Knitting Items from the Collections

This page contains a database
of knitted items and knitting
equipment held by the V&A.

Pin cushion

Pin cushion Great Britain 18th century Hand knitted silk Diameter 2.5 in 545-1864

This small round pincushion was knitted from silk in two sections in stocking stitch and joined at the seams. The name 'C.Osboldeston' is placed in the centre of the design between two flowers. The loop of braid allowed the pincushion to be attached to the waist. The Industrial Revolution in the 18th century transformed knitting, as it did many other handicrafts, into an automated process. Hand knitters found it increasingly difficult to earn a living and knitting started to become a leisure pursuit.
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Pin cushion

Pin cushion Great Britain 18th century Hand knitted silk Diameter 2.5 in 545-1864

This small round pincushion was knitted from silk in two sections in stocking stitch and joined at the seams. The name 'C.Osboldeston' is placed in the centre of the design between two flowers. The loop of braid allowed the pincushion to be attached to the waist. The Industrial Revolution in the 18th century transformed knitting, as it did many other handicrafts, into an automated process. Hand knitters found it increasingly difficult to earn a living and knitting started to become a leisure pursuit.
'Jealousy and Flirtation',

'Jealousy and Flirtation', Great Britain 1874 Oil on canvas Width 120 cm x height 90 cm 1024-1886

This painting depicts two women with their attention focused on a visiting man. One of the women flirts openly with him and has let her knitting drop onto the floor, symbolising the neglect of her household duties for this more frivolous pastime. Although knitting is now considered to be a female occupation, both sexes used to knit in the days when many country people knitted clothes, especially stockings, to supplement the meagre income they made from farming. Shepherds and fishermen both did jobs which allowed them time to knit. There are historical accounts of 18th century knitting evenings where whole families would congregate to knit while they told stories and socialised.
Pair of gloves

Pair of gloves Spain 16th century Knitted silk and silver gilt thread in stocking stitch Width 3.75 in x length 12.5 in 437&A-1892

Few examples of European knitting exist prior to the 16th century. The earliest objects are found in Spain and knitting is thought to have been introduced via Islamic culture from North Africa. These gloves were made for a bishop from red silk and silver gilt thread in stocking stitch. They are decorated with religious symbols on the palm and back of the hand, including a cross surmounting a heart. There are two flowers on each side of the heart, beneath which is a shepherd's crook to the left and a reliquary to the right. The cuffs are patterned with geometric designs and a Greek wave motif appears on the fingers and wrist. Silver gilt bobbin lace and plaited braid is applied to the fingers to give the appearance of the seam lines in sewn leather gloves. These gloves are knitted in the round, with the second thread woven into the back of the stitches so that the inside is neatly finished. The thumb was knitted separately, also in the round, and there is a diamond shaped gusset between the thumb and index finger.
Pair of gloves

Pair of gloves Spain 16th century Knitted silk and silver gilt thread in stocking stitch Width 3.75 in x length 12.5 in 437&A-1892

Few examples of European knitting exist prior to the 16th century. The earliest objects are found in Spain and knitting is thought to have been introduced via Islamic culture from North Africa. These gloves were made for a bishop from red silk and silver gilt thread in stocking stitch. They are decorated with religious symbols on the palm and back of the hand, including a cross surmounting a heart. There are two flowers on each side of the heart, beneath which is a shepherd's crook to the left and a reliquary to the right. The cuffs are patterned with geometric designs and a Greek wave motif appears on the fingers and wrist. Silver gilt bobbin lace and plaited braid is applied to the fingers to give the appearance of the seam lines in sewn leather gloves. These gloves are knitted in the round, with the second thread woven into the back of the stitches so that the inside is neatly finished. The thumb was knitted separately, also in the round, and there is a diamond shaped gusset between the thumb and index finger.
Jacket

Jacket Italy 17th century Knitted silk thread Width 14.25in x length 12.5in ; length to arm 15.75 in 106-1899

