Basics fashion design knitwear - Tài liệu ngành may thời tran

[ 26 Basics fashion design - Knitwear Second Edition- Juliana Sissons ] Số trang: 208 trang Ngôn ngữ: English #CODE.26.208.GS.80.FL -------------------------------- Basics Fashion Design 06: Knitwear is a practical introduction to the use of knitwear in fashion design, richly illustrated with examples and easy-to-follow diagrams. It describes the many varieties of yarn and fibre, their characteristics and their behaviour, from the traditional to the contemporary. It explains the relevant machinery and tools, and the types of work that can be produced on each. Basic techniques on domestic machines are discussed, leading to a section on how to create a knitting pattern. Details and trims are also examined, outlining embellishment, buttonholes and fastenings. The book also discusses the knitwear industry and offers useful information on the various career

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Sissons, Juliana, 1959- author.

Knitwear: an introduction to contemporary design / Juliana Sissons

Second edition | New York: Bloomsbury Visual Arts, An imprint of Bloomsbury Publishing Plc, 2018 | Series: Basics fashion design | Includes bibliographical references and index LCCN 2017040185 | ISBN 9781474251730 (pbk : alk paper)

LCSH: Knit goods—Design | Fashion design.

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ISBN: PB: 978-1-4742-5173-0ePDF: 978-1-4742-5174-7Series: Basics Fashion Design

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

Foreword: Sandy Black viIntroduction ix

technology 23

Interview: Freddie Robins, senior tutor,

knitted textiles, the Royal College of Art, London 24

Creative development 29The brief 30

Research 33

Interview: Shelley Fox, Donna Karan

professor of fashion, director of MFA Fashion Design and Society at Parsons, New York 38

Design development 41Colour 45

Surface texture 70Patterned knits 80

Interview: Sophie Steller, designer and

director of the Sophie Steller studio 83

Interview: Katherine Mavridis, knitwear

designer, Ralph Lauren 102Draping and shaping 105Creating a knitting pattern 111

Details and trims 123Collars and neckbands 124Hems and edges 128Pockets 133

Interview: Hannah Jenkinson, knitwear

designer, HJK, own label 134Buttonholes and fastenings 137Hand-finishing techniques 140Embellishment 143

Practitioners in context: menswear 149Historical contexts 150

Androgynous contexts 150

Interview: Cozette McCreery 152

Designer case study: Pa Byrne 158

Designer case study: Ella Nisbett 162

Designer case study: Ben McKernan 165

Designer case study: Latasha

Hammond 169

Designer case study: Matilda Draper 171

Designer case study: Kendall Baker 174

Designer case study: Carlo Volpi 177Block patterns for menswear 179Pattern construction for easy fitting

dropped shoulder block with V-neck

shape 181

Knitting pattern for easy fitting dropped shoulder block with sleeves 183Pattern construction for sleeve

development 184

Conclusion 186Glossary 187Index 192

Acknowledgements and picture credits 195

Perceptions of knitwear and knitting span a very wide spectrum from the domestic hand-knitting on needles to the commercial products of today’s sophisticated industrial technology Knit technology was mechanized more than 150 years before the Industrial Revolution, and it continues to be at the forefront of innovation in the digital era Once associated with wartime thrift and knitting for victory, hand-knitting is again seen in public, with people learning to knit in cafes and social gatherings, and creating mildly subversive artworks For those wanting to make a career in the fashion and knitwear industry, however, this public image is far removed from the complex, soft engineering that takes two-dimensional knitted fabric into three-dimensional form – and from the requirements and understanding of knit structures, and the consideration of garment form, whether in loose volume for drape from the shoulders, or knitted to shape for a body conscious silhouette.This second edition of Juliana Sissons’

Knitwear Basics book provides new

inspiration from both professional designers and students graduating

from fashion and textile courses in UK universities and arts colleges, and for the first time, from the United States In the intervening years since the first edition, the development of menswear with its own independent fashion weeks has grown, and is reflected here with a complete chapter on menswear, including an interview from Cozette McCreery, designer of former men’s fashion knitwear label, SIBLING.

Juliana Sissons, herself a designer and pattern maker working in higher education, conveys the excitement and endless potential of the medium of knitwear in a fashion context, beyond the classics that have become ubiquitous yet essential pieces The techniques, designs and insights contained here provide the basis of knowledge for endless experimentations with yarn, knit structure, pattern, texture, form and colour that will inspire a new generation of fashion and textile designers to go forth and create, either within the industry or as designer/makers.

