#Guernsey Knitting

[ancestorsalive]

Channel Islands - The Royal Visit (1957)

Guernsey, Sark & Alderney, Channel Islands.

Grandma Mary Le Moignan who you see twice during the video. The first is at 0:50 when she is walking on the left behind three other women and they are all wearing Guernsey traditional dress. She is wearing a dark dress, hat/bonnet and carrying a parasole. Then forward to 1:18 and you see her standing next to the other woman with the Queen thanking her for the Guernseys. It seems that she knitted not just one but a set of 4 Guernseys for herself, the Prince and their two children.

[maudeboggins]

Sweater I knit! It is a Gansey/Guernsey construction and my own pattern. I did a false seam on the sides and garter stitch gusset. Last image is a close up of the pattern, alternating arrows and diamonds (ignore the cat hair)

[rarebritney]

can hardly believe i can knit stuff like this now

[canonise]

I'm weeks away from having to actually worry about it but I'm definitely going to run out of yarn

[koekjesdeeg]

I finally got the first chart repeat done on the Guernsey shawl I'm making for @kalgalen! Now that I can see how it'll all look I'm incredibly happy with it. My measurements are a bit wonky to be perfectly honest - The width is slightly short and the length is longer than it should be - but my tension is always weird no matter what I knit or how. A good blocking will at least fix the width issue and a good long wrap is always nice.

I do think that if I make this again I'd choose a different yarn. The one I got to fit my budget is very loosely spun and it makes some of the finer details (like the honeycomb at the top) a bit indistinct. The acrylic/wool blend is also a bit rough. Not overly so but definitely enough to warrant a good vinegar wash and steam block to soften the acrylic dominance and give it a better drape.

[weaversandspinners]

Pescadoras y tejedoras // Fisherwomen and knitters

SPA: Las mujeres de la industria pesquera del arenque en Escocia trabajaban desde el amanecer hasta el atardecer destripando, salando y empaquetando pescado.

Además, en ratos libres tejían los tradicionales ganseys o guernsey, jerseys tejidos en cinco agujas sin un patrón típicos entre los pescadores de la zona.

No solo colaboraban en la economía familiar sino que también proveían de jerseys calentitos y resistentes al agua a sus maridos, hermanos, hijos y novios.

No participaban en política ni en guerras, pero su aportación a la economía y la sociedad es indudable.

ENG: Women in the herring fishing industry in Scotland worked from dawn to dusk gutting, salting and packaging fish.

Additionally, in their free time they knitted the traditional ganseys or guernsey, sweaters woven on five needles without a pattern, typical among the fishermen of the area.

Not only did they contribute to the family economy, but they also provided warm, water-resistant sweaters to their husbands, brothers, children, and boyfriends.

They did not participate in politics or wars, but their contribution to the economy and society is undoubted.

[knitpurlgoal]

Feeling like Absolute Hell- so I lit some candles, made some tea, and picked this sweater knit back up.

[medeapalatina]

The Beautiful Sweater from Hell

The Beautiful Sweater from Hell

[omgthatdress]

Coco Chanel frequently gets credited with popularizing the sweater, but the truth is they were becoming popular long before she added them to her ensembles. The lady’s suit became popular in the 1890s, which brought the concept of separates into mainstream fashion. Instead of just wearing a dress, women could mix and match a skirt, blouse, vest, jacket, or coat with whatever other accessories they might like. “Knitted coats and jackets” quickly became a part of that.

(The Met Museum)

Knit sweaters as we know them were originally worn by the fishermen on the isles of Jersey and Guernsey. As rugged outdoor sports grew in popularity, players began wearing sweaters as comfortable athletic wear. From there, they started being adopted into regular day wear.

1917 books of knitting patterns

[les-gnossiennes-fantomatiques]

Was going through my Scrivener files, and I found the original ending to The Fly Agaric, and omg it is sooooo corny and I’m not mad. While I am glad I wrote the ending that exists—a more melancholy-happy, weirder, infinitely more horny and slow-paced one—this is cute. It was meant to take place immediately after their second night doing shrooms together. It’s funny how stories can change so much between drafts.

—

Every day, Christine considered the offer Erik had laid at her feet: that she might write to the Vicomte and come to know him again. Converse with him as she had all those years ago, when they were hardly more than children kicking sand in each other’s faces. And every afternoon, somewhere between breakfast and laundry and snuffing out the parlor room hearth, she would pick up her pencil and attempt to put down her words. Words that were increasingly hard to come by.

My dear Vicomte, she had started. For he had once been and would always be dear to her, in the way that we learn to love all good things that come and go out of our lives. It brings me peace to know we are where we were meant to be. You with the sea. And me, with my music.

