ISSUE 2, APRIL 2012 Textisles

In this issue:

:: The Making of Betty Mouat A Shetland tale that took the world by storm

:: The Hand-Knitted Swimsuit A feature by Susan Crawford

:: On Parade photo essay, 1917-1927

:: Swimsuit Revolution The suit that changed bathing to swimming

:: Betty Mouat Sweater & Cowl Two nautical designs in vintage Shetland lace

NAUTICAL! TEXTISLES APRIL 2012 AHOY THERE!

Welcome to Textisles! This issue is packed full of nautical features . . .

In the first essay we return to 1886, when Shetland knitter, Betty Mouat, took an unscheduled sea-voyage to Norway. The story of her transformation into an international media sensation throws a salutory light on the late- Victorian press and its attitudes to celebrity.

Then we take a dip into the water, with two features that explore the shifting shapes of women’s swimwear. We are also pleased to welcome guest contributor, Susan Crawford to Te x tisles. A talented designer and fashion historian, Susan understands hand-knitted swimsuits from the inside-out. Here she shares her expertise. Finally, in “Meet the Maker” we talk to Griseldis Schmitthuber about her Textisles is designed to be read on a computer fabulous hand-knitted swimsuit, and her screen or tablet device, but the two patterns have experience of making it. been formatted separately for printing. To print the patterns, simply select pp. 47-57 (Betty Mouat Sweater) or pp.58-62 (BMC) in your dialogue box In many different ways, the features and images before hitting the print button. in this issue speak to the two patterns I’ve designed -- both of which feature Shetland cockleshell lace, and were inspired by the story of Betty Mouat. The styling of the sweater with CONTENTS the red-wool cap is a shout-out to Jantzen, inventor of the revolutionary “suit that changed The Making of Betty Mouat...... 3 bathing to swimming.” Swimsuit Revolution...... 14 On Parade...... 27 I’ve so enjoyed putting this issue together - I Rise and Fall of the Hand-Knitted Swimsuit...... 38 hope you enjoy it too. Meet the Maker...... 44 Resources...... 46 Thanks for reading, and happy knitting! Betty Mouat Sweater...... 48 BMC (Betty Mouat Cowl)...... 59 Kate x

Warriston

! 2 TEXTISLES APRIL 2012 The Making of Betty Mouat

A Shetland tale that took the world by storm

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Betty Mouat was an ordinary Shetlander. . .

. . .a crofter, a spinner, and a knitter. She worked hard at home, and on the land. Under her hands, the finest Shetland fleeces were transformed into even finer two-ply. She knitted lace of dazzling beauty and complexity. She was a woman with talented fingers, but in this she was by no means unusual. She was an ordinary woman of Shetland. But on 7th February, 1886, she turned into something else. She was suddenly transformed from Betty Mouat of Scatness into Saint Elizabeth, the Heroine of the Columbine. Her name was known in Canada and Australia; poems were written in her honour; and crowds gathered on the off-chance of glimpsing “the remarkable Betty Mouat”. This is the story of the transformation of an ordinary Shetlander into a global media sensation. Previous page: Photograph of Betty Mouat after her momentous voyage (1886). Above: Nineteenth-Century Shetland knitters dressing fine lace shawls. ! Illustration from Frank Barnard, Picturesque Life in Shetland (1890) 4 TEXTISLES APRIL 2012

The bare facts of the story, then, are these:

On 30th January, 1786 the smack The Columbine set sail from Grutness to Lerwick. On board were skipper James Jamieson, two crew, and, below in the boat’s small cabin, Betty Mouat, and forty Shetland lace shawls. The fruits of women’s Winter labours, these shawls had been knitted by Betty and her neighbours, and Betty, aged 60, and respected in such matters, had been enjoined with the task of taking them to town to be brokered, blocked, and dressed.

Even for January, the weather was more than usually wild and squally when The Columbine set sail. After covering three nautical miles, the smack suddenly hit choppy waters, the boom lurched, and the main sail snapped. As they tried to effect repair, skipper Jamieson and the mate were thrown overboard. Clutching the torn fabric of the sail, the mate struggled back onto the deck, and, with the other crew member, launched a small dinghy in an attempt to rescue their skipper. Rowing frantically about, they saw no sign of skipper Jamieson, but they did see The Columbine veering and rolling dramatically in the waters, before drifting further and further away.

Fearing for their lives in their small vessel, and realising they could not reach The Columbine, the two men made for shore. After a half- hour’s hair-raising journey through the storm, they landed up at Boddam, where a small crowd had gathered, having noticed the smack in difficulties. But in this weather, there was nothing anyone could do. Left to the mercy of the wind and rolling waters, The Columbine, Betty Mouat and her shawls were carried out into the North Sea.

1906 map of Shetland Islands with detail showing South Mainland, Boddam and Lerwick.

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Rewards were offered. Rescue boats were launched from Lerwick, Yell, and Kirkwall “in the endeavour to save the life of the poor woman adrift on the ill- fated Columbine.” In parliament, the M.P for Leith argued that the admiralty should send fishery vessels to join the search. Days passed, with no news. Returning from an aborted attempt to search for the Columbine, one captain spoke of the appalling weather he had had encountered out in the North Sea, and concluded “I cannot think that [The Columbine] is now afloat anywhere. . . no one at land could form any idea how stormy it was.” There was now little hope, The Shetland News reported, of rescuing poor Betty Mouat. “Her position” wrote the editor “is a heart-rending one. Neither in the supposition that she speedily found a watery grave, or is still alive drifting about in the smack, is there anything to take away from that position its frightfulness.”

On Saturday, 6th February, William Gladstone was elected British Prime Minister for the third time. On Sunday, 7th February, Betty Mouat turned up alive and well on the Norweigan island of Lepsøy. It is hard to say which caused the bigger sensation.

Remaining calm, and quietly resourceful, Betty Mouat had survived. Clinging to a rope from the ceiling of the cabin, she remained upright while the boat rolled and tossed about her. Discovering the skipper’s jacket and watch, she warmed herself with the one and carefully kept time with the other. Unable to clamber on deck, she arranged boxes on the floor of the cabin, and at intervals put her head out of the hatch, gauging the condition of the sea, and the position of the stars. Cold and exhausted, she eked out her meagre rations -- a bottle of milk, a few biscuits -- over several days. Betty initially assumed herself to be drifting off the coast of Bressay (an island close to Lerwick), but as the days passed, she realised that the Columbine had travelled much further away than the islands that she knew. Betty Mouat had, in fact taken a perilous, zigzagging, journey three-hundred miles across the North Sea.

Top to bottom: The Columbine in an 1880s photograph; William Gladstone - the new, old Prime Minister ; the coast! of Lepsøy, where Betty Mouat finally landed. 6 TEXTISLES APRIL 2012

News travelled fast, and, within days of her arrival at Lepsøy, everyone wanted a piece of Betty Mouat. The Scotsman immediately dispatched William Hudson to scoop the story. Hudson, who was a talented scholar as well as a decent journalist, brought Mouat back to Hull by boat, and from thence to Leith by train, securing the story from her own mouth during the journey. His is a measured, unadorned account which focussed on the Shetlander’s “strength” and “resignation” in the face of fear and hardship. The tale of Betty Mouat, the Scotsman editorial remarked, was “a story of simple trust, of suffering, of endurance, which has seldom been equalled.”

The Shetland Times was equally impressed with the conduct of its countrywoman. A true Shetlander, Mouat had:

. . .showed herself equal to the awful emergency in which she was placed. She never lost her head. She showed that she inherited some of the old sea-dog spirit of her race, even in circumstances which might have daunted the bravest man. She wound up the captain’s watch regularly, she consulted the compass, she knew the points and directions of the wind, and understood the course she was driving. She never seems to have abandoned hope. Her whole conduct ... was really brave, sensible, and heroic - in the true sense of the term.

But the calm, resourceful Shetlander was not a sufficiently engaging figure for those who were interested in her story. A few days after its publication of Hudson’s account, The Scotsman began complaining of articles and letters about the “remarkable voyage of the Columbine” which contained numerous “exaggerations as to particular facts.” The British public were not interested in Betty Mouat’s “resignation and fortitude.” No! They wanted Peril! Adventure! A desperate tale of the High Seas!

And the public got their wish. Betty Mouat’s fame spread rapidly from London to Australia. Large groups of interested “well wishers” lined the streets of Leith; the Seafield trams were packed with tourists keen to catch a glimpse of her; and Betty’s hosts were forced to black out the windows of the room in which she was recovering. The London Aquarium offered her a salary of £10 a week to appear and “receive visitors”. Top to bottom: Steam train arriving at Edinburgh’s Waverley Station; view of Waverley Station; 1880s map of Letters were published in the press from someone-who-had- Leith, with detail showing where Betty Mouat stayed known-someone-who-had-once-known-Betty-Mouat. The while recovering from her “voyage.” meanings of the stoic Shetlander were up for grabs, as she rapidly became a global media sensation.

! 7 TEXTISLES APRIL 2012 According to The South Australian Advertiser, in an editorial that appeared shortly after of Mouat’s safe return:

“It is said that the poet Coleridge drew from his own brain during sleep the wonderful imagery that renders The Ancient Mariner one of the most striking poems of its time. The experiences [of Betty Mouat] would surely supply corresponding material.”

And indeed, Betty’s journey was made the subject of countless doggerel verses and sensational articles, and the voyager herself was transformed from Hudson’s hardy, resourceful Shetlander into a suffering, romantic heroine, all alone on the wild, wild sea. In James G. Ollason’s poem A Greeting, for example, Mouat is made to speak with the “anguish of the derelict.”

Spirit of tempest raging Ruthless war for ever waging ‘Gainst the wreck, bare hid with foam! Wilt thou never, never more, Drift me to my native shore My rock-bound, far off home? Will the wave, convulsive, fatal Far from kin and village natal, Wrap me in its writhing fold?

A piece covering Mouat’s story then appeared in William Luson Thomas’s popular London paper The Graphic. In the illustrations accompanying the article, Mouat was depicted as a younger woman with loose blonde locks, cowering on deck while the tempest raged about her. Because of damage to the cabin ladder, Mouat had never actually ventured onto the deck of The Columbine, but clearly the image of a lone woman exposed to the elements really appealed to Victorian readers. A piece in children’s paper The Chatterbox similarly pictured Mouat as a desperate figure, crouched “on the deck of the smack ... could she stand up Above, Mervyn Peake’s illustration of Coleridge’s Ancient Mariner. against the cold of the wind and the great waves Below, Betty Mouat, exposed to the elements on the deck of The which washed so constantly over the deck?” Columbine, as imagined by The Graphic. Chatterbox’s youthful readers were then cautioned to remember Betty’s terrifying ordeal “when spending their holidays by the seaside and watching the tiny waves lapping the yellow sands.”

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When reporting her story, newspapers in London, Canada, Australia, and the United States invariably described Betty Mouat as “Scotch” or “a Scotchwoman”-- a moniker which, as a Shetlander, she would not have necessarily have recognised. Mouat’s assumed “Scottishness” also leaked out into several of the poems in which she appeared. One terrible group of verses, by an author identifying themselves as “MEM” imagined Mouat speaking a sort of “braid” Lowland Scots -- a dialect quite different from her own:

Wae's me! The skipper ower he fell Dashed by the flappin’ sail; The waters plashed his deein knell And drooned his helpless wail

An day an nicht, an nicht an day Gaed roon an roon the sky; Ten times I lost the welcome light Ten times the mune rode hie.