Although made from expensive materials, jackets like these were worn only informally in the home, from the late 16th century until the early 18th century. They were made in rectangular pieces, possibly by teams of knitters who each knitted the same panel over and over again. The pieces of this one are not well finished, indicating that it may have been joined together by the purchaser. Two pieces have been let into the sides at a later date, probably in the 1620s or 1630s when waistlines grew wider. The pattern of this garment is influenced by contemporary woven silk designs, which nearly always featured flowers. It is knitted in stocking stitch using green and gold silk thread, with some of the outlined floral motifs in reverse stocking stitch. The floral motifs were skilfully made, though the gold thread is only loosely stranded across the back of the stitches. The basket work around the hem is in alternate blocks of stocking and purl stitch and the front edges in garter stitch. There are a number of similar jackets and tunics in European museum collections, which may have been made in centres of production like Venice.
Jacket

Jacket Italy 17th century Knitted silk thread Width 14.25in x length 12.5in ; length to arm 15.75 in 106-1899

Although made from expensive materials, jackets like these were worn only informally in the home, from the late 16th century until the early 18th century. They were made in rectangular pieces, possibly by teams of knitters who each knitted the same panel over and over again. The pieces of this one are not well finished, indicating that it may have been joined together by the purchaser. Two pieces have been let into the sides at a later date, probably in the 1620s or 1630s when waistlines grew wider. The pattern of this garment is influenced by contemporary woven silk designs, which nearly always featured flowers. It is knitted in stocking stitch using green and gold silk thread, with some of the outlined floral motifs in reverse stocking stitch. The floral motifs were skilfully made, though the gold thread is only loosely stranded across the back of the stitches. The basket work around the hem is in alternate blocks of stocking and purl stitch and the front edges in garter stitch. There are a number of similar jackets and tunics in European museum collections, which may have been made in centres of production like Venice.
Pair of socks

Pair of socks Egypt 3rd to 5th century Knitted wool Foot length 9.5 in; leg length 6 in 2085&A-1900

These socks were excavated in Egypt at the end of the 19th century and are the earliest knitted items in the V&A's collection. They have a divided toe and are designed to be worn with sandals. The socks are knitted in stocking stitch using the single-needle technique and three ply wool. Textile historians often find it difficult to tell whether early knitted objects are made like this, or with more than one needle, as the finished articles are so similar in appearance. Dorothy Burnham, who looks very closely at these items in her article 'Coptic Knitting: An Ancient Technique', Textile History Volume 3, December 1972, describes the process of single-needle knitting: 'Each stitch is formed by sewing the extreme end of the yarn through the work, and then tightening the loop until it sits next to the stitch previously formed.' This type of knitting, which is a slow technique more like sewing, was a forerunner of the faster method of knitting with two or more needles.
Pair of socks

Pair of socks Egypt 3rd to 5th century Knitted wool Foot length 9.5 in; leg length 6 in 2085&A-1900

These socks were excavated in Egypt at the end of the 19th century and are the earliest knitted items in the V&A's collection. They have a divided toe and are designed to be worn with sandals. The socks are knitted in stocking stitch using the single-needle technique and three ply wool. Textile historians often find it difficult to tell whether early knitted objects are made like this, or with more than one needle, as the finished articles are so similar in appearance. Dorothy Burnham, who looks very closely at these items in her article 'Coptic Knitting: An Ancient Technique', Textile History Volume 3, December 1972, describes the process of single-needle knitting: 'Each stitch is formed by sewing the extreme end of the yarn through the work, and then tightening the loop until it sits next to the stitch previously formed.' This type of knitting, which is a slow technique more like sewing, was a forerunner of the faster method of knitting with two or more needles.
Cap

Cap Great Britain 16th century Knitted and felted wool Diameter 10.75 in 1562&A-1901

This cap was discovered in an old house in Worship Street, East London. It is knitted with thick, reddish brown wool in stocking stitch. It has been felted, cut and resewn to make two overlapping brims, and blocked into its finished form. A large number of similar caps have been found in excavations of late medieval and renaissance artefacts. They were an important item of everyday clothing and are mentioned in a law called the 'Cappers Act' of 1571. This ruled that every English resident over the age of six and below the rank of 'gentleman' should wear on Sundays and holidays 'a cap of wool, thickened and dressed in England, made within this realm and only dressed and finished by some of the trade of cappers, upon pain to forfeit for every day of not wearing 3s. 4d.' The aim of this Act of Parliament was to protect the trade of cap-making.
Set of baby's clothing