Professor Sandy Black, London College of Fashion

Menswear made from silk, wool and monofilament yarns Extreme scale of proportions were achieved through weaving yarns into knit on the domestic knitting machine Abigail Coop, runner up of Graduate Fashion Week, Knitwear and Gold Award 2017.

ixThe machine-knitting industry dates back

to the early sixteenth century, but it could not be more exciting and alive than it is today Knitting provides endless creative outcomes, enabling an independent and experimental approach to design Modern developments in technology and manufacturing, coupled with contemporary treatments and spinning technology are constantly reviving the knitwear industry Knitwear can be found at all levels of the fashion market, from the industrial mass production of hosiery, underwear and sportswear to the use of its sculptural qualities in high fashion and accessories, such as bags, shoes and jewellery The medium also provides an astounding range of possibilities for art, interior design and architecture.

Knitwear: An Introduction to

Contemporary Design, second edition

begins with a brief history of knitting and knitwear design, with an introduction to yarns, fibres, machinery and tools The book then leads you through the essential stages of creative design development,

offering a range of exercises to hone your practical skills: how to knit a tension swatch, basic techniques on domestic machines and how to create knitting patterns It looks at the differences between two- and three-dimensional design, exploring the textural and sculptural qualities of knit The important considerations of the finer details, trims, embellishment and fastenings are explored before the final chapter, which examines the exciting possibilities in knitwear for men This new addition takes a different approach to the previous chapters by showcasing exemplary international practitioners in menswear, in order to demonstrate how the knitting techniques that have been explored throughout the book can be applied in contemporary knitwear design.Menswear design is an emerging area within the fashion industry, designers are pushing more boundaries than ever before Students are playing with unique themes, concepts and influences, leading to valuable sources of research for innovative design outcomes, thus giving men the freedom to explore more adventurous colour combinations, flamboyant textures and exciting developments in garment scale.Interviews with fashion/knitwear designers and knitted textile specialists serve to illustrate the different ways you can work with knitted textiles, offering inspiration and insight into the range of careers within the knitwear industry.I hope that this book will provide you with the fundamental skills, knowledge and inspiration to design and create your own innovative knitted textiles.

0.3

Katherine Mavridis’ oversized knitwear design from a collection of handcrafted designs, with three-dimensional coiling techniques.

‘Missoni’s aesthetic is inside me, my mother, grandmother and I all have different styles, but we share the same taste.’

Margherita Missoni 

‘It is a freedom to be able to make your own fabric while working For me it is the absolute challenge.’

Sandra Backlund

In order to take a fresh look at knitting, and at ideas that are normally taken for granted, we should first understand historically how these techniques came about and consider the classic, timeless designs as significant and creative starting points for further design development Hand-knitting skills and patterns have long been passed from generation to generation, allowing a greater understanding and acknowledgement of knitting as an intellectual, artistic tradition A growing number of new and exciting designers are graduating each year from fashion and textile courses, and by comparing their designs with the work from the early knitters, a story starts to emerge.

This chapter offers an introduction to knit and knitwear design, comparing traditional knitting techniques with their modern reinventions It looks at the characteristics and behaviour of different yarns and fibres, from the traditional to the contemporary, such as metallic, steel and plastic It offers an overview of knitting machines and tools and the different aspects of work that can be produced Finally, it looks at how developments in design and technology are radically reinventing this traditional craft.

Reinventing traditional knitting

Developments in technology enable new ways of creating knitwear and knitted textiles, but many students and designers are looking to traditional techniques for inspiration to merge with contemporary ideas Designers are capitalizing on the unique qualities that knit has to offer, pushing boundaries with unusual yarns and materials and playing with scale There is a natural interplay between craft, design and new technology We will look at some of these traditional knits – fishermen’s ganseys or guernseys, Aran cables, Fair Isle and lace – and explore their modern reinventions.

A brief history

Wool fabric has protected us since the very early days, and people may well have knitted, using only the fingers, as long ago as 1000 BCE Techniques using circular

peg frames, similar to French bobbin knitting, were also probably practised alongside hand pin knitting.

There are various European paintings that portray the Virgin Mary knitting, providing evidence that knitting was practised as early as the fourteenth century Shown here is Master Bertram’s painting of the Madonna, who is seen knitting Christ’s seamless garment on four needles Hand-knitting was commonplace in medieval Europe, and the production of caps, gloves and socks was an important industry.In 1589, the Reverend William Lee invented the stocking knitting frame, which was to revolutionize the knitwear

Visit of the Angel, known more commonly as the Knitting Madonna, by Master Bertram of Minden, 1400–10.

