https://orcid.org/0000-0002-6682-7137
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Abstract
The image of knitting has waxed and waned throughout its history across the UK, being historically associated with women’s domestic work. Nevertheless, hand knitting has demonstrated periods of great creativity and fashionability since the mid-nineteenth century. The twentieth century saw knitting move from the utility of wartime comforts for the troops, to high fashion in the 1920s and 1930s and again in the 1950s, but by the late 1960s hand-knitted clothes were seen as utilitarian and staid. However, from the early 1970s, a new wave of British designer/makers rediscovered the creative potential of knitting; traditional techniques were reinterpreted with color and pattern in a true renaissance of the art. This significant craft-led British design movement repositioned knitwear as fashion, and a new genre “designer knitwear” was born, named a “Knitwear Revolution” by fashion writer Suzy Menkes. This hand-made, textural, colorful, fun knitwear became highly popular “statement” fashion. This article makes an original contribution to fashion and knitwear history by examining this under-researched period, including through personal testimony of the author. It provides new insights into creative approaches to knitwear design and business practices exemplified by British designer fashion knitwear of the 1970s and 1980s and identifies the lasting influence of these small design-led businesses.
Disclosure Statement
No potential conflict of interest was reported by the author(s).
Notes
1 Machine knitting here refers to weft knitting machinery from simple domestic to industrial flat and circular machines, and not the industrial-only process of warp knitting which is based on different principles, using a warp beam and created from interlinked vertical chain loops.
2 For more technical information see Brackenbury (Citation1992) Knitted Clothing Technology.
3 These terms are equivalent in usage, and refer to the number of knitted stitches and rows in a given measurement (usually 10 cm/4 in).
4 For example, a cartoon in Punch February 11 2025 shows men and women playing golf, all wearing similar clothes including Fair Isle sweaters. A male golfer addresses a woman commenting on female precociousness: “Diehard (stroking his beard): ‘My dear girl, it’s our only chance left. As soon as you can imitate this we’re done’”
5 Between 1968 and 1972 Walker published three key collections of knitting stitch patterns and textures with images and instructions, containing over 1500 stitch variations: A Treasury of Knitting Patterns (Citation1968), A Second Treasury of Knitting Patterns (Citation1970), Charted Knitting Patterns (Citation1972). All have since been reprinted.
6 The Knitwear Revolution: Designer Patterns to Make (1983) by Suzy Menkes featured 30 knitting patterns designed by 20 fashion and knitwear designers including Patricia Roberts, Bill Gibb, Zandra Rhodes, Jean Muir, Susan Duckworth, Kaffe Fassett and Artwork. Sandy Black’s Vase of Flowers coat featured on the cover.
7 For example: Neustatter (Citation1975); Polan (Citation1980); “Pick of the Knits” (1983); Glorious Colour with Kaffe Fassett Autumn 1986 Channel 4 Television.
8 See Stoll company history: Accessed December 1 2022. https://www.stoll.com: Milestones/History|COMPANY| STOLL.
9 For an example of Coogi complex colour and texture-patterned sweaters see Black (Citation2002, 21), for revival in 2022 see https://coogi.com The Official Site—COOGI Authentic Sweaters. Accessed October 10 2022.
10 A type of tapestry-woven patterned woollen carpet typically made in Turkey and other countries including Afghanistan and Pakistan, with colourful geometric patterns, easily interpreted in colour-block knitting.
11 Examples of the Individual Clothes Show catwalks are available to subscribers to Bloomsbury Fashion Central visual archives at https://www.bloomsburyfashioncentral.com
12 Rowan Yarns were significant in the designer hand knitwear sector, see profiles of both Kaffe Fassett and Rowan Yarns below.
13 The V&A Collection holds a Sandy Black Fairisle Fun multi-colour mohair sweater and knitting kit (acquisition numbers T.64-1999 & T.65-1999).
14 Patricia Roberts interview on V&A Museum website V&A Interviews With Knit Designers And Textile Artists (vam.ac.uk). Accessed January 3 2022.
15 Sadly Patricia Roberts passed away in December 2020.
16 See also Black (Citation2012, 174).
17 Charlotte Cameron, Knitting Industry Creative “In Conversation With Marion Foale” March 23 2018. In Conversation With Marion Foale | Knitting Industry Creative. Accessed January 20 2022.
18 Jill Geoghegan, Drapers September 29 2018. Knitwear designer Marion Foale steps down (drapersonline.com). Accessed January 20 2022.
19 Kaffe Fassett was the first living textile designer to have a solo exhibition (featuring knitting) at the V&A Museum in London in October to December 1988. The Fashion and Textile Museum London mounted “Kaffe Fassett: A Life in Colour” from March to June 2013 and “The Power of Pattern” from Sept 2022 to March 2023. The latter featured quilts inspired by Fassett and was accompanied by the book Nothdruft (Citation2022).
21 As of September 2022, there are 20 Toast stores across the UK, plus stockists across Europe and in the USA www.toa.st. The Seatons sold their stake and retired from the business in 2018.
22 See Knitting a Common Art, exhibition catalogue, by June Freeman (Citation1986)
23 Rowan Yarns began as Rowan Weavers in 1978, manufacturing woven rugs and selling craft yarns and weaving kits for the hobby trade. In response to burgeoning demand, they transferred to a successful knitting yarns business (Rowan 40th Anniversary magazine, 2018)
24 This has extended to recognition of the therapeutic value of hand knitting, see Betsan Corkill’s Stitchlinks project and self-published Knit for Health and Wellness. http://www.stitchlinks.com
Additional information
Notes on contributors
Sandy Black
Sandy Black has extensive experience in both industry and academia. Before entering higher education as a lecturer, she ran her eponymous knitwear design label, selling to prestigious stores internationally, and developed a range of Sandy Black knitting yarns and knitting pattern kits. She has published key texts on the history of knitwear design, craft, technology and industry in social context, including Knitwear in Fashion and Knitwear: Fashion, Industry, Craft (V&A Publishing 2012). She is currently Professor of Fashion & Textile Design & Technology in the Center for Sustainable Fashion at London College of Fashion, University of the Arts London.