Set of baby's clothing Great Britain Between 1800 and 1849 Hand knitted wool Length of neck to hem of jacket 21 cm; length of arms of jacket outstretched 26 cm; length of sleeve 18 cm; width of sleve at widest point 7 cm, crown to edge of hat 17.5 cm, width of hat at widest point 21.5 cm 380 to C-1907

These pretty baby clothes make up a matching set consisting of a jacket, pair of sleeves and a cap. They are made of stocking stitch decorated with an openwork design, clusters of pink beads and rose motifs made out of pink and green glass beads. The beads would have to be strung on the yarn in the exact reverse order of the pattern before the knitting began. The jacket and cap have tapes attached to secure the clothes to the baby. Separate sleeves were a common part of baby's outfits. The 1838 Workwoman's Guide illustrates and describes how to make a 'Knit Armlet...Little children, in severe weather, wear them over their little naked arms to prevent them from chapping'.
Knitting sheath

Knitting sheath Great Britain 1740 Carved wood Width 1.5 cm x length 22.5 cm 129-1908

Knitting sheaths were used to hold one needle and support the knitting, while the knitter knitted with the other needle. The sheath could be tucked into the waistband or tied around the waist.This sheath is inscribed with the date 1740, the name 'Thomos Smith' (sic) and the initials 'EP', so it was probably made by a man for a woman as a present. It is intricately carved on all sides mostly with abstract designs and a small head. The end has been turned.
Purse

Purse Great Britain Between 1800 and 1849 Knitted silk threads, with silk lining T.27-1910

Many thousands of small purses were knitted, embroidered or crocheted in the nineteenth century, intended either for personal use or as a gift or donated to a worthy fundraising cause. Crocheting, incorporating brightly coloured beadwork, was popular in the 1830s, but it was knitting as a domestic craft that thrived as a elegant drawing-room occupation. Much time was devoted to making intricate and delicate items of fancy work without obvious use.
Purse

Purse Great Britain Between 1800 and 1849 Knitted silk threads, with silk lining T.27-1910

Many thousands of small purses were knitted, embroidered or crocheted in the nineteenth century, intended either for personal use or as a gift or donated to a worthy fundraising cause. Crocheting, incorporating brightly coloured beadwork, was popular in the 1830s, but it was knitting as a domestic craft that thrived as a elegant drawing-room occupation. Much time was devoted to making intricate and delicate items of fancy work without obvious use.
Pair of hose

Pair of hose Great Britain Between 1640 and 1649 Knitted wool Length of leg 36.5 in; length of foot 10.25 in T.63&A-1910

The enormous tops of these hose were designed to fit inside the bucket shaped Cavalier boots worn during the time of Charles I. These fashionably wide boots were worn with the tops turned down almost to the ankle. Their shape and decoration imitates that of the cut cloth hose which were being worn at this time. For example, the back of the leg and clock decorating the ankle are embroidered in blue wool. Once introduced, people preferred woollen hose, which were better fitting and more comfortable. These hose were knitted in stocking stitch in the round with two ply wool. To make each one, approximately 375 stitches were cast on, and these were only slightly reduced, by decreasing down the imitation back seam, before they were gathered by knitting two together into the last blue stripe. The remaining 140 stitches were controlled by a band of ribbing before the legs were continued in stocking stitch. The legs were shaped by two lines of decreasing, 8 stitches in, on either side of the imitation seam. The heels were turned by a variation of the 'Dutch' heel, with gussets. Three lines of decreasing were used to round the toes.
Pair of hose

Pair of hose Great Britain Between 1640 and 1649 Knitted wool Length of leg 36.5 in; length of foot 10.25 in T.63&A-1910

The enormous tops of these hose were designed to fit inside the bucket shaped Cavalier boots worn during the time of Charles I. These fashionably wide boots were worn with the tops turned down almost to the ankle. Their shape and decoration imitates that of the cut cloth hose which were being worn at this time. For example, the back of the leg and clock decorating the ankle are embroidered in blue wool. Once introduced, people preferred woollen hose, which were better fitting and more comfortable. These hose were knitted in stocking stitch in the round with two ply wool. To make each one, approximately 375 stitches were cast on, and these were only slightly reduced, by decreasing down the imitation back seam, before they were gathered by knitting two together into the last blue stripe. The remaining 140 stitches were controlled by a band of ribbing before the legs were continued in stocking stitch. The legs were shaped by two lines of decreasing, 8 stitches in, on either side of the imitation seam. The heels were turned by a variation of the 'Dutch' heel, with gussets. Three lines of decreasing were used to round the toes.
Bag

