Vintage Knitter

Interview by Susan Crawford

We talk to new designer Theodora Burrow about her love for vintage knitting.

When did you start knitting?

I first started knitting from books that I found in charity shops. It was a lonely and frustrating start, but then I joined the Cast Off group in London, and I no longer had to knit alone. Since then I have found I Knit, a wonderful knit shop in London, where people gather to knit, drink and drop stitches every week.

I mostly knit from vintage patterns, especially pieces from the 1930s, which I then wear to go dancing. I love the Lindy Hop and Balboa dances from the 1930s too. I DJ with old 78 rpm records at these nights, and I love it.

What is it about vintage patterns you love so much?

Vintage patterns give me the opportunity not only to knit a jumper but also to knit a piece of the past. I can create something that allows me to become a character from that time: a 1930's vamp or a 1940's film noir siren.

For me, the 1930s was the pinnacle of clothing design generally. It was a hugely creative and groundbreaking time for fashion. This carried over into knitwear design too. The designs were so adventurous, and I think ordinary women wanted to emulate the couture style of the rich and famous (as they still do, except they really were glamorous then), and these patterns gave them the opportunity to knit themselves something unique and original, on a tight budget.

What also draws me to vintage patterns is how flattering they are. Jumpers from the 1930s were quite short-waisted, which gave the illusion of long legs, and designs from the 1940s accentuated the shoulders, making the waist look smaller. They also made women look stronger - able to weather the storms of war!

You have always been a big fan of A Stitch in Time, even agreeing to model for us in the new version of the book and knitting several of the sample garments for it.
Which was the first pattern you knitted?

The first pattern I knitted was the Sunglo Dress. I made it early in 2006, and was wearing it at the I Knit Stitch & Bitch Day 2007. I'd wanted to attempt a dress for a while, and when I found the pattern for this one, I couldn't resist. It seemed such a flattering shape, and the puffed sleeves and button details all seemed to work so well together. I don't remember how long it took, but I do remember that I thoroughly enjoyed the process, seeing it grow into itself, and I was really pleased with the result. I wear it so much, even to go dancing (the Lindy Hop), and get lots of compliments, which is just thrilling.

Which is your favourite pattern in the book?

My favourite pattern in the book has to be the Rose Jumper, the cover star. It is such a strong design, with the pointed sleeve detail, and pretty crocheted roses around the neckline. It is in my queue to be knitted, along with so many others. I recently finished Such a Debonair Little Jumper (shown right).

So many vintage pattern use fine yarns.
What is it about working with these yarns that you enjoy so much?

I prefer to work with fine yarns, as they can produce garments which are like a second skin to wear. They also allow much more scope. If you are designing with a 3 or 4 ply yarn, the shaping can be more easily controlled, allowing you to achieve more delicate results.

Which contemporary designers do you like and why?

My favourite contemporary designer is Kim Hargreaves. She's so adaptable in her style, able to knit for 18 year-olds or 80 year-olds. Her designs are beautiful and classic, yet she has a real eye for current trends. It was her designs in Big Wool for Rowan which first got me hooked on knitting. I love Sarah Dallas too, as she designs things which are inspired by vintage patterns. Gail Downey and Amy Wear of Weardowney are incredibly inspiring, they are real couturiers. They take their inspiration from art, high fashion and of course, the past, and experiment with unusual yarns.

You have just designed your first pattern for knitonthenet.
How did you enjoy the process?

As this was the first piece I designed from scratch, I didn't have a very sure sense of the process or how it should work. For me, the first stage was the image of the finished garment in my head. I had a really strong idea of the shape I wanted - the 'look'. I had also been hoarding some beautiful silk, keeping it for something special, and that seemed to fit the luxurious, vintage feel I was going for.

I drew some sketches, honing the design shape down, then some basic specification drawings, and tension swatches. It sounds like a very straightforward process now I think about it, but it was hellish, as I was continually calculating the measurements before I even cast on.

I must admit that it was a very frustrating process, especially when knitting it up only to come across inconsistencies and miscalculations. Then I would have to unpick it and start all over again. Several times it was thrown across the room, only to be retrieved five minutes later, and sworn at fiercely.

Next time I would make sure my specifications drawings were clearer, and possibly try using proportional graph paper. I would also try to keep clearer written instructions, so that when I come to knit it, or re-knit it, I can actually follow them!

What is on your needles now?

At the moment I am working on three projects. I try to finish the one I am working on before starting the next, but I don't know what happens! (I'm sure I'm not alone.) Two are jumpers from 'A Stitch In Time' - The Frilly Jumper and Enchanting In Black and White. I am also finishing a 1940s sleeveless jumper for my husband in a 4 ply tweed wool to go with one of his vintage suits.