The framework knitting machine was invented by William Lee in 1589.

REINVENTING TRADITIONAL KNITTING 3

trade Initially created for use with the short, fine sheep’s wool from Sherwood Forest, this first machine produced coarse knitting for peasant hose Lee was unsuccessful in promoting the frame; Queen Elizabeth refused the patent because she feared that it would jeopardize the hand-knitting industry Lee then developed the frame to be used with silk: the original machines had eight needles per inch; this new machine was thought to have twenty needles per inch, and it was perfect for making expensive, fancy stockings The English were still not interested, and Lee took the frame to France, where the machine eventually proved to be successful By the end of the seventeenth century, it was in increasingly extensive use across Europe Knitting had become faster, because now, instead of knitting one stitch at a time, whole rows could be knitted at once The machine was gradually refined further, and by the eighteenth century, the idea of knitting holes opened up new scope for design By the late nineteenth century, the knitwear industry was huge; new innovations in technology paved the way for the straight bar, flat frame.

Jerseys and guernseys

Jerseys and guernseys originate from the Channel Islands, just off the north coast of France These fishermen’s garments were hard-wearing, comfortable and warm; they were knitted in oiled wool with a tight stitch and could resist rain and sea spray Original jerseys and guernseys were dark blue, almost black in colour, and were knitted in the round, using four or more needles, in order to secure a seamless garment.

Designs were often knitted in banded patterns, sometimes displaying different

textures between the bands Thanks to the opening up of trade routes in the seventeenth century, these garments soon became the fisherman’s staple around the UK, where they were adapted with new patterns and textures (and are often referred to elsewhere as ‘ganseys’) Stitches were passed down from

generation to generation The wealth of pattern in the stitches gave great scope for individual design These garments were cherished, looked after, mended and often handed down It is thought that a fisherman who died at sea could be identified by the handiwork of his guernsey.

Shetland fishermen wearing individually patterned hand-knitted ganseys in worsted yarn, circa 1900.

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

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

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

Modern interpretation of the traditional Aran knit by Alexander McQueen, A/W 2006.

REINVENTING TRADITIONAL KNITTING 5

Fair Isle

Fair Isle knitwear is known for its multicoloured, specialized patterns Fair Isle, a tiny island south of the Shetlands, was a frequently visited trading centre for fleets coming from the north and Baltic seas Influences from places such as Scandinavia and Spain can be seen in the Fair Isle knit.

Cottage industries flourished and continued to thrive until a decline in the early 1800s By 1910 Fair Isle knitting had become popular again; knitters continued to experiment with patterns and colours, and by the 1920s, the style had become a distinctive fashion for the wealthy and the middle classes.

While Aran knitting combines textured effects, Fair Isle knitting concentrates on pattern and colour Fair Isle knitting is a combination of design repeats and motifs, which tend to be broken up into vertical or horizontal bands or blocks Knitting instructions are taken from charts, which give a visual impression of how the design will look when finished There is great design potential with the different combinations of border patterns and motifs See more about Fair Isle patterns on page 80.

Fair Isle knit by Hannah Taylor.

Argyle-patterned hose

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

Rachel Wells’ knitted swatches designed for the Rebel Tartan Project, in collaboration with the Liberation Kilt Company (Blue-Heart Tartan) and Ethical Fashion Forum, to draw awareness to human trafficking.

YARNS AND FIBRES 7

Lace knitting

The Shetland Islands are also famous for their lace patterns, knitted in very fine, soft yarns Lace shawls were worked from the outside edges in Designs varied from quite simple mesh patterns, based on garter stitch, to intricate lace patterns, based on stocking stitch Different lace patterns were given names to describe the stitch Some had meanings, such as ‘Old Shale’, which depicted waves on the beach Others were more descriptive, such as ‘Feather and fan’, ‘Crest of the wave’, ‘Cat’s paw’ and ‘Horseshoe’ Lace patterns were capable of numerous modifications and combinations This enabled the production of lace pieces that were luxurious to wear and individual in design Lace knitting has never died out completely; many crafts people are still enjoying the challenge today See page 67 for more on lace.

Yarns and fibres

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

All yarns are made from natural or man-made fibres, which come in various lengths known as filament and staple Filaments are very long fibres, which are made in one continuous length Synthetic fibres are produced in a filament form They are often then cut into shorter staple lengths before being spun into yarn The only natural filament fibre is silk Staple fibres are much shorter in length: lots of separate pieces are twisted and spun together to make a staple yarn Sometimes, for reasons of strength, design or economy, yarns can be made from a blend of staple and filament fibres.