It seemed too flowery, too sentimental. Too untruthful. And yet the peace she proclaimed lay there, deeply burrowed into her heart. A line in black ink scratched its way across paper, nullifying the half-truth. Just as she lifted her pen to reconsider her words, Erik entered the room, the neck of his Torres guitar dangling in his large hand like a dead rabbit. As he moved to touch her hair, Christine noticed his eyes snap down to tabletop. A tight moment hovered between the two of them, before passing from the room like an errant wind.

Christine sighed and summoned her courage, shutting her eyes tightly. “Erik,” she said, willing herself to spit the words out. “I think tonight, I’d like to have some tea.” The guitar dropped from her husband’s hand, bouncing against the parlor rug, its strings exhaling a jarring chord. His brow furrowed, the corner of one distended lip wilting downwards.

“The Vicomte.”

“Yes,” she said simply. Christine did her best to keep her eyes locked onto her husband, his own now running up and down the length of paper before her. “The Vicomte.”

The seconds slowed into minutes—hours. The edge of a fight loomed.

“I’ll be in the garden,” her husband pronounced at length, his gaze still glued to his wife’s words. “If you need me.” For a moment, muscle memory controlled Christine. Made her tense for rough words and accusations. Made her think of all the unkind things she might have said to the interloping stranger peering into her strange life. All was shattered when, instead, Erik patted her shoulder and made his way into the adjacent kitchen, grabbing a clumsily-knit guernsey to pull over his starving frame. As she watched him leave, Christine resumed with her pen.

Shortly thereafter, she heard the sound of his ax, chopping through wood.

Know that I am well.

The music of wood cleaving, of splinters jutting up into existence, filled her ears. What sort of man chopped wood by nightfall, she wondered.

Erik did, the universe said.

Know that whatever else happens—

And here Christine lost herself, scratching out that last handful of words with an earnest ease.

Know that—

Know what?

Christine pondered this question at length, the already short daylight now abandoning to her to the halo of the hearth, the generosity of her lamps. The darkness was closing in on that little room, yet she felt no fear—only a calm acceptance. What was such darkness, compared to true loneliness—compared to the brick and molder of a home buried beneath the earth? What was such darkness, when made little by the embrace of warm and willing imperfection? What was there to know about anything in the world, besides that all three of them were alive?

“Christine—“

That voice called to her from the back of the house, as beautiful and kindly as the moment it first dared to brush against her existence, all those eons ago. Somehow, the sun had left her as she stewed in her thoughts. The parlor was now dark, save for the lamp, and yet it felt twice as comfortable as it had an hour ago.

“Christine, come look.”

Her husband wanted her to look. For once, in their long lives, he wanted her to share in some vision of his existence. And so Christine rose to her feet, throwing a blanket around her shoulders as she shuffled her way to the kitchen door.

When she threw it open, it was to see Erik in shadow, leaning against a wall, maskless face in wonder—of what, she could not imagine, for the moon was gone entirely from its ink vault and the forest was as still as she had ever known it; nonetheless, it pleased her to know that a man as singular as him was still rendered slack-jaw by something as simple as the sky. Stepping towards his side, the chill brick of their home biting against her skin, she looked out at the expanse of the garden, at what they had only just begun to build together, and sighed.

“Close you eyes,” Erik whispered, passing a hand above her gaze. Though she shut her eyes obediently, he did not pain himself to move. A minute—or two or three or five—passed, the nearness of his palm almost as lovely as his embrace, now that she knew it with some regularity.

“Look,” he said, his breath warm against Christine’s neck. When her eyes opened, unfocused, Erik tilted her jaw heavenwards.

“Oh—“

Above Christine stretched the firmament—the gilt deluge of the stars, the birthing and un-birthing of things greater than either of them could imagine. The rumbling and glowing chaos of both the unknown and observable, spread out before them like a wedding feast. Somewhere, in the back of her head, she remembered some long-ago lesson from her Papa, the two of them spread out along the Breton sand, gazing into that very same firmament.

“It’s beautiful,” that imitation of her had breathed. “But think of how much more beautiful it would be with a big fat moon. Like a painting.”

Her papa had laughed. “My girl,” he said. “It is only because of the moon’s absence that we can see the stars so well.”

The urge to weep came, like an old, familiar sickness. When the tears finally fell, Christine apologized through her fingers, through the tendrils of hair draping over face. “I’m sorry—I can’t help it. It’s—“

“It is getting cold,” Erik said simply, a thumb sweeping across the joint of her elbow. The tenderness in the gesture was somehow even more beautiful than heavens above them. “Let us go inside and take our tea.”