Bag Great Britain Between 1800 and 1850 Knitted silk and beads T.396-1910

Early nineteenth century knitted purses and bags were usually produced on very fine steel needles, exquisitely knitted in silk and cotton, or even straw, and some incorporate beads that were threaded onto the yarn before knitting. Some present a completely dense surface, with one bead for each stitch worked, enabling complex images to be depicted. These were very popular in the 1830s. Many purses survive from these hours of work, in which the full creative possibilities of fine knitting have been explored with different attractive textures and raised work, beautiful colours and inventive patterns and stitches.
Bag

Bag Great Britain 19th century Knitted silk T.397-1910

Many thousands of small purses were knitted, embroidered or crocheted in the nineteenth century, intended either for personal use or as a gift or donated to a worthy fundraising cause. Crocheting, incorporating brightly coloured beadwork, was popular in the 1830s, but it was knitting as a domestic craft that thrived as a elegant drawing-room occupation. Much time was devoted to making intricate and delicate items of fancy work without obvious use.
Bag

Bag Great Britain 19th century Knitted silk T.397-1910

Many thousands of small purses were knitted, embroidered or crocheted in the nineteenth century, intended either for personal use or as a gift or donated to a worthy fundraising cause. Crocheting, incorporating brightly coloured beadwork, was popular in the 1830s, but it was knitting as a domestic craft that thrived as a elegant drawing-room occupation. Much time was devoted to making intricate and delicate items of fancy work without obvious use.
Panel

Panel England 1851 Hand knitted cotton Width 45 cm x length 90 cm T.127-1921

This panel is almost certainly one which was exhibited at the Great Exhibition of 1851, described as 'Knitting by a blind person: Prayer for the Houses of Parliament'. Most of the hand-worked pieces in the exhibition were produced by the inmates of charity institutions, particularly those dedicated to the care of poor children in Ireland. The panel is knitted with 2 ply cotton in stocking stitch, with the 'Prayer for the High Court of Parliament' taken from the Book of Common Prayer knitted in 27 lines of purl stitch. The outer lace border has a pattern of overlapping leaves and was knitted separately.
Panel

Panel Great Britain 1851 Hand knitted cotton Width 45 cm x length 90 cm T.127-1921

This panel is almost certainly one which was exhibited at the Great Exhibition of 1851, described as 'Knitting by a blind person: Prayer for the Houses of Parliament'. Most of the hand-worked pieces in the exhibition were produced by the inmates of charity institutions, particularly those dedicated to the care of poor children in Ireland. The panel is knitted with 2 ply cotton in stocking stitch, with the 'Prayer for the High Court of Parliament' taken from the Book of Common Prayer knitted in 27 lines of purl stitch. The outer lace border has a pattern of overlapping leaves and was knitted separately.
Petticoat

Petticoat Netherlands Between 1700 and 1750 Hand knitted in two ply wool Circumference 305 cm, length 76 cm T.177-1926

An extraordinary feat of knitting skill, this object is unparalleled in any other known collection. The exact means by which it was created are not clear, seeming too large for either hand or frame production. The only other similar garment, sold at Christies in 1981, was a petticoat knitted in a variety of abstract patterns within a diamond shaped grid. It too dated from the early 18th century and had both Dutch and English connections. Animals, birds and trees decorate the surface of this cream coloured petticoat, which is made of 2 ply wool. Amongst the more exotic creatures are an elephant, a lion, an ostrich and a rhinocerous. The motifs are knitted in purl and plain on a background of stocking stitch. The petticoat is knitted in the round with no seams and has a circumference of over 3 metres at the widest point. Despite the large surface area, the pattern does not repeat.
Petticoat

Petticoat Netherlands Between 1700 and 1750 Hand knitted in two ply wool Circumference 305 cm, length 76 cm T.177-1926