Cassie Green’s richly ornate garments made with luxurious materials: fine wool and silk.

Spinning involves the twisting together of staple fibres to form lengths of yarn A process called carding is first used to separate the entangled fibres Carding machines, which consist of large rollers covered with sharp wires, create a thin blanket of fibres, and these are divided into narrow strips, known as slubbings The slubbings are then drawn out and spun Yarn may be twisted in a clockwise or anticlockwise direction, resulting in

an s or z twist The yarn may be tightly

twisted, producing a hard, strong yarn; it can also be lightly twisted, giving a bulky, soft yarn with less strength, but good insulating properties.

Hand-spun yarns can be machine knitted but are usually best suited to a chunky machine due to the uneven texture of the yarn Single strand or ‘ply’ yarns are produced through the spinning process These strands can be twisted together with other strands to produce thicker yarns These yarns are known as two-ply, three-ply and so on Plying also prevents yarn from twisting back on itself and makes the final knitting lie straighter According to the number of single ends that have been combined, and the way the yarns are doubled, many different effects can be achieved Fancy yarns have a variety of textures and colour blends applied at the spinning stage.

Selection of hand-spun yarns by Jennifer Dalby.

YARNS AND FIBRES 9

Natural yarns

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

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

Taken from the fleece of a sheep, wool is by far the most common type of yarn used in knitting It has a natural elasticity, which makes it easy to work with It can be chunky or fine, depending on the way it is spun, and the quality can vary depending on the type of sheep Some wool has a longer and thinner staple length; for example, merino wool, from the merino sheep, has a finer fibre than other wools Shetland yarn has a shorter staple length; it is sometimes itchy because the shorter, thicker fibres poke out of the spun yarn Worsted wool is spun with a mix of varying length fibres, making it smoother, stronger and more lustrous than Shetland wool.

Hair is taken from the coats of animals other than sheep, although hair fibres are often blended with sheep’s wool Examples include mohair, which comes from the angora goat This is a luxury yarn with a unique hairy surface; when blended with wool or silk, the appearance becomes more refined Angora, which comes from the angora rabbit, is a soft, fluffy yarn It is usually blended with wool to give it strength Cashmere is another luxury yarn Taken from the cashmere goat, this is a soft, warm and lightweight yarn.

Harvested from silkworms, silk is the only natural filament fibre, and it is expensive It is strong, with a smooth, shiny appearance and is often blended with other fibres to make it more versatile Spun silk is cheaper, as it is made from the broken pieces of waste filament spun together Wild silk, which is harvested from undomesticated silkworms, is coarse and uneven.

Linen’s long staple fibres are taken from the stem of the flax plant This strong yarn is lacking in elasticity and is often blended with other fibres, such as cotton, to make it easier to work with Yarns are usually slubbed.

Cotton is made from staple fibres of the cotton plant This is also a strong, non-elastic yarn with a soft finish Untreated cottons are more difficult to knit than mercerized cottons, which have a treatment added at the production stage.

Man-made yarns

The development of manufactured fibres and their texturing processes have inspired the knitting industry, and they have been beneficial in many ways: they are easy and inexpensive to produce and can be blended with natural fibres that are too fragile to use alone However, there are environmental drawbacks as the entire production of these yarns involves the chemical treatment of raw materials and the use of coal and oil Definitions between natural and man-made fibres are becoming blurred as many natural fibres, such as cotton, wool and flax, are regularly subjected to chemical treatments.

Manufactured fibres fall into one of two categories: regenerated and synthetic Regenerated fibres are derived from natural substances, such as wood pulp cellulose or milk Rayon, the best known of these, is usually characterized by its sheen and often used as a substitute for silk Viscose and acetate are both products of the rayon family and are all

YARNS AND FIBRES 11

liable to melt under a hot iron Synthetic fibres, such as acrylic, are made from petroleum-based chemicals, plastic and/or coal Acrylic crimped fibre yarn is often used as a wool substitute, but it is less durable, not as warm and has a tendency to stretch Nylon is another synthetic yarn: it is very strong, non-absorbent and best blended with wool Polyester is similar to nylon but with less shine.

Other man-made yarns include metallic threads, such as Lurex, which are made

from aluminium and coated in plastic Manufacturing of man-made yarns continues to evolve, and a great number of refined, sophisticated yarns are available today There are now extremely fine microfibres, which have opened up new possibilities in the design of yarns; stretch yarns are increasingly being used in seamless garments, and new blends and textures are continually being developed.