And so the two disappeared from the night’s dazzling pull and into the warmth of their home. Into the embrace of dishes and letters and laundry and whatever little fancy might shake them from comfortable boredom. Into the familiarity of tomorrow’s arguments and tiny rages. Into the existence of that puzzling another—an another that somehow found the courage to thrive and understand. Into that small and common mystery of that thing called friendship and understanding and honesty, or else marriage. However strange. However clumsy. However human.

The End.

[softlyspun]

Costuming Research: Elliott Vale

After the chapter that @ginger-and-mint just put out, the least I can give poor Elliott is a set of costumes. (He would not thank me for it.)

So. This is just about the opposite end of the socio-economic spectrum from Greyson. Elliott is the scion of one of the most powerful families of di-mages, both in terms of political and magical power... and heir to all the pressure and dysfunction that comes with that title.

Elliott's most striking and consistent garment is a black jacket. Sticking with the turn-of-the-century time period laid out in Greyson's post... I'm giving the man an Inverness Cape. You've seen an Inverness Cape before.

Here's Basil Rathbone as Sherlock Holmes wearing a plaid one.

And here's a fashion plate of one from 1901 (Thanks, Wikimedia Commons!)

This one's technically an Ulster Coat, but it's an extremely similar beast.

It's dramatic! It lets you swoop around melodramatically if you're in such a mood! It's a profoundly practical garment, especially if made out of black wool: it can be practically waterproof or snowproof, which is an important factor given Oppendorff's snowy winters. Its silhouette neatly hides the shape of your actual body. (And it's exactly the sort of thing I would have worn at 23 if I hadn't made myself a full circle-cloak, and would have considered the epitome of cool. Still might, actually, if I can ever get the hang of button-holes.)

Under that coat, Elliott is probably wearing high-waisted wool or linen pants (depending on the season), as typical for the turn of the century. (I'm going to have a later post on the specifics of fabric weave/composition, because I have Opinions on how to construct in-period garments with extra stretch to them.)

Elliott is described on his character sheet as "Always dressing in nice clothes, which people chalk up to snobbishness." I would interpret this as him dressing a level more formal than the situation calls for. "The Black Tie Blog" did a fantastic job curating some more formal fashion plates that would be appropriate. I'm including a couple of my favorites here.

We have an Inverness Cape on the left! And such nice high collars! (This set is from 1894). I'm a little torn on whether Elliott would go for waistcoats: on the one hand, wearing one when the occasion doesn't call for it would add another dimension of apparent snobbishness, on the other hand, he's generally hiding under his black coat anyway, and having an additional restrictive garment wouldn't' really help with his di-mage casting.

And, in honor of the latest chapter, we should look at some turn-of-the-century sweaters. These are courtesy of "The Victorian Dancer." Now, it's possible that Elliott would end up with something fairly simple: the Vales don't exactly seem like a "knitted sweaters from the aunts" type family.

This ad from 1899 gives a few options available for sale.

But honestly? I want to put him in something more intricate, with some pretty cabling, like this Guernsey sweater:

Next time, let's dig into someone with potential for some interesting folk designs in his outfit: Bramley Nubbins, and the fun of folk art and embroidery in shepherding communities.

[nature-played-a-trick-on-me]

Saw a video on ganseys/Guernseys which are beautiful traditional knit sweaters and asked the bf for a pdf of a book mentioned.... randomly decided to l look up patterns on the library website, turns out there is also a Dutch equivalent of the "fisherman sweaters" and I'm sooo curious, I'll look at them tomorrow. Love love love. I hope I can knit one at some point, both are really pretty. Will probably make an evil yarn choice but I hope the knitting gods will forgive me for choosing a yarn I'll enjoy wearing rather than one that makes me itchy and never wearing the sweater to be.

[maudeboggins]

I finished my (untraditional) guernsey sweater! This is a pattern and design that I created, but based heavily on designs from Gwyn Morgan, Traditional Knitting Patterns of Ireland, Scotland, and England; Mary Wright, Cornish Guernseys and Knit Frocks; and Gladys Thompson, Patterns for Guernseys, Jerseys & Arans. I decided to use a larger gauge than what is usual. I made this for my partner and he is not a fisherman so he doesn't need a super super tight textile and this made it a much quicker knit for me. I did keep the seamless construction with arm gussets as I wanted it to be very comfortable to wear. I did have to break the body apart to extend it as I initially knit it too short:

I think the grafting worked out well! you can definitely see where the graft is but when the sweater is worn it's not noticeable unless you're looking for it. I managed to knit this in 25 days which is very fast for my standards, but DK yarn is magic that way.

[rarebritney]

hi

[punkysdilemma-blog]

THE PERFECT WARDROBE (BY GIORGIO ARMANI)

(an excerpt from L’Etiquette issue 8.)  I love this list from a maestro and one of the last greats of the heroic 1980s fashion generation who still independently owns and operates his marque. 