An extraordinary feat of knitting skill, this object is unparalleled in any other known collection. The exact means by which it was created are not clear, seeming too large for either hand or frame production. The only other similar garment, sold at Christies in 1981, was a petticoat knitted in a variety of abstract patterns within a diamond shaped grid. It too dated from the early 18th century and had both Dutch and English connections. Animals, birds and trees decorate the surface of this cream coloured petticoat, which is made of 2 ply wool. Amongst the more exotic creatures are an elephant, a lion, an ostrich and a rhinocerous. The motifs are knitted in purl and plain on a background of stocking stitch. The petticoat is knitted in the round with no seams and has a circumference of over 3 metres at the widest point. Despite the large surface area, the pattern does not repeat.
Jacket

Jacket Great Britain 17th century Hand knitted cotton Width with arms outstretched 40 cm; length from neck to hem 23 cm T.30-1932

This child's jacket was in the possession of the family of Lord Portsmouth. Traditionally it is said to have belonged to Charles II as a child, but there is no evidence for this. The construction is very similar to adult jackets worn domestically during the same period. The jacket is knitted in stocking stitch with bands of geometrc motifs in plain and purl. The front edges are in garter stitch, rolled over and sewn to keep them flat. False seam lines were knitted in to the interior to mimic those found in sewn jackets. In fact, the only seams are along the shoulders, which are joined by casting the front and back stitches off together.
Pence jug

Pence jug Great Britain Between 1775 and 1799 Hand knitted wool Diameter 9 cm; height 7 cm T.31R-1935

Pence jugs like this little knitted woollen one were used as purses for change or as a container for small items. By the 19th century, patterns for decorative objects like these were being noted down and published in popular books. There is a knitting recipe for 'A Pence Jug or Purse' in My Knitting Book by Miss Lambert (1844) 'To be knitted with five needles, No.20, with claret and green German wool...It may also be worked in silk.'
Pence jug

Pence jug Great Britain Between 1775 and 1799 Hand knitted wool Diameter 9 cm; height 7 cm T.31R-1935

Pence jugs like this little knitted woollen one were used as purses for change or as a container for small items. By the 19th century, patterns for decorative objects like these were being noted down and published in popular books. There is a knitting recipe for 'A Pence Jug or Purse' in My Knitting Book by Miss Lambert (1844) 'To be knitted with five needles, No.20, with claret and green German wool...It may also be worked in silk.'
Instruction book, The National Society's Instructions on Needlework and Cutting Out

Instruction book, The National Society's Instructions on Needlework and Cutting Out Ireland 1835 Knitted wool, paper, cotton Width 14.5 cm x length 23 cm T.2 to C-1942

This instruction book includes samples of miniature knitted objects, such as this nightcap, given as an example of 'Scotch knitting'. It was published under the title 'Simple Directions in Needlework and Cutting Out intended for the use of the National Female Schools of Ireland, to which are added specimens of work executed by pupils of the National Model Female School'. The Model Schools were set up to promote the education of the poor in Ireland. Knitting was a skill often taught in institutions like these, as well as orphanages and workhouses, with the aim of providing gainful employment for those in poverty.
Cap

Cap Spain 18th century Hand knitted silk Width across bottom edge 25 cm; length edge to crown 21 cm T.176-1958

Tasselled caps like these were worn by men and women on festive occasions. A tapestry designed by the Spanish artist Goya shows a party of people on a picnic wearing similar headgear. This silk cap is knitted with a pattern of chevrons and lozenges which tapers towards the crown. It is finished off with a long tassel made from tufted silk rings threaded onto skeins of silk.
Cap

Cap Spain 18th century Hand knitted silk Width across bottom edge 25 cm; length edge to crown 21 cm T.176-1958

Tasselled caps like these were worn by men and women on festive occasions. A tapestry designed by the Spanish artist Goya shows a party of people on a picnic wearing similar headgear. This silk cap is knitted with a pattern of chevrons and lozenges which tapers towards the crown. It is finished off with a long tassel made from tufted silk rings threaded onto skeins of silk.
Knitting sheath

Knitting sheath Great Britain 1842 Carved wood Width 2 cm x length 18 cm T.192-1960

By the Victorian era, when for most people knitting was done as a hobby , the knitting sheath became obsolete. However, some workers in places like the Yorkshire Dales continued to earn their livelihood through knitting. They still knitted using the sheath, as they found this method faster. 'Goose wing' was the name given to the curved sheaths made in this region. These were specially adapted to fit the shape of the knitter's waist. This sheath has an abstract design carved on one of its faces, with the initials 'AWG' and the date 'Nov 16 1842'.
Pin cushion