1.17–1.20

Selection of swatches by Victoria Hill, constructed using unusual, man-made yarns, such as rubber, acrylic and wire.

Innovative yarns

Unusual effects in yarns are achieved by playing with colour, texture and heat settings These effects can be added at the fibre, spinning or doubling stage For example, a blend yarn has had different colours mixed together at fibre stage A marl yarn is made up of two woollen spun-single ends, in different colours, twisted together It can also be called a twist or a granderelle yarn Nepp yarn has flecks of colour along its length, like tiny coloured balls of wool.

The boundaries of yarn technology are constantly being pushed through student and designer research and through the many collaborative and interdisciplinary links Knit designers are working with sports scientists, producing high performance fabrics, which have in turn stimulated new ideas for super stretch yarns Collaborative research with knit designers and engineers are forging the way with ‘smart textiles’, creating yarns for medical purposes that have movement and can emit heat and light.

Buying yarns

Many companies specialize in selling yarns to the machine knitter Industrial coned yarns are more commonly used by machine knitters; balled yarns are usually too expensive, tangle more often and do not go as far However, it is a good idea to have a variety of unusual yarns for experimentation, and small amounts of thicker yarns are useful for weaving in by hand.

1.21–1.23

Sam Bartys; knitted swatches, developed on the industrial knitting machine, displaying a combination of innovative yarns to explore texture and stretch fabric combinations.

YARNS AND FIBRES 13

Dyeing yarns

Exploring different effects with dye can give your work a unique feel and open up new design possibilities Original base colours will affect the look of the final dyed colours, so use natural and light shades of yarn for the best results Before dyeing, the yarn needs to be unravelled from the cone and wound into a skein (do this by winding it round the back of a chair) and tied together loosely, to avoid tangling The yarn should also be washed to remove coatings.

Dylon dyes

Available from most hardware stores, Dylon dyes come in a wide range of colours Each tin contains enough powder to dye approximately 227 grams (8 oz) of yarn, although you can vary the amount of dye depending on the depth of shade required It is a good idea to make a note of the amount of dye added to the weight of yarn and keep it with the yarn sample These dyes are easy to use and come with full instructions However, they do not work well with some synthetic yarns.

Acid dyes

These chemical dyes are strong and bright and have excellent colour fastness They come in a powder form and require a similar dyeing process to the Dylon dyes Only a few base colours are needed to create a whole range of colours Two or more colours can be mixed and many shades can be created from one colour by varying the amount of dye used When experimenting with these mixtures, it is important to keep records of the amounts used in combination, together with a sample of the yarn before and after; for example, 30 grams wool yarn, red 40 millilitres/blue 60 millilitres This information will serve as a useful starting point for new variations on the shade.

Vegetable dyes

Vegetable dyes can produce a beautiful range of colours, but they tend not to be very strong and are also more likely to fade when washed However, this is a cheaper way of dyeing yarns, and the colours have inspired many soft, vintage-style collections Dyes from gathered plant materials can provide interesting colour projects They can also present a challenge when trying to replicate exact colours.

1.24

Dye tests by Georgia Northcoombs.

Space dyes

Space-dyed yarns are made up of a range of colours in one strand This partial dyeing technique involves one skein being dipped in separate coloured dyes Knitting

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

these yarns in stripes and patterns creates unusual rainbow effects Multicoloured Fair Isle patterns can also be created without having to change yarns.

CONSTRUCTION OF KNIT 15

Construction of knit

The basic structure of knit is a series of loops created using one of two very different techniques: weft knitting and warp knitting Weft knitting, the more common of the two, is the formation of loops using one continuous yarn, over successive courses throughout the

The simple wooden knitting wheel has provided many children with a basic knitting frame and an introduction to knit Known as French knitting, the technique involves wrapping a narrow circular cord around the nails, to make a row, then passing the yarn behind the nails, forming two rows By lifting the first row over the top of the second, a stitch is formed, leaving one row on the nails The knitting begins to form a tube through the centre of the reel.

length; the wales are perpendicular to the courses (see Figure 1.28) Warp knitting requires different machinery and involves lots of different yarns, one yarn per wale This fabric has less stretch and is more difficult to unravel than weft knitting.

A domestic knitting machine showing a knitted piece in progress.

