A sorry sleeve in desperate need of some Visible Mending love
The lovely people at the Knitting & Crochet Guild believe that this damage may have been caused by some corrosive fluid that might have spilt onto it during a flooding at their archives. And indeed, when I was trying to tidy up the holes before starting the repairs, the stained wool was so brittle it almost crumbled in my hands. I have collected this as the Guild might be able to get it analysed at a forensics lab. There were four small holes and one large whopper. What follows is not a repair tutorial; instead I wanted to give you an insight in the technicalities of this repair.
I first tackled the small holes with an advanced method of Swiss darning; or duplicate stitching as it’s also known. Usually you can simply embroider over the existing stitches, but to do this on a hole, you’ll first need to provide some support for the stitches you’re making with your tapestry needle. After that it’s simply a case of keeping track of the colours, just as if you were knitting the pattern.
A framework made with sewing thread to support the new stitches as they are worked
Then the Swiss darning proper can commence, staying strictly in pattern of the original Fair Isle pattern
The completed Swiss darn. The top row grafts the new stitches to the old
Once this was completed on four small holes I could start with the large hole. I wanted to employ a technique I had found in a very old Dutch booklet on teaching darning and repair skills to girls (seeing this book was originally published in 1888, of course it would only be girls that would need to learn these skills at the time; the authors would probably be mystified why I would want to use this book in earnest!) For this mending technique you knit every row with a new strand or strands of yarn for each row. The beginning of the strands of yarn are Swiss darned in over the stitches of the original fabric, and after knitting the row, the ends are darned in, too. The last row which will close the hole up, is grafted in place.
the first few rows completed; you can see the beginning of a new strand of yarn being darned into place
Grafting of the last row was also a patterned row. I used the Sock Toe Chimney grafting method, hence the bits of white cotton knitting that suddenly appeared
After finishing off all the ends it was time for a wash ‘n’ block and the excitement of seeing the finished Visible Mend was almost too much to bear for me – this surely must be the technically most demanding repair I’ve done to date.
The repaired areas blend in beautifully with the original Fair Isle fabric and colours
For this original Fair Isle hand-knit cardigan I wanted to stay close to its provenance. Therefore I wanted to use a Shetland wool for this repair. I settled on Jamieson & Smith’s Supreme jumper weight, as it comes in so many natural undyed shades. I set the camera on my mobile phone to take black-and-white pictures, and that way I chose the natural shades that came closest to the original colours, as seen in black-and-white. It turns out that the black-and-white filter on my phone gives different results than the one on my proper camera, as you will have to agree that in the following picture the Shetland Supreme shades look a bit lighter on the whole. Perhaps the light was different, too. Who knows.
The finished cardigan in black-and-white
And the cardigan “in glorious technicolor”
This weekend the Guild will have their annual convention and I’m pleased that this cardigan was ready in time to be shared with all Guild members. Angharad, volunteer Textile Archivist of the Knitting & Crochet Guild, emailed me to say she and her colleagues were very pleased with the end result, as they feel “it has made the garment into something very special whereas before it was very sad and folorn.” What a great result of such a lovely commission!