I like casual and discreet elegance, this is what I look for as a designer.

T-SHIRTS AND POLO SHIRTS

*Cashmere jersey t-shirts. Blue, black, long and short sleeves, CREW NECK!

*Knit polo shirts. More refined than cotton pique polo shirts, they look great under a jacket. Practically indispensable in black and navy. Long or short sleeves.

SHIRTS

*Poplin shirts.  With big collars, wear with a tie or with the collar wide, open. Colors? Blue and white are musts. Cream, light gray and navy are very tempting this season. + AZURE

*Chambray shirt. Go for a real workwear look. 

Extras:

*Heavy twill shirt.

*Black linen shirt. Get over your prejudice against linen. + WHITE AND SKY BLUE

*Collarless shirt.

*Two evening shirts in silk. Black and blue 

SWEATERS AND SWEATSHIRTS

*Several crewneck wool sweaters. Black, navy, beige, ecru — take your pick. Wear over a round collar tee.

*Several v-neck wool sweaters. Same as for crewnecks. 

*Hoodies. Gray Marl, Navy or black. Because there’ll always be those Sunday mornings.

*Crewneck Sweatshirts. Gray Marl, Navy or Black. With Raglan sleeves, of course. 

Extras: 

*Merino wool polo collar sweater. Black or navy.

*Sailor Sweater. You’ll find you need it even between April and July. Easier to wear if you get one without stripes.

Note: Pretty sure this is basically a Guernsey or Matelot. 

SUITS, BLAZERS AND TIES 

*A velvet suit. Velvet is the most elegant fabric. 

*Two plain suits. One navy and one gray, with two or three buttons. Ideally made from Fresco fabric. Cotton is another possibility if you're not afraid of creases. 

*A full Tuxedo. At least one. 

*A navy blazer. Lined or unlined. Super-useful.

*Two silk grenadine ties. Blck and navy. Obviously. 

*Two printed ties. Go crazy!

Extras:

*Beige tropical wool suit. Wear it with a sky blue poplin shirt. 

*Silk knit tie. Cream or pearl gray. Makes a change from black or navy. 

*Unlined suede blazer. 

*A knit blazer. 

SUITS, BLAZERS AND TIES

*Bomber jacket. The summer equivalent of your leather jacket. Black, navy or beige. 

*Waterproof beige trench-coat. For rainy days. Get one thats too big. 

*Technical parka.  Zip it all the way up. And remember that Gore-Tex is always a good idea. 

*Denim jacket. 

Extras:

*Zip suede bomber.

*Nappa leather trench-coat. 

*A military jacket. Vintage preferably. 

*Lightweight windbreaker. Go for the retro sportswear look. 

PANTS AND SHORTS

*Two pairs of regular fit jeans. At two different stages of wear.

*Five-pocket white cotton pants. Indispensable in winter. Downright vital in summer. 

*Five-pocket black cotton pants.

*Beige chinos. Not slim, please.

*Gray fresco pants. Wear them as you'd wear jeans. Suitable for both summer and winter. 

*Navy, Beige or White shorts. Roomy, more fluidity, please!

*Swim shorts. In a technical nylon, perhaps in a bright color. roomy but not long.

Extras:

*Cargo Pants. Olive green, in ripstop fabric if you like. 

UNDERWEAR

As far as the great boxers-or-briefs debate goes, we leave it up to you. But do us all a favour and throw out the invisible socks.

*Several pears of navy and grey socks. Made of mercerised cotton. 

*Several pairs of brightly coloured socks. 

Extras:

*A few pairs of white or off-white ribbed socks. Wool and cotton. 

SHOES

*A pair of loafers. Preferably penny loafers. Black should be your first choice. 

*Black oxfords. For formal wear. 

*Brown derbies. Can be suede, if you like. 

*A pair of white or off white canvas sneakers.

*A pair of white leather sneakers. 

*Technical sneakers. Not just for running. 

Extras: 

*Opera pumps 

*Velvet slippers 

ACCESSORIES

*Cotton baseball cap. Navy or black. 

*Woven belt. In black or navy for versatility. 

*Leather dress belt. Keep it thin, about an inch (2 to 3cm) wide, and wear it with a suit. 

*Metal Sunglasses. Aviator or round styles. 

*Heavy-duty canvas shoulder bag. For workdays. 

*Military kitbag. A travel bag to get you through the weekend. 

Extras:

*A borsalino hat.

*Silk pocket squares. Collect them!

*Scarves. In wool, silk, cotton, for days and night.

*All kind of gloves. 

*Ranger belt. 

*A leather messenger bag.

Be discreet and precise and if you manage that, people will remember your style!

[sweatermakers]

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