Stitch formation

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

course

CONSTRUCTION OF KNIT 17

Machine basics

Domestic knitting machines fall into two categories: single bed, with one set of needles, and double bed, with two sets of opposing needles Most beginners buy a standard-gauge, single-bed machine, which produces a basic, stocking-stitch single fabric It is simpler to start with a single-bed machine, as the needle positions are easier to understand, and as the knitting is visible, it is easier to repair mistakes Single beds can also be used to produce mock ribs, but these are not as professional as ribs made on a double bed Most domestic machines have a punch-card facility for patterning Once you have got used to the single bed, you can use a ribber attachment to convert it into a double-bed machine Having two needle beds offers more flexibility

The double bed can be used to produce a double knit or rib fabric, and there are a huge number of stitch variations Most manufacturers supply ribbers as accessories for their different models.

The yarn flow is controlled by a mast, tension spring and tension disc As the tension is controlled mechanically the fabric quantity becomes more regular.

Machine bed

The bed holds the machine needles; these are latch hook needles, which enable the machine to swiftly pick up new stitches and drop off old ones.

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

The carriage

The carriage is moved across the bed and simply slides the needles forward in order to knit Levers on top of the carriage control cams and can be used to select needles for a variety of stitches, such as tuck and slip Stitch size can be fine-tuned by adjusting the yarn tension in combination with the stitch size dial on the carriage.

Needle size/stitch gauge

The stitch gauge refers to the number of needles per inch across the needle bed Different thicknesses of yarn can

be used depending on the gauge of machine Fine-gauge machines (7 g) hold 250 needles and are suitable for knitting fine- to medium-weight yarns Standard-gauge (5 g) machines hold 200 needles and are suitable for medium-weight yarns Chunky-gauge (3 g) machines hold 100 needles and can accommodate thick, chunky yarns It is possible to explore different yarn thicknesses on each of these gauges by knitting on every other needle (half-gauging the machine).

A standard carriage for the Knitmaster knitting machine A different carriage is needed for a double bed and is provided with the ribber There are also many special carriages available for making lace and intarsia.

CONSTRUCTION OF KNIT 19

Machine types

The following is an overview of the three main types of knitting machine Second-hand domestic machines are ideal for students and are widely available, either from dealers or from auction sites Most models (e.g Knitmaster, Silver Reed or Brother) are equally reliable and roughly the same in price, except fine-gauge machines, which are sought after and usually more expensive.

Electronic machines

Electronic domestic machines have a built-in programming capacity Some machines use Mylar sheets to create the patterns, which can be repeated, reversed, knitted upside down, mirror imaged or doubled in length and width If you are buying an electronic machine, it is a good idea to consider a model that is compatible with a CAD/CAM program for knitwear, such as DesignaKnit.

Hand-operated industrial machines

Hand-operated industrial machines are incredibly versatile; these machines have two fixed beds and are known as V-beds (from the side view they look like an inverted V) The beds are equally positioned in angle, which allows the knit to be equally weighted They also have a greater range of gauges, offering the opportunity to experiment with very fine knit on gauges of 10 and 12 Tension can be altered for different parts of a garment, such as a rib border, full cardigan stitch knit and jersey stitch knit.

Dubied hand-operated industrial knitting machine.

Electronic industrial machines

Today’s automatic, electronically programmed machines are highly sophisticated Some have four needle beds, allowing greater possibilities with shape They can be used to knit different weights of yarn without having to change needle sizes The latest machines produce complete garments without seams and with only one thread to sew in at the end, eliminating hand-finishing costs The body and sleeves can be knitted at the same time, via a tubular knitting technique Ribs, cuffs and hems can be knitted at the start, necklines at the end The complete garment machines and programming systems are extremely expensive, having taken years of research and development to perfect; highly skilled sample

technicians are required to operate them The two main models offering the complete garment system are Shima Seiki of Japan and Stoll of Germany (although China is fast developing its machine-building industry).

CONSTRUCTION OF KNIT 21

Most machines will come with a selection of basic tools that are compatible with the gauge of the machine These tools can be used on different machines as long as the gauges are the same.

The most useful tools are those used for selecting, moving, holding and

repairing stitches Using the right tools for manoeuvres such as creating lace holes and manual stitch patterns, increasing and decreasing stitches, and casting off, will not only save time but will also make the task easier.

Punch cards for making patterned knits punched patterns are available, which can be used with other stitch settings, such as lace, tuck and slip.

Machine needles feature a latch, a hook and butt There are more needles to a fine-gauge machine and fewer needles to a chunky-gauge machine.

Plastic needle pushers To speed up the needle selection, these enable you to select a number of needles at once, depending on the arrangement of their teeth; for example, you can push or pull every second, third or fourth needle.

Mylar sheet for making patterned knits on an electronic machine No hole punch is required as patterns are drawn onto the sheet with a soft pencil that reflects the light.