As well as being assumed by the worlds’s press to be “Scotch” Betty Mouat also became the focus of assumptions about what it meant to be a Shetland woman:

She has spent her life in a miserable hut -- the typical crofters dwelling -- a place not fit for cattle. . .her home [is] amid the solitude of the hills where the peat fire burns in the middle of the mud floor and the smoke makes an uneasy exit through stray holes in the roof. In this dismal abode she has maintained a lofty independence being able to provide her "puckle meal" and “cup ‘o tea” by assiduously knitting Shetland wool shawls and placing her trust in the Lord.

One doubts very much whether Betty Mouat would have described her croft-house home as either “miserable” or “dismal,” but this account would no doubt have rung true to the metropolitan audience of the London paper in which it appeared, as it rehearses a very common stereotype of Shetland women, who in stark contrast to Victorian ideals of femininity, were seen as hardy and independent to the point of being primitive. Like Betty Mouat, the kishie-carrying knitters who appeared on Above, a peat-carrying Shetland knitter. picturesque Victorian postcards also fed (and perhaps Below, me, outside Betty Mouat’s croft house at Scatness, no “dismal abode”, but now a pleasant böd. continue to feed) this stereotype.

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Betty Mouat had been transformed into a And in my dark, rude hut among the hills romantic heroine; she had been mis- Dwelt, a poor cripple, but secured from want represented as “Scotch” and pigeonholed as a By deftly-woven web of gossamer wool, Shetland “primitive.” Now the Victorian press Such as fine ladies wear; a harmless soul, went even further. Discussing the physical Yet named by men the "witch of Dunrossness" appearance of the “survivor of the Columbine” For no weird practising on others lives newspapers mentioned her stature (low), her But simply for the saving of my own. complexion (dark) and the fact that she Amid so many perils as though I, walked with a limp. This last became the Old Elspeth Mouat, knew, and wrought some charm focus of much conjecture. In some sources it On those destroying powers that, day by day was said that Betty had a congenital weakness Sweep off the young and strong.... on one side; elsewhere that she had one leg shorter than the other. Different papers By the Spring of 1786, Betty Mouat was well speculated that Betty had previously suffered enough to return home to Shetland, and finally a stroke, and yet others rehearsed a story that, escaped the curious crowds of Edinburgh and several years earlier, while working at the Leith. But she was still not free from the peat, her leg had been run over by a trap. Old attentions of the press. When a story is in the Betty, it was said, had suffered multiple public eye for long enough, it becomes easy misfortunes prior to her extraordinary voyage. fodder for political satire, and Betty Mouat’s was She was clearly a survivor . . . but wait . . . no different. In Westminster, the recently re- wasn’t there something just a little weird about elected Prime Minister was intent on securing her consistent ability to survive? Irish home rule, and in April set his unpopular bill before the British parliament. The following, She is called the witch of Dunrossness owing to a in W.S. Gilbert vein, compared the voyage of prevailing superstition that she "couldna be kilt." Betty Mouat to the stormy waters the nation Some years ago a cart passed over her foot, which navigated under Gladstone’s elderly hand: permanently injured it and made her a cripple. On one occasion, her head appearing above the rising Ah! Ship of the state, ground was taken for a rabbit and fired into, the In sorest strait: Fast bound for the rocks of a suicide fate; shots being still in her head. Then she was nearly With thy crew divided twixt greed and fear, drowned on a previous occasion. Now she has been And that whisperer sly at thy steersman's ear: drifting about for nine days in maddening solitude, Good ship of the state, half drowned, wholly starved, quenching her thirst With thy priceless freight, by licking the drops of water condensed on the Which we all have insured at so heavy a rate; Some passengers sick in their bunks below, window panes, living, and yet dying . . . Are painfully rising, and wanting to know: If the desperate case of the smack Columbine Should not after all, be preferred to thine, The idea of Betty-the-witch, just like the idea And really and truly, of Betty-the-heroine had, its own narrative On weighing it duly, Myself I find, power. More terrible doggerel followed: Very much of their mind; I mean that I should not pretend to lament One more strange saving of my frail old life, If that grand, Already thrice nigh wrecked-by crushing wheel Old Hand, By gunshot rashly aimed, and choking force At the helm, Of the realm, Of water; yet I lived through all of these, With his crew at the tail of him overboard went. . .

! 10 TEXTISLES APRIL 2012 Even the short pamphlets about Mouat and The Columbine by T.M.Y Manson (1936; 1986) and Roderick Grant (1973) which purport to present Commenting on the scale of Mouat’s fame, Judy, or “serious” research, are not entirely free from the London Serio-Comic Journal made the dry sensationalising tendencies. suggestion that “Saint Elizabeth, the heroine of The Columbine” should immediately “be raised to the There is something about a tale of suffering, peerage in her own right, under the titles of endurance, and survival, that touches human Countess of Columbine, and Baroness North-Sea fundamentals. Such tales have their particular with a perpetual pension.” The tone of this last narrative pleasures. Betty’s story is so remarkable, so points to the final, predictable twist in Betty surprising; her ordeal so awful, but the outcome so Mouat’s media tale, which was, of course, toward satisfying, that we long to hear it again and again. cynicism. A poem appeared in The St James Gazette, in which an opportunistic Mouat looks forward to a Yet the more we tell and hear the story, the more career on the London Stage: curious we become. The known details -- the regularly wound watch, the skipper’s jacket, the Launch me adrift in a balloon bottle of milk -- are simply not enough. Did Betty To make a voyage to the moon: sleep? Or scream? How did she manage her bodily Send me to some amazing death -- functions? Provided I regain my breath. The skeleton of the tale is simple -- Betty Mouat And editorials spoke of Mouat’s fortuitous went to sea, and she survived -- but the skeleton must misfortune: be dressed and re-dressed again in different flesh, its bones picked over, and then the bones picked clean. What a good stroke of fortune the helpless and strangely Curiosity becomes more morbid, and the skeleton weird cruise of The Columbine and its involuntary more grotesque. The romantic heroine turns into the occupant has been to that mighty fourth estate, the press, crippled witch; the suffering unfortunate is and also, some cynics might say, to Betty Mouat. Looking transformed into a happy survivor, blessed by her only to the facts that she is now comparatively safe and ordeal. How incredibly lucky was Betty Mouat, to be that she is at present the best talked of person not only in cast adrift, and rescued, and to receive £10 from Shetland but throughout the mainland from Lands End Queen Victoria?! to John o’ Groats, one might be inclined to say - with some grimness no doubt yet with much truth - that Betty Even by the Spring of 1886, the telling of the story of Mouat’s compulsory voyage from Shetland to Norway is Betty Mouat had become much more than the tale the luckiest event that has fallen to her lot. itself -- a model of against-the-odds survival for successive generations to turn and spin upon as they By the summer of 1886, as the debate on wished. And Betty herself was not remotely Gladstone’s Home Rule bill heated up, it seemed interested in the excessive publicity she attracted. that the British media might at last have had its fill She turned down all lucrative offers of paid of Betty Mouat. Yet the story of her “miraculous” appearances, and returned quickly and quietly home voyage continued to have its own sensational to Scatness. Why, then, does she continue to afterlife long after her death in 1918 (aged 93). fascinate? From my own perspective, I feel that the William Hudson, evidently bothered by the stories particular nature of her publicity, and the terms of that continued to circulate about her, revived his her representation (as a Shetlander; and as a woman own first-hand account in The Scotsman in 1923. of disability) themselves demand critique, and I am Then in 1957, her tale appeared as “number 252 in also, of course, interested in her because she was a The Worlds Strangest Stories,” under the title knitter. Yes, I know: Whatever became of those shawls? “Betty cheats a Tempest then Goes Home To Knit.”

! 11 TEXTISLES APRIL 2012 When Betty Mouat, arrived in Leith, merchants competed to acquire and profit from the forty fine- lace shawls she had carried with her on her voyage. But Betty refused all offers -- apparently concerned to “secure” the shawls for their makers, the women of Dunrossness. Apart from one of her own shawls, which she had blocked and dressed in Edinburgh, and sold to George Thomas, Vice Admiral and Sheriff of Shetland, Betty took all the shawls home with her where, after their unscheduled trip to Norway their value was considerably enhanced for the women who had knitted them. Because of the truck system, it was relatively unusual for any Shetland knitter at this time to receive fair payment for her labours, but after decades of exploitation and investigation, the year following Mouat’s voyage, an act was finally passed to abolish truck on Shetland (though many local merchants continued to operate the system to their own advantage).

Back in Edinburgh, meanwhile, Sheriff Thomas was impressed with Betty’s shawl. He recognised the value of her skill, but also the wider value of the publicity she might bring to the cause of Shetland knitting. He devised a “scheme” to bring Mouat back to Edinburgh, together with six other Shetland craftswomen, to appear at The International Exhibtion of Science Art and Industry. Thomas was keen that the exhibition should be a showcase of modern Shetland skills:

The Sheriff hopes that the work of the exhibition will not be confined to the usual goods but will shew that the knitters can adapt themselves to the demands of the times. thus in fair isle goods embracing jerseys for lawn tennis, knickerbockers, &c &c And in Zetland goods embracing silk thread shawls, window curtains in cotton thread, traveling waistcoats &c

And he insisted that the knitters be fairly recompensed for their labours:

Elizabeth Mouat and the knitters are to have as their own property the proceeds of the sales of their work subject only to deduction of 5 per cent by the authorities Above: the Shetland knitters at Edinburgh’s International of the exhibition. Exhibition in May, 1886. Below, the whale-bone arch still stands in the Meadows in Edinburgh, commemorating the Shetland knitters’ visit.

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Research for this piece was conducted at the Shetland Museum Having probably had quite enough of sea travel, and Archives. My thanks to the staff for their help. Betty Mouat turned down Sheriff Thomas’s offer, but she did send a fine lace shawl to the exhibition I have also traced the representation of Mouat and her story in her place. through the archives of The Scotsman, Gale’s Nineteenth Century British Library Newspapers and other publications available through the Trove digitisation project at the Australian National Library. On May 6th, at The International Exhibition of Science The sheer quantity of terrible verses and essays that her voyage Art and Industry, held at The Meadows in inspired is, in itself, quite astounding. I have barely scratched the surface here, for which I am sure readers are grateful. Edinburgh, the Prince of Wales was said to show ... considerable interest in a stall in which six women, Oral recordings held by the Tobar an Dualchais project reveal that, three from Shetland and three from Fair Isle, were busy because of her disabilities, Mouat was still being spoken of as a knitting shawls and stockings. A shawl which was in witch as late as the 1970s. http://www.tobarandualchais.co.uk/fullrecord/35589/1 charge of Elizabeth Mouat, the Columbine heroine, during her eventful voyage to Norway was also exhibited. Anyone interested in learning more about the story of Betty Mouat might begin with the albums of press cuttings and poems that were carefully collected by Shetland merchant and polymath, Perhaps Betty Mouat and her shawls had done their E. S. Tait. Shetland Archive refs D1/259 and D6/292/15/1/1. bit for Shetland knitting. Betty’s home in Scatness is now a böd (a camping bothy) and you can stay there while visiting Shetland. Copyright Kate Davies ©2012 http://www.camping-bods.com/index.asp

Below: fine lace shawl (c.1880) from the collection of the Shetland Museum and Archives.