Pin cushion Great Britain 1733 Hand knitted silk and silver gilt thread Width 10.5 cm x length 16 cm x depth 4.5 cm T.251-1960

This pincushion was knitted on fine steel needles. It is made from cream silk and silver gilt thread in patterned stocking stitch. On one side are the initials 'EW', with the date '1733' on the other side. Other decoration includes flower and bird motifs. The pincushion was knitted in two pieces and joined together, then the seams were covered with braid.
Pin cushion

Pin cushion Great Britain 1733 Hand knitted silk and silver gilt thread Width 10.5 cm x length 16 cm x depth 4.5 cm T.251-1960

This pincushion was knitted on fine steel needles. It is made from cream silk and silver gilt thread in patterned stocking stitch. On one side are the initials 'EW', with the date '1733' on the other side. Other decoration includes flower and bird motifs. The pincushion was knitted in two pieces and joined together, then the seams were covered with braid.
Gown

Gown Great Britain 1851 Hand-knitted in cotton thread Circumference of hem 56 in, length 22 in T.45-1964

This extraordinary baby's gown won third prize in the handknitting section of the Great Exhibition. It is important not only as a superb example of needlework skill, but also because the precise details of its making have survived. The gown is worked in leaf and diamond patterns with scallops at the hem and neck. It would have been knitted on extremely fine needles. These patterns of open stitches are similar to those of the knitted Shetland 'lace' shawls popular in the 1840s. One of the strengths of the Great Exhibitions was its liberal attitude to both machine and handmade objects. Each method had its advantages and beauties; the Great Exhibition welcomed all media. Hand knitting featured prominently in the knitwear section of the Great Exhibition. It was seen as an artistic craft and the submissions displayed great virtuosity in materials and design. Some of the more unusual entries included a knitted landscape, a shawl knitted with a prayer for the Houses of Parliament, and a pair of cuffs, hand-spun and knitted from the wool of French poodles. In the mid-19th century, hand knitting was considered a very useful skill for the poorer members of society. Knitting, along with other needle arts, was taught in orphanages and poor houses. A number of the hand knitting submissions to the Great Exhibition were from children and disabled adults and were noted for the remarkable proficiency they demonstrated.
Cape

Cape Great Britain 18th century Hand knitted silk Width along top edge 243 cm, height neck to hem 126.5 cm T.137-1966

From the 1830s knitters on the Shetland Islands adopted the then fashionable technique of lace knitting. This style quickly became identified with the shawls and veils knitted by Shetlanders from yarn spun into very fine thread on the Isle of Unst. These items were knitted on steel wires and the tradition of passing the finished object through a wedding ring became established, as this demonstrated how light and delicate it was. The knitters invented the patterns of the shawls, many of which have names taken from local features, such as 'Ears o' Grain', 'Fir Cone' and 'Print o' the Wave'. Although these shawls were bought by wealthy women during the 19th century, the knitters earned little in return for the amount of detailed work that went into creating the thousands of stitches that made up one garment.
Cape

Cape Great Britain 18th century Hand knitted silk Width along top edge 243 cm, height neck to hem 126.5 cm T.137-1966

From the 1830s knitters on the Shetland Islands adopted the then fashionable technique of lace knitting. This style quickly became identified with the shawls and veils knitted by Shetlanders from yarn spun into very fine thread on the Isle of Unst. These items were knitted on steel wires and the tradition of passing the finished object through a wedding ring became established, as this demonstrated how light and delicate it was. The knitters invented the patterns of the shawls, many of which have names taken from local features, such as 'Ears o' Grain', 'Fir Cone' and 'Print o' the Wave'. Although these shawls were bought by wealthy women during the 19th century, the knitters earned little in return for the amount of detailed work that went into creating the thousands of stitches that made up one garment.
Woollen thread

Woollen thread Great Britain Between 1850 and 1899 Wool T.237Y-1969

These woollen threads show the wide range of colours available to Victorian knitters. The first chemical dyes were developed during the 1850s, allowing the creation of bright purple and red textiles. Berlin woolwork, which was a type of embroidery done on canvas in merino wool from Germany, popularised boldly coloured yarns. Many varieties of yarn can be knitted, from smooth, slippery silk to thick, tufted fibres like mohair. Yarns made from wool are elastic and will contract back to their original length after stretching. They also allow air to circulate and are better at absorbing dyes. Many modern yarns are a blend of natural and man-made fibres, the latter adding durability.
Jumper