Ribber combs and weights, supplied with the ribber, are used for casting on (for domestic machines with a double bed) The weights can be added to the comb as needed.

Open-hooked combs are used for single-bed casting on and as additional weights with larger pieces of knit.

Nylon cord is useful for casting on when an unfinished edge of knitting is required.

Wire-edge hangers are useful tools for weighting small groups of stitches on double-bed knitting They are handy for edges to prevent unwanted loops at the end of rows.

Claw weights help keep stitches firmly in place on the needles These can be moved easily as the knitting grows They come in a variety of shapes and sizes; some weights have holes, allowing additional weights to be hung from them.

Industrial machine weights are suspended from either end of the comb These are circular and can be mounted on top of each other The amount of weight depends principally on the width of the knitting: less weight is used for fine, delicate materials.

Not pictured:

Garter bar Used for turning knitting over to produce a garter stitch Ridges of reversed knit can be made.

Stitch holders Some hand-manipulated techniques require stitches to be temporarily moved away from the needles while other knitting continues; these stitches are placed on holding tools A capped stitch holder is designed to hold multiple stitches, and stitches can be easily replaced Flexible circular hand-knitting needles also make useful stitch holders, as do large safety pins.

Linkers Used for sewing seams or attaching edges, frills and collars They can also be used to produce an edge-to-edge finish; linkers are available as hand and motorized models and also as machine accessories.

DEVELOPMENTS IN DESIGN AND TECHNOLOGY 23

Developments in design and technology

Knitting machines have come a long way since William Lee’s knitting frame in 1589 Today’s streamlined systems and knitted fabrics have advanced in design and quality as a result of evolving technologies in computers and yarn manufacture.As we have discovered, hand-knitted seamless garments date back to medieval times, and the fisherman’s gansey was a highly technical, seamless garment; however, it was the introduction of the Shima Seiki machine in the 1970s that brought the concept of seamless (whole) garments to the industry By the 1980s Shima Seiki had computerized its machines.

Another important development in knitwear manufacturing was the Japanese designer Issey Miyake’s A-poc clothing concept in the 1990s A-poc (which literally means a piece of cloth) is warp-knitted and uses a different technology to the weft-knitted, whole garment concept of Shima Seiki A-poc consists of a knitted tubular roll of cloth, which incorporates the outlines of garment shapes Cutting lines are provided within the pattern of the knit, and the customer can cut through the patterned shapes releasing a collection of garments from the same piece of cloth This revolutionary clothing requires no seaming or finishing processes; because of the warp knit structure, the cut edges do not unravel.There are many contrasts within knitwear design and production, and although design and developments are indeed linked to technological advancements, luxury fashion garments have always been associated with the handmade New,

innovative designs are being merged with old, traditional techniques In response to the success of mass production there has been an increasing appreciation of ‘slow clothes’ and desirable, one-off garments that are more personal to the wearer.

‘A Piece of Cloth’ is innovative clothing developed by Issey Miyake and presented in 1999 It displays a manufacturing method that uses computer technology to create clothing from a single piece of thread in a single process.

What is your design background and why are you attracted to knitwear?

I was taught to knit at a young age and fell in love with it When I was seventeen, I entered a knitwear design competition in a national craft magazine and, after winning, went on to study knitted textiles at both Middlesex Polytechnic (now Middlesex University) and the Royal College of Art in London I have been working as an artist using knitted textiles as my primary medium since 1997.

Can you talk us through your design process?

Over the years my process has developed and changed Initially it broke down into three distinct parts: the conception of an idea and ensuing research (the very pleasurable part that could take years); the planning of the final work, which involved pattern writing (the more difficult part that required a lot of concentration); and then the knitting of the work (another pleasurable part, where if I had written the pattern correctly, I could simply put the radio on

Freddie Robins graduated from Middlesex University and the Royal College of Art, London She has been working as an artist using knitted textiles as her primary medium since 1997.

Freddie Robins, senior tutor, knitted textiles, the Royal College of Art, London

and knit) I have now adopted a much structured process where I might simply start making with what is around me and just see what happens I am enjoying the release from my pre-planned method and trying to embrace serendipity and failure.

less-How does your work take new direction and what are your inspirations?

The body of work, The Perfect, deals

with the constant drive for perfection It is made using technology developed for mass production, to make garment multiples that are exactly the same as each other: garments that do not require any hand finishing, garments whose manufacture does not produce any waste, garments whose production does not require the human touch Garments that are, in fact, perfect.