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SWIMSUIT REVOLUTION

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Before The Eighteenth Century, few women bathed or swam in open water . . .

While Benjamin Franklin swam up and down the Thames to much acclaim, his wife, Deborah, was so afraid of water that she wouldn’t dip her toe in.

Like Deborah, many early-modern women were not only unable to swim, but so terrified of water that they refused to travel anywhere by boat.

But by the time of the Regency, sea-bathing was beginning to be regarded as a healthy pursuit for women. Fashionable resort towns sprang up all along the English coastline. From Scarborough down to Margate, women began to take to the water, and no seaside town was complete without its horse-drawn bathing machines.

Like a beach hut on wheels, these elaborate changing rooms were pulled out to sea, where a set of steps enabled the appropriately-clad female Above: Franklin was an early advocate of the benefits of swimming bather to descend from the ‘machine’ straight Below: 19th century bathing machines at Bognor and Ramsgate into the chilly English waters.

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But what was the appropriate attire for these nineteenth- century women bathers? While men routinely swam naked, leaving their clothes conveniently waiting in the bathing machine, women had to wear an elaborate get-up that was designed to cover every inch of hair and flesh. In William Heath’s print of 1829, the “Mermaids at Brighton” bob about uneasily in their sodden smocks and caps.

Women bathers soldiered on in cumbersome, ankle-length swimming “flannels” until the 1860s, when a pantaloon-suit “with body and trousers cut in one” appeared. Known as the “Zoave Marine Swimming Costume” this get-up apparently secured “perfectly liberty of action” but did not “expose the figure.” Inspired by the “Zoave” (a French light-infantry regiment, whose red and blue uniform featured distinctive pantaloons) and fashioned from “stout brown holland or dark blue serge with scarlet braid trimming” the “Zoave Marine Costume” may have been appropriate for a tour of military duty, but did not really make swimming any easier for Victorian women.

Above: William Heath, Mermaids at Brighton (1829)

Left: Coloured photograph of a soldier of the “Zoave” regiment, (1869)

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By the 1890s, bathing costume design took a ‘radical’ turn by shortening or eliminating the sleeves of women’s costumes. Yet female bathers were still encumbered by the “princess suit” which comprised loose pantaloons worn to knee or below-knee length; one or two pairs of stockings; and a skirt that was either detachable or built-in. While men frolicked on the beaches in their body-freeing combinations, women remained covered up from head to toe, severely restricted in the water by the yards of fabric required to maintain respectability. Given the constant effort needed to even float in such an outfit, it is no wonder that, as the twentieth-century turned, Above: a woman floats in the water in a “princess suit” Below left: masculine ‘combinations’ versus princess suits and stockings proportionately few women were able Below right: horseplay in heavy skirts to swim at all.

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In the early years of the Twentieth Century, women’s swimming became a topic of hot debate, following the horrible disaster that befell the New York steamer “General Slocum”.

Packed with churchgoers on a Sunday outing, the excursion boat caught fire, and almost a thousand women and girls were drowned in the East River, a mere 50 yards from shore. For these women, the difference between life and death for was marked by their inability to swim.

On both sides of the Atlantic, women’s amateur swimming and life-saving associations steadily gained in popularity, and organisations like the National Women’s Life Saving League in the U.S. began to speak out about the impracticality of skirted bathing costumes, and the need for close- fitting, stretchy combinations for female swimmers

But perhaps no Edwardian woman did more to revolutionise the swimsuit than Annette Kellerman. . .

Above: A refreshingly natural photograph of Frances Johnson, who has just been for a dip in her knee-length “costume”.

Below: Glamorous Edwardians in their swimwear. The inches of thigh on show makes this photograph quite racy for its time.

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Born in the Sydney suburbs in 1887, Annette Kellerman began swimming therapeutically at the age of six. By the early 1900s, she was swimming competitively, and supporting her family with her prize money. In the fresh-water rivers of Australia, Kellerman set records for a hundred yards and the mile, before traveling to Britain, where she drew large crowds during a grueling seventeen-mile swim along the river Thames. On several occasions, Kellerman tried and failed to swim the English channel, but later won spectacular races in the Seine and Danube.

Kellerman’s considerable fame was only increased by the radical “unitard” that she wore for her demonstration swims. This costume, reputedly of her own devising, combined a pair of woollen stockings with a boy’s jersey bathing suit. Worn with several inches of negative ease, her black unitard clung to the curvy contours of her body. In it, she caused an instant sensation. Kellerman was completely nonplussed by the attention drawn by her swimsuit, famously remarking that “I can’t swim wearing Above: Annette Kellerman poses in her famously body- hugging swimsuit and stockings more stuff than you hang on a clothesline.” She refused to wear skirted Below left and centre: Kellerman’s diving demonstrations bathing costumes, dismissing them as a hazard that had “caused more deaths than Below right: Some attributed Kellerman’s failure to swim the English Channel to the quantities of cocoa that she had drowning by cramps.” been drinking during the attempt (provided by Cadbury, her sponsors).

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Above: Kellerman in a glamorous swimsuit pose. Everywhere she went, Kellerman’s Below: Kellerman went on to enjoy a spectacularly successful career as a swimming and diving demonstrations drew Hollywood star. Her 1914 movie “Neptune’s Daughter” was the first to public attention. The nature of her fame gross over a million dollars at the US box office. began to shift from competitive swimmer to vaudeville attraction. In the latter capacity, “The Australian Mermaid” took her act to America.

In 1908, after attempting to go for a swim in her unitard on a Massachusetts beach, Kellerman was arrested for indecency. In court, she stated that the skirted bathing outfits that women were supposed to wear were only really appropriate for beachside paddling. Such costumes effectively prevented women from swimming at all, and attempting any sort of watery activity while wearing one was, she said, like “swimming in a ball gown.” The American judge agreed, and dismissed the case against her. Like everything Kellerman did, her arrest attracted massive publicity. Headlines and feature articles followed her story: if women were to be encouraged to swim, then surely they needed outfits that enabled rather than impeded movement?

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The 1912 British Women’s Olympic 4x100 relay team in their silk jersey swimsuits. Jennie Fletcher, Belle Moore, Annie Spiers and, Irene Steer.

But despite the publicity drawn by Coubertin thought that women should Kellerman and her unitard, things were appreciate the endeavours of men without relatively slow to change. The idea of ever competing themselves. But happily, women swimming at all, was still he had his opponents: the 1912 Olympic anathema to many, and female swimmers Games was being held in Stockholm. who sought to practice competitively were Much to Coubertin’s chagrin, the liberal routinely faced with hostility and Swedes were keen to extend many events prejudice from the athletic establishment. to female athletes, including swimming. In the 1904 Olympic Games, women had Still, the American AAU refused to been “allowed” to participate in golf and recognise the legitimacy of women’s tennis, but the IOC were not at all keen competitive sport, and did not send any to take women’s competitive sport any female athletes to participate in the further. According to the IOC president, games. Pierre de Coubertin: At the 1912 Stockholm Olympics, women “This feminine semi-olympiad is impractical, swimmers competed for the first time in 3 uninteresting, ungainly, and, I do not hesitate events: diving, 100 metres, and the 4x100 to add, improper. It is not in keeping with my relay. Women’s swimwear hit the concept of the Olympic Games . . . the solemn headlines again, when the British team exaltation of male athleticism, based on won the relay in their purpose-designed, internationalism, by means of fairness, in an lightweight silk-jersey suits. This artistic setting, with the applause of women as photograph caused something of a stir. a reward.”

! 21 Above: the determinedly masculine aesthetics of Olympic competition. Below: The British women’s 4x100 relay team in their silk suits. Jennie Fletcher, Belle Moore, Annie Spiers and Irene Steer.

TEXTISLES APRIL 2012

As is often the case with transformations in This was not enough for Epstein and her supporters, who women’s clothing, the reform of female now advocated ditching the stockings entirely in favour swimwear was closely linked to other kinds of shorter, one piece woollen swimsuits. In 1919, two of political reform. In 1915, under the prize-winning American swimmers, Charlotte Boyle and leadership of Charlotte Epstein, the Ethelda Bleibtrey, staged a public protest against the American National Women’s Life Saving swimwear restrictions in force at Manhattan Beach. The League began to officially support the two women removed their black stockings, and set off for suffrage movement, and staged a “Suffrage the water dressed in thigh-revealing one-pieces. They were Rescue Race” at Manhattan Beach. The promptly arrested for “naked swimming.” However, much participants wore Kellerman-style swimsuits like Kellerman, their arrest drew massive publicity, and and “Votes for Women” sashes. Through backfired on the New York authorities, who were forced Epstein’s efforts, in 1917, the AAU was to free the pair from jail. The strength of public support forced to formally recognise swimming as a for Boyle and Bleibtrey meant that American women women’s sport, but did so with many were now able to swim bare-legged in public. limitations:

“All women contestants in swimming events must wear bathing suits of a black texture that covers their bodies from shoulder to toe. . . in every event, the women swimmers must wear bath robes that cover them entirely until just before they dive off.”

Above: Charlotte Boyle (front left) and Ethelda Bleibtrey (front centre) with two other swimmers. Boyle and Bleibtrey had reputations as radicals, and were among the first New York women to bob their hair.

Right: American suffragettes campaigning in 1917. ! 22 TEXTISLES APRIL 2012

Jantzen advertisment of 1925, featuring the iconic red diving girl and the slogan “The suit that changed bathing to swimming”

! 23 TEXTISLES APRIL 2012

Perhaps no manufacturer did more to popularise swimming for American women than Jantzen Knitting Mills. Founded for the manufacture of socks and sweaters, the Portland Knitting Company was owned by three enthusiastic outdoorsmen, among whom was Carl Jantzen. In 1913, one of Jantzen’s friends asked him if the mill might be able to produce a densely-knitted but lightweight woollen suit suitable for winter rowing. In response, Jantzen developed a worsted spun, rib-stitched jersey fabric that rapidly became the standard of modern sportswear. By the early ‘20s, and renamed Jantzen Knitting Mills, the Portland company cashed in on the dramatic shift in fashion that was beginning to become apparent in women’s swimsuits.

Jantzen developed a women’s swimsuit fashioned from the same tight-knit wool jersey that they had previously used for men’s sportswear. These swimsuits, with their in-built shorts, careful seaming, modesty panel, and comfortable, stretchy fabric, were individually fitted to each woman by her weight in pounds. The Jantzen swimsuits were both eminently wearable and incredibly popular. It is no exaggeration to say that, in the early 1920s these machine-knit jersey swimsuits helped an entire generation of American women to at last get into the water.

With the slogan “the suit that changed bathing to swimming” and a striking logo featuring a streamlined diver in an elegant, modernist curve, Jantzen Knitting Mills achieved massive success. The company was a vocal advocate of public swimming pools, and the benefits of swimming for women, and often used the language of liberation in its marketing:

“In 1918, Jantzen saw a nation paddling around the edges. Baggy skirts impeded swimming. Fabrics stretched and sagged. Today, [1925] the newer freedom of the Top to bottom: The Jantzen knitting mill in 1918. Fabric detail and logo from a 1929 Jantzen swimsuit Jantzen is the choice of millions . . .” (note the incredibly fine ribbing of the wool jersey fabric). Jantzen advertisement from 1922.