Jumper France 1927 Hand-knitted wool T.388-1974

Elsa Schiaparelli plays with the idea of a bow in this woollen jumper. She uses the trompe-l'oeil effect, which creates an optical illusion. The simple hand-knitted garment and its direct graphic image reflect the more relaxed attitude to formal wear for women in the late 1920s. The geometric, 'stepped' quality of the bow's curved outlines are an unavoidable technical feature of hand knitting. The designer exploits this feature and uses the design to hint at her later involvement with the Surrealist Movement: 'I drew a large butterfly bow in front, like a scarf round the neck - a primitive drawing of a child'. Schiaparelli wore the jumper to a society luncheon. It was a remarkable success and she received numerous orders. More amusing designs followed, including trompe-l'oeil ties and handkerchiefs. She soon opened her first salon, selling modish sportswear. The success of this jumper resulted from Schiaparelli's combination of traditional crafts - in this case, knitting - with her own inventiveness and wit. Many of her later designs show her understanding of the fashionable potential of such combinations. The jumper forms part of the Cecil Beaton Collection. Sir Cecil Beaton was a society photographer. He contacted the well-dressed elite of Europe and North America to help create this lasting monument to the art of dress. The Collection was exhibited in 1971, accompanied by a catalogue that detailed its enormous range.
Jumper

Jumper France 1927 Hand-knitted wool T.388-1974

Elsa Schiaparelli plays with the idea of a bow in this woollen jumper. She uses the trompe-l'oeil effect, which creates an optical illusion. The simple hand-knitted garment and its direct graphic image reflect the more relaxed attitude to formal wear for women in the late 1920s. The geometric, 'stepped' quality of the bow's curved outlines are an unavoidable technical feature of hand knitting. The designer exploits this feature and uses the design to hint at her later involvement with the Surrealist Movement: 'I drew a large butterfly bow in front, like a scarf round the neck - a primitive drawing of a child'. Schiaparelli wore the jumper to a society luncheon. It was a remarkable success and she received numerous orders. More amusing designs followed, including trompe-l'oeil ties and handkerchiefs. She soon opened her first salon, selling modish sportswear. The success of this jumper resulted from Schiaparelli's combination of traditional crafts - in this case, knitting - with her own inventiveness and wit. Many of her later designs show her understanding of the fashionable potential of such combinations. The jumper forms part of the Cecil Beaton Collection. Sir Cecil Beaton was a society photographer. He contacted the well-dressed elite of Europe and North America to help create this lasting monument to the art of dress. The Collection was exhibited in 1971, accompanied by a catalogue that detailed its enormous range.
Sample book

Sample book Great Britain Between 1846 and 1875 Hand knitted wool, glazed cotton Width 25.5 cm x height 14 cm T.71-1975

This book consists of knitting samples and handwritten notes by a knitter called Elizabeth Hume. Her pieces of work are attached to twelve glazed cotton pages. Most of the samples are of fine lace knitting but there are some pieces of solid wool knitting, of undyed Shetland wool and of coloured knitting. The book also includes examples of cotton knitting threads and wool. The notes refer to patterns in Mrs.Gaugain's bestselling Knitting, Netting and Crochet Book, a volume of patterns published in 1846. Jane Gaugain was the first British woman to publish knitting 'recipes', the early name for patterns, and she pioneered the use of abbreviations to describe the knitting stitches required. Her introduction states that: 'The method of explaining the recipes, though novel, and the only one occuring to me, has been found to answer the purpose completely, viz. that of giving a simple and clear explanation of them by means of Letter and Figures, which are easily reduced to practice.'
Suit

Suit Malta 1967 Hand knitted wool Width across chest 40 cm, length of jacket from collar to hem 59.5 cm, width of skirt across waist 27 cm, length of skirt waist to hem 43 cm T.26&A-1979

This jacket and skirt were knitted by hand in a wide rib pattern. The polo neck and cuffs are done in a loop stitch called 'poodle stitch', giving a shaggy texture. The hip length jacket has long sleeves and fastens with plastic buttons down the left side, and the mini skirt has an elasticated waist. The outfit is typical of the late 1960s, a period when smart dress like the suit was often reinterpreted in a youthful style by using unconventional textiles.
Suit

