually moved to smaller needle sizes to give the collara curved shape. It’s barely noticable I used this trick, and that makes it extra satisfying. No decreases to distort the honeycomb brioche! Speaking of which, I found Nancy Marchant’s book on brioche knitting indispensable in chosing the right increase and decrease techniques. Brioche stitches are not like your regular knitting, as they are built up by slipping stitches whilst making a yarn-over at the same time, alternated with knitting together the slipped stitches with their buddy yarn-overs. This has all sorts of implications, which Nancy is much better at explaining than I am.
The set-in sleeve cap, with perfectly matched stripes
I also managed to perfectly match the stripes when I seamed the sleeve into the armscye. I wasn’t sure whether this would work out, as this area of pattern matching was elusive. I haven’t found any resource that explains how you can ensure that the shaping you come up with for sleeve cap and armscye will allow you to match stripes perfectly. All the tutorials I found were for sewing patterns, and they all start with: check that your sewing pattern is suitable for stripes, otherwise you will not be able to match them at the armscye seam. But surely somebody must have designed it to be so to start with?
The brioche sweater was knitted in merino, a surprising choice for me!
The author of the Dutch book, De Vries-Hamburger, explained how she feels you arrive at the best results if you think about the fabric you want to achieve and then find yarn to match rather than starting with the yarn and then hoping to find a suitable pattern to go with it, and I wanted to put that theory to the test. And I ended up with a surprising choice: merino! Im not usually a fan of merino. It’s often only good at two things: it’s very soft, and it takes colours well. I don’t find it performs very well as a hand-knitting yarn. It’s often superwash treated, which affects the handle, and it often starts pilling very quickly. The Blacker Swan merino 4-ply I chose, however, seems to be different from what I’ve experienced before and it is more lively, and a has nice handle as well as being soft. So far I don’t regret my choice!
A few days ago I met up with my dear friend and comrade in wool, Felicity “Felix” Ford, and we had a lot of fun taking these pictures, so I’ll part this blog post with some more gratuitous photographs of my sweater. I hope you’ll enjoy them as much I did taking them with her!
The triumph of the set-in sleeve
The collar with its bound edges
The ticket pocket