! 24 TEXTISLES APRIL 2012

If Jantzen was the suit, then wool jersey was the fabric that finally changed bathing to swimming. Many women today may have bad memories of wearing knitted swimsuits as a child, and many more might have doubts about the suitability of knitted wool jersey for swimwear at all. In the 1920s, though, the tightly ribbed wool swimsuits that were developed by Jantzen, and later, by Australian company, Speedo, really were truly revolutionary. For more than a century, women had been forced to splash about in heavy woven skirts and full-length stockings that rather hindered than helped their athletic abilities. But in the 1920s, they could finally, actually swim, thanks to the wool jersey suits that did not restrict physical movement, but enabled it.

In 1926, American swimmer, Gertrude Ederle, became the first woman to swim the English channel. She swam in a two-piece wool-jersey suit, and reached shore in a record-breaking fourteen hours, thirty-one minutes -- more than two hours faster than the previous record, which had been set by a man who had been swimming completely naked. Ederle’s groundbreaking swim in her daring jersey suit finally proved to many that women could be athletes on an equal scale with men. By the time she returned to New York, she had become a national celebrity and her ticker-tape parade was watched kerbside by more than two million people.

Today, in a world in which swimwear manufacture is dominated by man-made fabrics such as lycra, it is very easy to overlook the significance of the modern swimsuit revolution -- the moment when “bathing” really did change to “swimming” for many women. But the simple lines and stretchy rib of the 1920s jersey swimsuit marked an important shift in feminist history, as well as the history of fashion. Above: Gertrude Ederle. The final photograph shows Ederle prior to her successful English Channel swim of 1926, wearing her wool-jersey two piece and a lot of grease. She is Copyright Kate Davies ©2012 shaking the hand of, Lillian Cannon who had previously tried and failed to swim the Channel.

Following page: wearing suits of woollen jersey, these 1924 swimmers are completely unfazed by the prospect of icy waters. Note the bobbed hair. ! 25 TEXTISLES APRIL 2012

SWIMSUIT REVOLUTION!

! 26 TEXTISLES APRIL 2012 On Parade

A decade of American swimwear

! 1917-1927 27 TEXTISLES APRIL 2012 The decade that followed the First World War witnessed many important social transformations . . . as well as others that may appear inconsequential . . .

To be considered among the latter are the annual swimsuit parades that began on the beaches of California and Florida in the nineteen-teens and twenties. Frivolous (even dubious) occasions they may have been, but the panoramic photographs that were popularly produced of these parades document the shifting shape of American swimwear in an extremely interesting way. Between 1917 and 1927 the American beach-side silhouette shifted dramatically from the demure and frilly Edwardian “princess”, to a recognisably modern figure, wearing her streamlined jersey maillot. In this photographic essay, we trace a decade of fashionable transformation, before the swimsuit parade turned into the slick, calculated, affair it was later to become. All of the images in this essay are reproduced courtesy of the U.S. Library of Congress Prints and Photographic division.

! 28 TEXTISLES APRIL 2012 1917

This fascinating panorama was taken at Seal Beach, California in 1917. The majority of competitors are wearing fancy “outfits”, or bathing “costumes” of recognisably Edwardian type. . . but the shape of the future is in evidence too. In this detail, the two competitors to the left seem rather old fashioned (albeit patriotic) in their skirts, frills, stars and stripes, but next to them stand two confident, athletic- looking figures in neat swimming caps and plain, tightly-fitting jersey swimsuits of the Annette- Kellerman variety. These two women are wearing the kind of modern maillot that would slowly come to dominate American beach-wear over the coming decade.

! 29 TEXTISLES APRIL 2012 1918

At the “Bath Suit Fashion Parade” held the following year at Seal Beach, the competitors outfits amount to a form of fancy dress. Complete with skirts, stockings, capes, hats, and other accessories, these women seem dressed for any purpose other than actual sea bathing. . . . there are no jersey-suited competitors in evidence this year.

! 30 TEXTISLES APRIL 2012

In an extraordinary 1919 group of images dated July 26th, 1919 (U.S location unknown), female competitors are shown parading under escort, before posing, judging, and a vaguely chaotic prize-giving takes place. The costumes are largely of the impractical, skirted “princess” type, although one (rather glum- looking) participant appears to b e w e a r i n g a m o d e r n ”swimsuit” (rather than a “bathing costume”) of stretchy knitted jersey. (Notably, she is not among the prize-winners). Men are to be seen in every photograph, scrutinising, and crowding the competitors. The contrast between the simple woollen combinations worn by the male audience, and the frilly, elaborate ‘costumes’ worn by the female competitors is very striking.

! 31 TEXTISLES APRIL 2012 1920

The 1920 Balboa “bathing girl” parade featured butterflies, bees and elaborate hats a-plenty. Skirts are beginning to rise higher above the knee; the silhouette is flatter and more boyish; and there is generally a little more leg on show. The shimmering (painted?) golden legs of the competitor at the centre of the picture almost demand to be seen in colour. One participant to the right of the photograph is sporting a fluffy taffeta skirt which, as a light-weight alternative to the heavy woven fabrics used in women’s swimwear, actually enjoyed a brief popularity on American and British beaches in the early twenties.

! 32 TEXTISLES APRIL 2012 1920

The competitors in this Miami Beach parade reveal a fascinating awareness of their place in fashion history. Wearing costumes that date them from 1890 to 1920, the earliest participant is primly covered up from head to toe, but the skirts of the twentieth-century competitors rise, as their “costumes” become more streamlined and practical. The representative from 1920 is dressed as a serious, modern athlete, complete with jersey maillot, bare legs and prize medals. One (unseen) competitor holds up a placard declaring that her outfit has been “passed by the sensir [censor]”. Despite the fact that American women routinely put themselves on show in these parades, “decency” legislation, restricting the dimensions of women’s swimsuits, continued to be enforced on many American public beaches in the 1920s . . . as we shall see.

! 33 TEXTISLES APRIL 2012 1921

A group of friends relax above the pier at Atlantic City. The woman to the far right is wearing a drop-waisted taffeta beach-outfit of the 1920 type; her friends are all sporting the newer style of wool-jersey swimsuit that was beginning to be popularised by Jantzen and other American knitting mills. The difference between past and future is also marked by the taffeta-wearer’s long curls which are in stark contrast to the maillot-wearers’ shorter bobs. The women are sporting tans, which had become fashionable for women in the early twenties. Note, however, that all four are still wearing full-length stockings that completely cover their legs -- probably to retain “respectability” on the public beaches, and avoid the unwanted attentions of the “sensir.”

! 34 TEXTISLES APRIL 2012 1922

This famous photograph, taken at the Tidal Basin Bathing Beach, shows Washington police officer, Bill Norton, measuring the distance between these swimmers knees and the hems of their swim suits. Norton was an enforcing a order that had been issued by his boss, Colonel Sherrill, that restricted the inches of thigh that could be displayed by any woman on a public beach. The jersey suits of these women include skirted ‘modesty panels’ to cover their in- built shorts, but their bare legs still cause a problem for officer Norton. ! 35 TEXTISLES APRIL 2012 1925

By 1925, all of the competitors in these California beach parades are clad in the now ubiquitous, one-piece wool-jersey swimsuit. Some examples are fabulously graphic and modernist in appearance. By the mid ‘20s, innovative designers like Sonia Delaunay and Elsa Schiaperelli were creating their own lines of jersey swimwear. ! 36 TEXTISLES APRIL 2012 1927

By the later 1920s, the swimsuit parades were becoming much more formal and formalised. One cannot imagine the unruly scenes of July, 1919 taking place at these heavily stage-managed events. For the first time, in these panoramas from Long Beach in 1927, a woman of colour can be seen among the line-up. And the jersey suits on show reveal a new development -- the use of white and neutral fabrics, which had previously been restricted due to issues with transparency. In many ways, the rise of the white suit at the end of the ‘20s marks the beginning of another transition: a movement away from the practical, dark-hued, jersey maillot back towards the bathing “costume”. A white bathing “costume” allowed one’s body, and one’s fashionable California tan to be displayed to advantage at the beach, but, unlike a “swimsuit” its primary purpose was not necessarily athletic.

! 37 Fin. TEXTISLES APRIL 2012

the rise (and fall) of the hand knitted swimsuit a feature by Susan Crawford

! 38 TEXTISLES APRIL 2012

I have a surprisingly large collection of knitted swimsuit patterns . . .

but I have yet to find a knitting pattern for a swimsuit dated before 1931, that has been published in the UK. I have located one knitting pattern book published in the US in 1918 (Utopia Yarn Book) which includes swimsuit patterns for a man, a woman and a child. The woman’s in particular is very Edwardian in style with long pantaloons and a knee length dress over the top. Knitted as always, in wool, it would have been particularly heavy. I think this suit was really designed for paddling at most. The trail then appears to go cold and I can find no further patterns dated prior to 1931. I would love to hear if anyone out there has a pattern published in the UK before then. In 1932 however, knitted swimsuits became The Big Thing.

In that same year there were adverts in magazines for yarns such as ‘Miss England’ wool by W Briggs and ‘Ocean Wave’ non-shrink wool by George Lee and sons of Wakefield. I would hazard a guess that the growing trend for sport and swimming which began in the 1920s had finally reached the hand knitting market and patterns on both sides of the Atlantic began to appear for all-in-one swimsuits, suits with skirts, suits with shorts, suits with shorts and skirts, suits with skirts, jackets and hats and as early as 1935, hand knitted two piece suits. Many of the designs are extremely glamorous and the mid 1930s is most definitely the period when the knitted swimsuit was at its most popular.

Above: This 1930s railway poster for the English resort of Weston Super-Mare features a glamorous swimsuit-clad model. Below: Advertisement for Miss England Knitting Wool

! 39 TEXTISLES APRIL 2012

As with garment patterns from this era, those for swimsuits appear to be all single sized, and for very small proportions. No attempt was made to accommodate differing sizes other than the assumption that women would just know how to make something bigger to fit them. But bearing in mind that a 38 inch chest was considered to fit a ‘matron’ it is unlikely that women with any shape whatsoever where actually expected to wear the suits. This in itself is such a shame as many of the suits have a significant amount of structure and knitted in a firm enough tension and yarn would actually provide a lot of support as well as covering the areas we most want covered!

In many ways these designs are quite practical, particularly those with built- in shorts. What unfortunately made them impractical for swimming was the fabric they were made of. Non-shrink and non-fade the yarns may have been, but absorbent, heavy and stretchy they most certainly were, making any attempt at swimming in them unrealistic, embarrassing and even possibly, dangerous. Its interesting to see that from very early in the knitted swimsuit pattern development that men’s hand knitted trunks were designed with belt loops for a sturdy belt to be worn to prevent the trunks from ending up around the wearer’s ankles! This just goes to show that these swimsuits were really fashion statements for lounging or playing beach games, but not really for bathing. Even in the 1940s and 1950s wool is still being provided as the yarn recommendation.