I produced these knitted multiples through the use of a Shima Seiki WholeGarment®

machine These multiples take the form of life size, three-dimensional human bodies.

INTERVIEW 25

Research and Conceptual development is an integral part of your work, could you tell us more about this and a little about another recent project, ‘Out on a Limb’?

The process of converting a sixteenth century barn into a home and studio has radically shifted my approach to making and materials I have developed a new expedient approach to making I

have to make and resolve the work with

what is to hand My materials are all my samples and surpluses, things donated, inherited and found In 2007 I completed a research project (funded by the Arts and Humanities Research Council), which also left me with a large quantity of waste material in the form of knitted bodies My new body of work makes use of this excess I am working with what I already have instead of deciding what I want to make and then choosing and buying new materials.

Taking this “stuff” as my starting point and holding current concepts and themes in mind – ideas about what it is to be human, loss, death, grief and mourning – I am working spontaneously with my materials Enjoying the release from pre-planned, designed work, I am knitting, crocheting, embroidering, sewing and pinning onto the knitted bodies and body parts The bodies and body parts are made three-dimensional by filling them with expanding foam A process that gives them form, enabling them to stand, but adds little weight They remain visually light contrasting with the dark themes that I am exploring.

My visual research has come from my fascination with ossuaries, charnel houses and the jewelled skeletons contained within them I have experienced the Paris Catacombs, Sedlac Ossuary in the Czech Republic and the Capuchin Cemetery in Rome Other references have been the work of outsider artists, particularly Katharina Detzel and Marie Lieb, whose work I witnessed in ‘Madness is Female’, Museum Dr Guislain, Ghent, and the work of Judith Scott, who was exhibited at the Museum of Everything in London last year.

The finished pieces evolve from the process as opposed to being designed and made I work on the pieces until they are right, working on more than one piece at a time At times I undo work or cut it up At times I abandon a piece, and start afresh Each piece informs the next None of the works are made in isolation The shapes, materials, processes and colours used in the first piece inform how I approach the second piece, and so on, until I have a full range of objects that work together to complete the whole installation I am collaging together building materials and textiles; whatever needs to be done to make the works work, to make the work stand up, physically and conceptually These works challenge traditional concepts and preconceived ideas of what craft is, how it might be made and how it might look.

The creative industries today offer designers many opportunities to collaborate with projects in styling, fashion, film, music and textiles Have you collaborated with any other artists? And if so, how does working in collaboration enhance creativity?

I struggle with collaborative practice It requires a creative confidence that I can only achieve alone in my studio I don’t like to expose myself, or my ideas, too early Having said that I have enjoyed the relationships that I have built through collaborative work; it has brought me into contact with people that I might not otherwise have met and exposed me to different skills and experiences.

How would you describe your signature work?

My signature work is best described as knitted objects or sculpture It is

technically challenging and usually made from wool using a strong, idiosyncratic colour palette I often employ a dark humour, producing subversive and subtly disturbing works.

What advice could you give to

graduates starting out in the industry?

You need skill and good ideas that are well communicated, not just through the physical work that you produce but also through the way you present and talk about them You also need confidence and self-belief, and most importantly of all you need determination and staying power.

INTERVIEW 27

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

As a knitwear student, you will be expected to work independently from set project briefs You will develop concept ideas through the use of personal research, the exploration of technical skills and design development A good body of work and a series of design outcomes should be produced for assessment The brief outlines the aims and learning outcomes for the project It details the work required and explains the assessment method and criteria Projects have to be completed within a timescale, and these deadlines are important for assessment.

Research projects are usually given to students to complete over the summer break, which allows them to draw from different sources and gather a good variety of inspiration for development in the new term Sometimes projects are linked together in order to push research and design development in different directions for separate outcomes, such as textiles for fashion or interiors.

This chapter guides you through the design process, from a knitwear project brief through to research and analysis skills and design development You will need to have market awareness, as well as technical ability and good presentation skills, in order to achieve design realization.

‘Design development allows you to make mistakes; without screwing up once in a while you can’t ever move forward.’

Alexander McQueen

The brief

At college or university you will respond to briefs that are written and set by tutors In your final year, however, you will be working towards your final degree collection, and you will be expected to set your own project brief Occasionally, competition briefs are set by companies within the industry, which offer a valuable insight into the commercial world The aims of these projects are specific to the company brand and consumer market,

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

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

making the costs and price range of design an important, additional, factor Those students who successfully meet these briefs can win sponsorship, placement awards and travel bursaries.Examine the following criteria, based on a brief that was given to year-one knitwear students at Nottingham Trent University in the UK.