1930s swimsuit patterns came as all-in-ones, two-pieces, or even four-pieces, like this example to the right.

! 40 TEXTISLES APRIL 2012 Swimsuit designs of the 30s and 40s are surprisingly daring and quite glamorous and were most definitely designed to show off an athletic physique. This stunning two piece costume pattern from The Pictorial Guide to Home Knitting by Odhams Press was published in 1935 and possibly because of its ‘raciness’ was shown as an illustration rather than a photo. Interestingly though the woman is depicted with a glowing tan and an extremely athletic body, with broad shoulders, narrow hip and long legs. The shorts in this instance are designed without a gusset which is somewhat unusual for the patterns of the period and with short rows worked at the back waist to provide a little more depth for the backside to fit. Significantly though, a belt is required to hold the shorts in place. The ‘brassiere’ top is designed to fit a 32 to 33 inch bust. A number of extra loops, straps and ties are worked into the design of the brassiere for ‘greater security’. And again, despite being a skimpy two- piece outfit it was again made in wool.

From studying the hand knitting magazines and pattern books of the period, the knitted swimsuit persevered on in a larger scale in the UK than either the US or Australia during the 1940s, due mainly to rationing and a scarcity of other fabrics. Wool although on ration used less coupons than the comparative ready made garment. Swimsuits would certainly not have been a high priority item so much better to knit from cheap wool and save coupons for something more important. There are also more children’s patterns than adults. When WWII ended in Europe the UK remained on rationing for several years and the knitted swimsuit pattern continued to appear. Patterns appearing in the US in magazines such as “Vogue Knitting” were increasingly glamourous and very much for posing. These fashions began to influence the patterns available in the UK with more two-pieces beginning to appear. I have several French and German knitting magazines of the same period but have not found any swimsuit patterns as yet. I am optimistic that I might find some in Norwegian pattern books of the period as a number of the ‘fashion’ knitting books I have seen printed in Norway at that time are very similar to those being printed in the UK and in particular, the Odhams books. A daring hand-knitted two piece, publlished by Odhams in 1935.

! 41 TEXTISLES APRIL 2012

Original knitted swimsuits that I have seen from between the 1930s-1950s are often worn quite thin - they have usually been knitted in 3 ply wool anyway, and the damage caused by sea water, abrasion, and sun has usually taken its toll. I don’t think they would be fit to be worn today but I much prefer that their ‘life’ can be seen in the changed fabric of the garment. Many of the designs themselves though, do lend themselves well to modern wear. It is the just the chosen fabric that lets them down.

There are a number of design elements/ constraints that a knitted swimsuit really needs to incorporate, which are:

:: Negative Ease :: Support :: Stretch :: Stability :: Coverage :: Fabric Choice

Above: factoring negative ease into swimsuit design Below: A sporty swimsuit pattern from the 1940s

! 42 TEXTISLES APRIL 2012 “Call of the Sea” from 1931 -- my favourite and the earliest 1930s swimsuit pattern I have -- is a perfect example of the use of most of these design elements. The construction is relatively complex to ensure the garment provides support, stretch and coverage. The knitted shorts are very well constructed with a separate gusset, which is sewn in place. This gusset could be knitted with yarn doubled or on smaller needles to create a firmer tension and to extend wear. The shorts are knitted with negative ease, again to provide support. The skirt part of the design is knitted separately and then knitted together with the shorts and then the body is knitted upwards from this point. The front is knitted separately from the back due partly to the intarsia seagull on the front but also to add some seams to provide stability. The swimsuit was knitted in wool - 4 ply rather than 3 ply on this occasion - to provide the stretch the garment needed if to be worn as intended. The straps of the swimsuit are reinforced by picking up around the straps and knitting two extra rows in garter stitch, although I don’t think this would have helped tremendously. The description provided in “Woman and Home” describe the swimsuit as “such an important item of holiday kit that it should be chosen for its charm as well as its utility” so possibly looks over practicality?

When knitting my updated version of “Call of the Sea” in 2007, I still found it extremely difficult to find a yarn suitable for sea bathing, so I opted for cotton to provide maximum support and structure, as I feel the place for the knitted swimsuit in contemporary life is as a playsuit - a very attractive, robust, streamlined alternative to shorts and a t-shirt. Having tried on “Sea Waves and Sunny Days” (Woman and Home 1935) I can confirm that it did give support to a more substantial frame and actually a rather nice shape, the over-skirt kindly hiding the bits I really don’t want revealing, as long as I don’t venture into the water....

Copyright Susan Crawford ©2012

“Call of the Sea” (above) and “Sea Waves and Sunny Days” (below) both from A Stitch in Time: Vintage Knitting and Crochet Patterns, 1920-1949, volume 1 (Arbour House Publishing, 2008)ISBN 978-0-955-6206-2-1 ! 43 Images Copyright Susan Crawford ©2008 TEXTISLES APRIL 2012 Meet the Maker . . . Griseldis Schmitthuber and her fabulous hand-knitted swimsuit

What first sparked your interest in knitted I then added short rows to the back of the swimsuits? trousers for a better fit. I shaped the gusset with I could not really say. It was one of these things increases, and then joined it in the middle with you do not see directly, but glimpse from the kitchener stitch to avoid a visible seam. So corner of your eye, without really noticing you basically, I decided to use a more modern, see them, but which somehow remain in your streamlined, seamless construction method than memory and suddenly float to the surface all the original patterns while retaining the when you are least expecting it. vintage shape and fit. I did use one original feature from my 1930s French pattern: knitting a Were you inspired by particular vintage patterns? narrow stocking stitch band to sew around the Could you tell us a little about your inspiration? inside of the neckline and armholes, to create a My first inspiration was a free vintage pattern neat facing and finish. Even though my on the internet for a man's swimsuit…the construction method is not authentic, I do not gentleman wearing it looks so dashing, a bit like regret my choice, which was well adapted to my Rudolph Valentino. (Thank you, Vintage Purls) knitting skills.

Of course, all the men I asked if they would like The fine wool yarns which were traditionally used for me to knit this lovely garment for them flatly knitted swimsuits are sadly no longer available for refused. modern knitters. So which yarn did you select for your updated suit and why? When I came across an advert featuring the You are perfectly right, the original patterns use two bathing beauties which I also put on my 100% wool, thin needles, lots of stitches and the ravelry "inspiration" picture, it dawned on me quantities required seem very low to me, even that my efforts would be wasted on a man and taking into account that people used to be that it is a much better idea to knit a swimsuit shorter and slimmer. Having already for myself instead. compromised on the construction, I decided to compromise on the yarn as well, using a Lana Were you able to compare different patterns and Grossa sock yarn, which is a mixture of wool, construction methods before deciding on your cotton and - horror - a tiny dash of lycra, but I preferred design? thought that maybe knitters in the past would Once the decision had been taken, I looked also have used this yarn for swimsuits, had it through my pattern collection and decided to been available! My choice was a good one: the base my swimsuit on three sources, the man's swimsuit holds it shape well and does not swimsuit, the lovely pattern “The Call of The scratch.I also liked the available colours. Sea” from Susan Crawford’s A Stitch in Time and an original French pattern. The construction What was the most interesting thing about the common to all three patterns is that front and process of knitting it? back; the gusset; and, for the ladies' pattern, the It was interesting to see how much effort and trouser part, are all knitted separately, However attention to detail knitters in the past put into I do not like sewing things together and am not their work…knitting a whole garment from too fond of purling. I decided to knit in the sock-wool on 2.5mm needles takes some time. round and knit the trousers downwards from And I liked the idea with the narrow bands stitches I picked up along one of the stripes inside the neck and armholes, which prevent the (which had to be taken into account when I fabric from rolling…I will keep this idea for decided on the placing of the contrasting other projects! stripes).

! 44 TEXTISLES APRIL 2012

Did you feel that knitting the suit told you something about beach-wear in the past? I think it is not so much the knitting process itself, but while I knitted the swimsuit, knitted swimsuits themselves became a kind of obsession, I looked at "vintage" swimsuits on the internet and even bought a little photograph of a couple in similar attire at the fleamarket (see photograph). I found that while some bathing costumes were surprisingly revealing, involving loose-fitting constructions with rather large armholes, others were extremely modest and worn with socks. It is true, some of the people look funny in these clothes, but I strongly suspect that today's beach fashion will look even funnier with hindsight. What also struck me was that the people on the old photographs look much happier than most people nowadays look on the beach…were the unhappy pictures thrown away? Were people indeed happier and less stressed? Do I go to the wrong beaches… who knows…

And finally, and most importantly, do you enjoy wearing Above, Griseldis beach-side in her fabulous hand-knitted swimsuit. your swimsuit? Below: one of Griseldis’ inspiring flea-market finds. It was less of a challenge to wear it to the beach than I had thought. From the distance, it looked a bit like a black neoprene wetsuit, only people who saw me close by gave me funny looks. But I will definitely wear it to the beach again this summer, and maybe even venture into the sea with it!

Should you see me, come and say hello and I will invite you for a Spritz at the beachbar!

Thankyou, Griseldis! Cheers!

Griseldis Schmitthuber loves knitting, reading, flea-markets, and collecting pre-1950 knitting patterns...not necessarily in that order. You can find her ! 45 on Ravelry as ‘Griseldis’ TEXTISLES APRIL 2012 Resources

WEBSITES BOOKS

Shetland Museum and Archives Lisa Bier, Fighting the Current: The Rise of Shetland Croft-House Museum American Women’s Swimming, 1870-1926 Visit Shetland (McFarland, 2011) Library of Congress Prints and Photographs Jantzen Blog Susan Crawford, A Stitch in Time Volume 1: Jen Arnall-Culliford Vintage Knitting and Crochet Patterns, Susan Crawford 1920-1949 (Arbour House Publishing, Kate Davies 2008) Susan Stevens -- A Stitch in Time Volume 2: Vintage Knitting Patterns 1930-1959 (Arbour House Publishing, 2011). ACKNOWLEDGMENTS

Roderick Grant, The Lone Voyage of Betty Thanks to: Carol Alhadeff at the Jantzen Archives; staff at the Shetland Museum and Archives; Shetland Croft House Mouat (Impulse Books, 1976). Museum; Jen-Arnall Culliford, Tom Barr, Melanie Ireland, Sandra Manson, and Sarah Laurenson. Sarah Kennedy, Vintage Swimwear: A History of Twentieth-Century Fashion (Carlton Books, CREDITS 2010 Writing: Kate Davies and Susan Crawford Design and layout: Kate Davies T.M.Y Manson, Drifting Alone to Norway: The Test knitting: Melanie Ireland Amazing Adventure of Betty Mouat (Shetland Technical Editing: Jen Arnall-Culliford Times, 1936; 1986) Video Demonstrations: Melanie Ireland Pattern photography: Tom Barr Other photography: Kate Davies

! 46 TEXTISLES APRIL 2012

Betty Mouat

KATE DAVIES

Summer Sweater With Vintage Shetland Lace

! 47 TEXTISLES APRIL 2012

SIZING This sweater has been carefully designed and graded for the best fit. There are two sleeve-length options - for short, or long sleeves. Begin by consulting the schematic, and the tables below. You need to select a size from both tables 1 & 2. Table 1 (sizes A to G) shows the actual under bust measurement (used for the lace section). Measure your rib-cage just under your bust, and pick the size closest to your measurements. Table 2 (sizes 1 - 11) shows the actual full bust measurement (as well as other measurements of the bodice). Measure your bust at its widest point and select the size closest to your actual measurements. This sweater is meant to be close-fitting, and should be worn with slight negative ease – that is, for the best fit, the actual garment measurement should be slightly less than your body measurements. Bear this in mind if selecting between sizes.

Schematic

Table 1

SIZE A B C D E F G Actual underbust 24.5 28 31.5 35 38.5 42 45.5 in

62 71 80 89 98 107 115 cm

Length of lace section in 16.5 16.5 16.5 18.0 18.0 18.0 19.5 42 42 42 46 46 46 49 cm

! 48 TEXTISLES APRIL 2012

Table 2

SIZE 1 2 3 4 5 6 7 8 9 10 11 Actual full bust 30 32 34 36 38 40 42 44 46 48 50 in 76 81 86 92 97 102 107 112 117 122 127 cm Length of 3.5 3.5 3.75 4 4 4.25 4.25 4.25 4.5 4.5 4.75 in bodice 9 9 9.5 10 10 11 11 11 11.5 11.5 12 cm Top arm 11.25 11.75 12.5 13.25 13.75 14.25 14.75 15.5 16 16.5 17.25 in circumference 29 30 32 34 35 36 37 39 41 42 44 cm Neck 23 24.25 24.25 24.25 24.25 25.75 25.75 25.75 27 27 28 in circumference 58 62 62 62 62 65 65 65 68 68 71 cm Long sleeve 15 15 15 15.5 15.5 16 16 16.5 17 17 17 in length 38 38 38 39 39 41 41 42 43 43 43 cm Yoke depth 5.5 5.5 5.5 6 6 6 6.25 6.25 6.25 6.25 6.25 in (front) 14 14 14 15 15 15 16 16 16 16 16 cm Yoke depth 7.25 7.25 7.5 8 8 8.5 8.75 8.75 9 9 9.25 in (back) 18 18 19 20 20 21 22 22 23 23 24 cm

ABBREVIATIONS GAUGE

b/o = bind off (cast off) c/o = cast on Bodice section: 7 stitches and 9 rows to 1” over k = knit stockinette-in-the-round. p = purl Lace section: 1 full repeat of pattern = 3.5” wide rh = right hand and 1.5” high. lh = left hand rs = right side The lace pattern is extremely stretchy and will ws = wrong side contract/ expand on the bias to fit. I CC1 = contrasting colour 1 recommend working two swatches: one in CC2 = contrasting colour 2 stockinette, and one with two repeats of the MC = main colour cockleshell lace (which will allow you to practice pm = place marker the pattern). sm = slip marker st(s) = stitch, stitches MATERIALS k2tog = knit 2 stitches together (decrease) k15tog = knit 15 stitches together (cockleshell) 3mm (US 2-3/ UK 11) circular needle for p15tog = purl 15 stitches together (cockleshell worked using standard garter st in the round) working lace and upper body. 2.5mm (US 1-2/ k1tbl = knit 1 stitch through the back loop UK 12-13) circular needles / dpns for working p1tbl = purl 1 stitch through the back loop sleeve / neck edging (or correct needle sizes to give kfb = knit into front and back of same stitch(increase) gauge). Stitch markers. 3mm crochet hook. Waste pfb = purl into front and back of same stitch (increase) yo = yarn over yarn. Tapestry needle for weaving in ends. k1 elongated = knit 1 st, wrapping yarn twice; drop wrap on next row.

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YARN REQUIREMENTS

My sample was knitted in Albayarn 4 ply Shetland lambswool (100% wool, 225m/245yds/50g balls), available at www.thewoolshed.co.uk. in shades bluebell (MC) harebell (CC1) and summer pudding (CC2). I strongly recommend using a pure wool yarn when working this sweater (do not use a superwash sock yarn, for example). With a slightly fuzzy yarn, like a soft Shetland lambswool, the lace pattern looks its best, and the short row shaping on the bodice will be near-invisible. Select your size (for example, B3) and each shade (MC, CC1, CC2) from the tables below to see the yarn requirements in yards for your sweater. (CC1 and CC2 quantities for long-sleeved version are as per short-sleeved version.) All yarn quantities are estimates.

short sleeves

MC 1 2 3 4 5 6 7 8 9 10 11 A 535 555 580 620 635 680 - - - - - yards B 565 585 610 655 665 710 735 - - - - yards C - - 645 685 695 740 765 780 - - - yards D - - - - 755 800 825 840 880 - - yards E - - - - - 830 855 870 910 925 965 yards F ------905 945 960 1000 yards G ------1015 1030 1070

CC1 1 2 3 4 5 6 7 8 9 10 11 A 210 215 215 215 215 220 - - - - - yards B 240 245 245 245 245 250 250 - - - - yards C - - 275 275 275 280 280 280 - - - yards D - - - - 335 340 340 340 350 - - yards E - - - - - 370 370 370 380 380 390 yards F ------405 415 415 425 yards G ------485 485 495 yards

CC2 1 2 3 4 5 6 7 8 9 10 11 A 185 190 190 190 190 195 - - - - - yards B 210 215 215 215 215 220 220 - - - - yards C - - 245 245 245 250 250 250 - - - yards D - - - - 295 300 300 300 310 - - yards E - - - - - 325 325 325 335 335 345 yards F ------355 365 365 375 yards G ------425 425 435 yards

long sleeves

MC 1 2 3 4 5 6 7 8 9 10 11 A 875 915 965 1045 1080 1160 - - - - - yards B 905 945 995 1075 1110 1190 1225 - - - - yards C - - 1025 1105 1140 1220 1255 1310 - - - yards D - - - - 1195 1275 1310 1370 1435 - - yards E - - - - - 1310 1345 1400 1470 1505 1565 yards F ------1435 1500 1540 1595 yards G ------1570 1605 1665 yards

! 50 TEXTISLES APRIL 2012 SPECIAL TECHNIQUES video tutorials

As this sweater involves a few techniques that may be unfamiliar, I strongly recommend watching the Betty Mouat video tutorials before commencing.

Go to: http://katedaviesdesigns.com/tutorials/ and follow the links to part 1 (no purl garter stitch); part 2 (working with several colours); and part 3 (cockleshell lace). short rows

Short rows are described using Carol Sunday’s wrapless method (http://sundayknits.com/techniques.html) When worked correctly, in a pure-wool yarn, this method is near-invisible. If you use wraps, the turning points are likely to show up on the front of your garment.

To work the short rows, first cut several 3” pieces of fingering weight or sock yarn in a contrasting colour (you will need one for each short row you are to work).

On both knit and purl sides: 1. Work to the turning point. 2. Turn the work. 3. Return working yarn to the front (knit side) or back (purl side) as if to work next stitch. 4. Place one of the contrasting pieces of yarn across the working yarn. 5. Work the next stitch. 6. Continue to work along the row as usual. The contrasting yarn will remain as a placeholder. Treat each short row turn in the same way.

To resolve the short rows: On knit side: 1. Work up to the turning point (you will see a gap, and the contrasting thread of yarn running through the fabric underneath) 2. Insert left needle into the loop of yarn that has the contrasting thread running through it. 3. Knit this loop together with the next stitch. 4. Remove contrasting yarn. One short row resolved!

no-purl garter stitch

The lace sections for my samples were worked using Susan Stevens’ no-purl garter stitch method. This brilliant technique eliminates purling, meaning that the cockleshell lace can be worked in the round using knit stitches only, in the traditional Shetland fashion. For further information see part 1 of the Betty Mouat video tutorial (link above). Please note that this technique is only used for the lace section: the instructions for the cuff and neck edgings are written for standard garter stitch in the round, (ie, alternating knit and purl rounds). If you are a fan of purling, you can always work standard garter stitch in the round, rather than the no-purl method, for the lace portions too.

working lace in several colours

During the lace section, you will be working with three colours, changing yarns every four rounds. If you are using the no- purl garter stitch method, you will also need to use two separate balls of yarn for the right and wrong side rounds in every colour -- making six balls of yarn in total. To prevent unnecessary breaking of yarn, and the tiresome weaving in of ends, I recommend carrying all of the yarns not in use up the back of the work. A neat technique for doing this is demonstrated in part 2 of the Betty Mouat video tutorial (link above).

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COCKLESHELL LACE pattern notes

* Begin by familiarising yourself with the lace pattern. * First, watch part 3 of the Betty Mouat video tutorial, in which rows 9 and 10 of the pattern are demonstrated. (link on previous page) * Now, take a look at the chart. It accommodates both the no-purl and the standard methods of working garter stitch. If you are following the no-purl method, you will work alternate RS and WS rounds, knitting on every round. If you are following the standard method, you will always be working from the RS, knitting and purling alternate rounds. * Even if you are an experienced lace knitter, you may find it useful to place a marker between each chart repeat. *The lace repeat is worked over 21 sts and 12 rounds. End-of-round stitch-count variations are given in brackets in the written instructions below.

chart

written instructions key

These instructions are written for the no-purl method of garter st only. For the standard method, see chart, reading all rows as RS rows.

Round 1 (rs) With skein 1 of MC, k1, yo, k2tog, k15, k2tog, yo, k1. Round 2 (ws) With skein 2 of MC, k1, kfb, k17, kfb, k1. (23 sts per repeat) Round 3 With skein 1 of MC, k to end of round. Round 4 With skein 2 of MC, k to end of round. Round 5 With skein 1 CC1, k1, yo, k2tog, yo, k2tog, k13, k2tog, yo, k2tog, yo, k1. Round 6 With skein 2 of CC1, k1, kfb, k1, kfb, k15, kfb, k1, kfb, k1. (27 sts per repeat) Round 7 With skein 1 of CC1, k to end of round. Round 8 With skein 2 of CC1, k to end of round. Round 9 With skein 1 of CC2, k1, yo, k2tog, yo, k2tog, yo, k2tog, k13 elongated, k2tog, yo, k2tog, yo, k2tog, yo, k1. Round 10 With skein 2 of CC2, k1, kfb, k1, kfb, k1, kfb, slip 15 sts to rh needle, (elongating sts from previous row), return 15 sts to lh needle, k15tog, kfb, k1, kfb, k1, kfb, k1. (19 sts per repeat) Round 11 With skein 1 of CC2, k9, yo, k1, yo, k9. (21 sts per repeat) Round 12 With skein 2 of CC2, k9, k1tbl, k1, k1tbl, k9. ! 52 TEXTISLES APRIL 2012

NOW START KNITTING! 1. Cast on; work lace section With skein 1 of MC, 3mm circular needle, and casting on over both needle tips to give loose and stretchy edge (essential) c/o A(147), B(168), C(189), D(210), E(231), F(252), G(273) sts, pm for start of round, and join for working no-purl garter stitch in the round (to work standard garter st in the round, work from chart, reading all rows as RS). Following chart, or written instructions, work A(7), B (8), C(9), D(10), E(11), F(12), G(13) repeats across round. On round 2, change to skein 2 of MC and continue from chart or written instructions. Work all 12 rounds of lace pattern A(11), B(11), C(11), D (12), E(12), F(12), G(13) times in total. (Consult schematic - you can work further / fewer repeats depending on the length of your torso – this may require more yarn.)

2. Begin bodice. Work bust increase rounds With MC, and working stockinette in the round, knit 1 round. Increase W sts evenly on next round (see table below). To increase evenly, cut a short length of waste yarn for each increase (you can use these later for working the short rows). Loosely tie the lengths around your needle between sts, so that they are roughly evenly distributed. As you work the row, increase each time you reach a piece of waste yarn.

W sts 1 2 3 4 5 6 7 8 9 10 11 A 15 19 22 26 29 33 - - - - - B 10 14 17 21 24 28 31 - - - - C - - 12 15 19 22 26 29 - - - D - - - - 14 17 21 24 28 - - E - - - - - 12 15 19 22 26 29 F ------14 17 21 24 G ------12 15 19

Work 1 round. All sizes: increase X sts evenly on next round.

X sts 1 2 3 4 5 6 7 8 9 10 11 A 16 19 23 26 30 33 - - - - - B 11 14 18 21 25 28 32 - - - - C - - 12 16 19 23 26 30 - - - D - - - - 14 18 21 25 28 - - E - - - - - 12 16 19 23 26 30 F ------14 18 21 25 G ------12 16 19

Work 1 round. All sizes: increase Y sts evenly on next round. Y sts 1 2 3 4 5 6 7 8 9 10 11 A 16 19 23 26 30 33 - - - - - B 10 14 17 21 24 28 31 - - - - C - - 12 16 19 23 26 30 - - - D - - - - 14 17 21 24 28 - - E - - - - - 12 16 19 23 26 30 F ------14 17 21 24 G ------12 16 19

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Work 1 round. All sizes: increase Z sts evenly on next round.

Z sts 1 2 3 4 5 6 7 8 9 10 11 A 16 20 23 27 30 34 - - - - - B 11 14 18 21 25 28 32 - - - - C - - 13 16 20 23 27 30 - - - D - - - - 14 18 21 25 28 - - E - - - - - 13 16 20 23 27 30 F ------14 18 21 25 G ------13 16 20

1(210), 2(224), 3(238), 4(252), 5(266), 6(280), 7(294), 8(308), 9(322), 10(336), 11(350) sts.

3. Place side marker. 5. cont... On next round, k 1(105), 2(112), 3(119), 4(126), 5 On next round: (133), 6(140), 7(147), 8(154), 9(161), 10(168), 11(175) A: k1, m1, knit to 1 st before end of round marker, sts, pm, k 1(105), 2(112), 3(119), 4(126), 5(133), 6 m1, k1. 2 sts increased. (140), 7(147), 8(154), 9(161), 10(168), 11(175) to start of round. B: knit 1(7), 2(7), 3(7), 4(7), 5(7), 6(7), 7(6), 8(6), 9 (6), 10(6), 11(5) rounds. 4. Work bust; set aside sts at underarms Repeat steps A and B 1(14), 2(14), 3(15), 4(15), 5 Continue working in stockinette until work (15), 6(15), 7(17), 8(17), 9(19), 10(19), 11(21) more measures 1(3.5), 2(3.5), 3(3.75), 4(4), 5(4), 6(4.25), 7 times. 1(30), 2(30), 3(32), 4(32), 5(32), 6(32), 7(36), (4.25), 8(4.25), 9(4.5), 10(4.5), 11(4.75) inches from 8(36), 9(40), 10(40), 11(44) sts increased and 1(78), lace section. Moving sts around needles, and 2(82), 3(88), 4(92), 5(96), 6(100), 7(104), 8(108), 9 removing markers when you come to them, slip 1(6), (112), 10(116), 11(120) sleeve sts in total. 2(6), 3(6), 4(6), 5(7), 6(7), 7(8), 8(8), 9(9), 10(9), 11 k until sleeve measures 1(15), 2(15), 3(15), 4(15.5), (10) sts each side of each marker to waste yarn. 1(24), 2 5(15.5), 6(16), 7(16), 8(16.5), 9(17), 10(17), 11(17) (24), 3(24), 4(24), 5(28), 6(28), 7(32), 8(32), 9(36), inches (or your desired length to underarm – this 10(36), 11(40) sts set aside for underarms and 1 may require more yarn). (186), 2(200), 3(214), 4(228), 5(238), 6(252), 7(262), Set aside. Make another sleeve in the same way. 8(276), 9(286), 10(300), 11(310) body sts remain. Now move to step 7. If working long-sleeved version, move to step 5; if working short-sleeved version, move to step 6. 6. Work short sleeves 5. Work long sleeves With CC2, using 2.5mm circular needle or dpns if With CC2, using 2.5mm circular needle or dpns if preferred, c/o 1(78), 2(82), 3(88), 4(92), 5(96), 6 preferred, c/o 1(48), 2(52), 3(56), 4(60), 5(64), 6 (100), 7(104), 8(108), 9(112), 10(116), 11(120) sts, pm (68), 7(68), 8(72), 9(72), 10(76), 11(76) sts, pm for for start of round, and join for working in the round. start of round, and join for working in the round. Working ordinary garter st in the round (see above), Working ordinary garter st in the round (see above), *work 2 rounds in CC2, 2 rounds in CC1, 2 rounds *work 2 rounds in CC2, 2 rounds in CC1, 2 rounds in MC*. Repeat stripe sequence from * to * once in MC*. Repeat stripe sequence from * to * once more. Work 2 rounds in CC2, work 2 rounds in more. Work 2 rounds in CC2, work 2 rounds in CC1. Change to MC and 3mm needle. Work in CC1. Change to MC and 3mm needle. Work in stockinette for 2 rounds. stockinette for 1 round. Set aside. Make another sleeve in the same way. Now move to step 7.

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7. Set aside sts at underarms 10. Work second decrease round

Return to first sleeve. Moving sts around needles, Sizes 1, 3, 5, 7, 9 and 11 only: k2, *k1, k2tog* repeat and removing marker when you come to it, slip 1 from * to * around. (6), 2(6), 3(6), 4(6), 5(7), 6(7), 7(8), 8(8), 9(9), 10 Sizes 2, 4, 6, 8, and 10 only *k1, k2tog* around. (9), 11(10) sts each side of marker to waste yarn. 1 1(79), 2(85), 3(91), 4(97), 5(100), 6(106), 7(109), 8 (12), 2(12), 3(12), 4(12), 5(14), 6(14), 7(16), 8(16), 9 (115), 9(118), 10(124), 11(127) sts decreased and (18), 10(18), 11(20) sts set aside for underarm and 1(160), 2(170), 3(184), 4(194), 5(202), 6(212), 7(220), 8 1(66), 2(70), 3(76), 4(80), 5(82), 6(86), 7(88), 8(92), (230), 9(238), 10(248), 11(256) sts total. 9(94), 10(98), 11(100) sleeve sts remain. Sizes 1, 2 and 3: work 12 rounds. Do the same for the other sleeve. Sizes 4, 5 and 6: work 15 rounds. Sizes 7, 8, 9, 10 and 11: work 18 rounds. 8. Join body and sleeves, place marker 11. Work third decrease round With 3mm circular needle and MC, join body and sleeves into yoke as follows: k 1(66), 2(70), 3 Sizes 1 and 2: no decrease necessary. Move to step 12. (76), 4(80), 5(82), 6(86), 7(88), 8(92), 9(94), 10 Size 3: k2, *k11, k2tog*. Repeat from * to * around. 14 (98), 11(100) sts of left sleeve; k 1(93), 2(100), 3 sts decreased and 170 sts total. (107), 4(114), 5(119), 6(126), 7(131), 8(138), 9 Size 4: k2, *k6, k2tog*. Repeat from * to * around. 24 (143), 10(150), 11(155) sts across front; k 1(66), 2 sts decreased and 170 sts total. (70), 3(76), 4(80), 5(82), 6(86), 7(88), 8(92), 9(94), Size 5: *k5, (k4, k2tog)16 times*. Repeat from * to * 10(98), 11(100) sts of right sleeve; k 1(93), 2(100), once more. 32 sts decreased and 170 sts total. 3(107), 4(114), 5(119), 6(126), 7(131), 8(138), 9 Size 6: *k10, (k4, k2tog) 16 times*. Repeat from * to * (143), 10(150), 11(155) sts across back. 1(318), 2 once more. 32 sts decreased and 180 sts total. (340), 3(366), 4(388), 5(402), 6(424), 7(438), 8 Size 7: *k10, (k3, k2tog) 20 times*. Repeat from * to * (460), 9(474), 10(496), 11(510) sts in total. On once more. 40 sts decreased and 180 sts total. next round, k 1(271), 2(290), 3(312), 4(331), 5 Size 8: *k15, (k2, k2tog) 25 times*. Repeat from * to * (342), 6(361), 7(372), 8(391), 9(402), 10(421), 11 once more. 50 sts decreased and 180 sts total. (432), remove old marker, and pm for new start of Size 9: *k19, (k2, k2tog) 25 times*. Repeat from * to * round (round now begins at middle of back). once more. 50 sts decreased and 188 sts total. All sizes: work 9 rounds. Size 10: *k4, (k2, k2tog) 30 times*. Repeat from * to * once more. 60 sts decreased and 188 sts total. 9. Work first decrease round Size 11: *k8, (k2, k2tog) 30 times*. Repeat from * to * On next round: once more. 60 sts decreased and 196 sts total. Sizes 1, 3, 5, 7, 9 and 11 only: k2, *k2, k2tog* repeat from * to * around. 12. Work front short rows Sizes 2, 4, 6, 8, and 10 only: *k2, k2tog* around. Before beginning this step, ensure you are familiar with the special instructions for short rows (see above). 1(79), 2(85), 3(91), 4(97), 5(100), 6(106), 7(109), 8 Sizes are listed in the table from left to right. Select the (115), 9(118), 10(124), 11(127) sts decreased and 1 relevant column for your size. (239), 2(255), 3(275), 4(291), 5(302), 6(318), 7 Beginning at start of round, knit the number of stitches (329), 8(345), 9(356), 10(372), 11(383) sts remain. in first row, then turn; purl the number of stitches in the All sizes: work 9 rounds. second row, turn. The first four rows are given in the table.

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12. (cont) front short row table

size 1 2 3 4 5 6 7 8 9 10 11 row 1 knit 70 75 75 75 75 78 78 78 80 80 82 2 purl 140 150 150 150 150 156 156 156 160 160 164 3 knit 137 147 147 147 147 153 153 153 157 157 161 4 purl 134 144 144 144 144 150 150 150 154 154 158

Continue to work short rows, with 3 fewer sts on each row, until 1(10), 2(10), 3(10), 4(12), 5(12), 6(14), 7(14), 8(14), 9(16), 10(16), 11(18) short rows have been worked. 1(116), 2(126), 3(126), 4(120), 5(120), 6(120), 7(120), 8(120), 9(118), 10(118), 11(116) sts are purled on the final row.

All sizes: k to end of round, then k 1 full round, closing gaps of all short rows.

13. Work back-neck short rows Beginning at start of round, and following table below as set previously, work short rows for back neck.

1 2 3 4 5 6 7 8 9 10 11 1 knit 39 42 42 42 42 44 44 44 46 46 48 2 purl 78 84 84 84 84 88 88 88 92 92 96 3 knit 76 82 82 82 82 86 86 86 90 90 94 4 purl 74 80 80 80 80 84 84 84 88 88 92

Continue to work short rows, with 2 fewer sts on each row, until 1(6), 2(6), 3(6), 4(6), 5(6), 6(8), 7(8), 8(8), 9(8), 10 (8), 11(8) back neck short rows have been worked.

All sizes: k to end of round, then k 1 full round, closing gaps of all short rows.

14. Work neck edging

Using 2.5mm circular needle, CC2, and changing to ordinary garter st in the round (see above), *work 2 rounds in CC2, 2 rounds in CC1, 2 rounds in MC*. Repeat stripe sequence from * to * twice. Using 3mm needle, b/o all sts in MC.

15. Finishing

Graft the underarm stitches together on each side. Weave in all ends. Soak sweater in cool water and wool wash for 20 minutes to allow the sts to relax and bloom. Squeeze water out of garment between dry towels. Shape garment on a flat surface, stretching the lace, and paying particular attention to the cockleshells. Pin out garment to correct dimensions, beginning with the scallops along the bottom edge. Leave to dry flat.

Now, enjoy your Betty Mouat!

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for original knitting patterns visit katedaviesdesigns.com

Designed by Kate Davies Test Knitting by Melanie Ireland Tech Editing by Jen Arnall-Culliford Photography by Tom Barr

© Copyright agreement: This pattern is the property of Kate Davies. It is copyrighted, and is for personal and non-profit use only. This means that you can knit it for yourself, for a gift or for charity. You may not sell a garment made from this pattern. You may not reproduce this pattern on, or distribute it from, a website. Unless operating under the Ravelry in-store sales agreement, merchants may not download or print this pattern for sale, distribution, or class use. This pattern may not be translated, reproduced or circulated in another language. Purchasing, downloading, or printing the pattern constitutes agreement within these terms. If you find an error in this! pattern please email [email protected]. Thankyou, and enjoy your Betty Mouat! 57 Edinburgh, Scotland, April 2012. TEXTISLES APRIL 2012 B M C (Betty Mouat Cowl)

KATE DAVIES

Versatile, Lightweight Cowl or Wrap in Vintage Shetland Lace. 2 Sizes.

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GAUGE SPECIAL TECHNIQUES

1 full repeat of cockleshell pattern = 3.5” wide video tutorials and 1.5” high. The lace pattern is extremely As this pattern involves a few techniques that may stretchy, and expands after blocking. be unfamiliar, I strongly recommend watching the Betty Mouat video tutorials before commencing. SIZES & DIMENSIONS Go to: http://katedaviesdesigns.com/tutorials/ Instructions are included for two cowl sizes: a and follow the links to part 1 (no-purl garter stitch) small, collar-size cowl, and a large, wrap-size cowl and part 3 (cockleshell lace). (pictured). Both cowls measure 9” (23cm) in depth; size 1 (small) measures 24.5” (62cm) in no-purl garter stitch circumference and size 2 (large) measures 91” (231cm) in circumference. The samples of the BMC were knitted using Susan Stevens’ no-purl garter stitch method. This brilliant technique eliminates purling, meaning YARN that the cockleshell lace can be worked in the round working knit stitches only, in the traditional For the small size: 35 yards (32m) of each of 9 Shetland fashion. For further information see part shades of fingering-weight Shetland wool. If 1 of the Betty Mouat video tutorial (link above). If worked to correct gauge in correct yarn, the cowl you are a fan of purling, you can always work should use between 270 and 320 yards standard garter stitch in the round, rather than the (247-293m) in total. For the large size: 95 yards no-purl method. The lace chart accommodates (87m) of each of 9 shades of fingering-weight both methods. Shetland wool. If worked to correct gauge in correct yarn weight, the cowl should use ABBREVIATIONS between 850 and 900 yards (778-823m) of yarn b/o = bind off (cast off) c/o = cast on in total. Sample pictured was knitted with k = knit Albayarn 4 ply Shetland lambswool (100% wool, p = purl 225m/245yds/50g balls), available at rh = right hand www.thewoolshed.co.uk Shown in the following lh = left hand rs = right side shades: MC - Slate; CC1 - Heather; CC2 - Mist; ws = wrong side CC3 - Glade; CC4 - Moss; CC5 - Spring; CC6 - CC1 = contrasting colour 1 Willowherb; CC7 - Raspberry Twist; CC8 - CC2 = contrasting colour 2 Clover. MC = main colour pm = place marker sm = slip marker st(s) = stitch, stitches OTHER MATERIALS k2tog = knit 2 stitches together (decrease) k15tog = knit 15 stitches together (cockleshell) For the large size: two 3mm (US 2-3/ UK 11) circular p15tog = purl 15 stitches together (cockleshell worked using standard garter st in the round) needles, 40-60” (100-150cm) long. You may wish to k1tbl = knit 1 stitch through the back loop transfer groups of stitches to shorter 3mm needles for p1tbl = purl 1 stitch through the back loop ease while grafting. For the small size: two 3mm 16” / kfb = knit into front and back of same stitch(increase) 40cm (US 2-3/ UK 11) circular needles. For both sizes: pfb = purl into front and back of same stitch (increase) yo = yarn over stitch markers. 3mm (US C/2 – D/3/ UK 11) crochet k1 elongated = knit 1 st, wrapping yarn twice; hook. Tapestry needle for grafting and weaving in drop wrap on next row. ends. Blocking wires and pins (recommended).

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COCKLESHELL LACE pattern notes

* Begin by familiarising yourself with the lace pattern. * First, watch part 3 of the Betty Mouat video tutorial, in which rows 9 and 10 of the pattern are demonstrated. (link on previous page) * Now, take a look at the chart. It accommodates both the no-purl and the standard methods of working garter stitch. If you are following the no-purl method, you will work alternate RS and WS rounds, knitting on every round. If you are following the standard method, you will always be working from the RS, knitting and purling alternate rounds. * Even if you are an experienced lace knitter, you may find it useful to place a marker between each chart repeat. *The lace repeat is worked over 21 sts and 12 rounds. End-of-round stitch-count variations are given in brackets in the written instructions below.

key

written instructions key

These instructions are written for the no-purl method of garter st only. For the standard method, see chart, reading all rows as RS rows.

Round 1 (rs) k1, yo, k2tog, k15, k2tog, yo, k1. Round 2 (ws) k1, kfb, k17, kfb, k1. (23 sts per repeat) Round 3 k to end of round. Round 4 k to end of round. Round 5 k1, yo, k2tog, yo, k2tog, k13, k2tog, yo, k2tog, yo, k1. Round 6 k1, kfb, k1, kfb, k15, kfb, k1, kfb, k1. (27 sts per repeat) Round 7 k to end of round. Round 8 k to end of round. Round 9 k1, yo, k2tog, yo, k2tog, yo, k2tog, k13 elongated, k2tog, yo, k2tog, yo, k2tog, yo, k1. Round 10 k1, kfb, k1, kfb, k1, kfb, slip 15 sts to rh needle, (elongating sts from previous row), return 15 sts to lh needle, k15tog, kfb, k1, kfb, k1, kfb, k1. (19 sts per repeat) Round 11 k9, yo, k1, yo, k9. (21 sts per repeat) Round 12 k9, k1tbl, k1, k1tbl, k9. ! 60 TEXTISLES APRIL 2012

INSTRUCTIONS Grafting tips Transfer groups of 30-40 stitches to If you are using the no-purl method, wind each shade into two shorter needles, grafting them in turn. equal skeins (balls) of yarn. If you are working standard garter Thread your tapestry needle with lengths stitch in the round from the chart, then ignore references to of yarn no longer than 12” (30cm). different skeins of yarn. Try spit-splicing or Russian-joining each yarn length to the next. With first skein of MC, 3mm circular needle (16” length for small size; 40-60” length for large size), and casting on over Grafting in garter stitch both needle tips to give loose and stretchy edge (essential) c/o First, set up sts for grafting by 1(147), 2(546) sts, pm for start of round, and join for working inserting the tapestry needle into the garter stitch in the round. Following chart, (or written first stitch on the front needle as if to instructions) work 1(7), 2(26) repeats across round, placing purl and then into the first stitch on stitch markers between repeats. the back needle as if to purl again. Round 2 change to second skein of MC and continue from Now: chart or (written instructions). 1. Insert the needle into the first stitch Round 3 work from chart round 3 in first skein of MC. on the front needle as if to knit, while Round 4 work from chart round 4 in second skein of MC. slipping it off the end of the needle. Round 5 work from chart round 5 in first skein of CC1. 2. Insert the needle into the next Round 6 work from chart round 6 in second skein of CC1. stitch on the front needle as if to purl, Round 7 work from chart round 7 in first skein of CC1. but this time, leave it on the needle. Round 8 work from chart round 8 in second skein of CC1. Pull the yarn through. Round 9 work from chart round 9 in first skein of CC2. 3. Insert the needle into the first stitch Round 10 work from chart round 10 in second skein of CC2. on the back needle as if to knit, while Round 11 work from chart round 11 in first skein of CC2. slipping it off the end of the needle. Round 12 work from chart round 12 in second skein of CC2. 4. Insert the needle into the next stitch on the back needle as if to purl, These 12 rounds set lace pattern (and alternating skeins if no- but this time, leave it on the needle. purl method is used). Continue to work as set, with shades as Pull the yarn through. follows: Repeat steps 1-4. Rounds 13 – 16 use CC3. Rounds 17 – 20 use CC4. Finishing Rounds 21 – 24 use CC5. Weave in all ends neatly to the back of Rounds 25 – 28 use CC6. the work. Soak cowl in cool water and Rounds 29 – 32 use CC7. wool wash for at least 20 minutes to Rounds 33 – 36 use CC8. allow the stitches to relax and bloom. Squeeze out water between dry towels Set first piece aside. (do not wring). With blocking wires, With another 3mm circular needle (40-60” long), work a stretch cowl to dimensions specified, second piece in exactly the same manner as the first. Work and pin out, paying attention to the long one round in first skein of CC8, knitting all sts. scalloped edges of the cowl, and to the With CC8, the right sides of both pieces facing, and following shape of each cockleshell. Dry flat. instructions for garter stitch below, graft together the two sets of 1 (147), 2(546) sts. Enjoy your BMC!

! 61 TEXTISLES APRIL 2012

for original knitting patterns visit katedaviesdesigns.com

Designed by Kate Davies Test Knitting by Melanie Ireland Tech Editing by Jen Arnall-Culliford Photography by Tom Barr

© Copyright agreement: This pattern is the property of Kate Davies. It is copyrighted, and is for personal and non-profit use only. This means that you can knit it for yourself, for a gift or for charity. You may not sell a garment made from this pattern. You may not reproduce this pattern on, or distribute it from, a website. Unless operating under the Ravelry in-store sales agreement, merchants may not download or print this pattern for sale, distribution, or class use. This pattern may not be translated, reproduced or circulated in another language. Purchasing, downloading, or printing the pattern constitutes agreement within these terms. If you find an error in this pattern please email [email protected]. Thankyou, and enjoy your BMC!Edinburgh, Scotland, April 2012. ! 62