Suit Malta 1967 Hand knitted wool Width across chest 40 cm, length of jacket from collar to hem 59.5 cm, width of skirt across waist 27 cm, length of skirt waist to hem 43 cm T.26&A-1979

This jacket and skirt were knitted by hand in a wide rib pattern. The polo neck and cuffs are done in a loop stitch called 'poodle stitch', giving a shaggy texture. The hip length jacket has long sleeves and fastens with plastic buttons down the left side, and the mini skirt has an elasticated waist. The outfit is typical of the late 1960s, a period when smart dress like the suit was often reinterpreted in a youthful style by using unconventional textiles.
Needle gauge

Needle gauge Great Britain Between 1847 and 1899 Metal Width at widest point 6 cm, length top to bottom 7 cm T.276-1979

The Chamber's Bell gauge, of which this is an example, is recommended in The Lady's Knitting Book published in 1875. Different types of yarn need different sizes of needle and this instrument, patented the previous year, allowed the knitter to measure the diameter of the needles to make sure they were suitable. Wire was used to make the steel knitting pins prevalent in the 19th century and thus the standard sizes of British needles were the same as those used to measure the thickness of strands of wire. It was not until the 1970s that knitting needles were measured according to the metric system.
Instructions on Needlework and Knitting

Instructions on Needlework and Knitting Great Britain 1838 Paper, cotton, wool, knitting, crochet, netting, sewing, embroidery Width 12.5 cm x length 20 cm T.307-1979

The National Society's 'Instructions on Needlework and Knitting' was the first British publication of this type on knitting and was a handbook for use in the Church of England charity schools run by the Society. The book contains a letter from a Miss M.A. Smith to her governess, indicating that the book was a gift and thanking the governess for her teaching. The pupils at whom this book was aimed would also have been shown how to sew and knit by a teacher. The instructions in early knitting books would have been difficult to follow for anyone unfamiliar with the craft. They did not supply information about needle size or which tension was best, nor how much or what type of yarn to use. Notation was not standardised, so the knitters would have relied greatly on their own judgement when interpreting these patterns.
Evening coat

Evening coat Great Britain 1979 Hand-knitted in natural and synthetic yarns Width arms outstretched 143 cm, length neck to hem 134.5 cm T.354-1980

A variety of textured yarns in muted colours were used to create this magnificent coat. Predominantly worked in stocking stitch, it reveals the designer's unorthodox, creative and highly influential approach to design. The shaping of this ankle-length garment with full sleeves draws upon Renaissance and Eastern dress. It was hand-knitted by Zoe Hunt for Kaffe Fassett. Kaffe Fassett was born in San Francisco and came to live in England in 1964. An art student, he did not begin knitting until his late twenties. His early commercial collections were commissioned by Missoni and Bill Gibb. Fassett is known for his geometric patterns in a rich palette of different hues. He summed up his philosophy of colour in an interview in Vogue Knitting International in 2002: 'Why limit yourself to just one shade of red when you can use seventeen?'
Dress

Dress Great Britain 1947 Hand knitted Spintex Width at waist 33 cm x length neck to hem 105 cm T.469&A-1980

This calf-length dress was knitted in just two pieces from Spintex, a wool and rayon blend. It has a draped top with cap sleeves and a knife-pleated skirt, which have been grafted together at the waist. The resulting seamless garment is very comfortable to wear. Maria Szanto was inspired by stitches used in Victorian patterns for waistcoats which she found in the National Art Library at the V&A. The post-war 'New Look' was pioneered in Paris by Christian Dior in 1946. It featured voluminous skirts using many yards of material. However, in Britain clothing and textiles continued to be rationed until 1952. In this example, Szantos uses the knitted-in pleats of the skirt to give the impression of fullness.
Jumper

Jumper Shetland Islands Between 1926 and 1935 Hand knitted wool Width across chest 53 cm x length neck to waist 55.5 cm T.363-1984

During the 1920s, the Prince of Wales started a craze for knitted jumpers by wearing a Fair Isle sweater to play golf at St. Andrews in Scotland. This V-necked sweater is hand knitted in stocking stitch with 2 ply wool. The garment is knitted in the round up to the armholes and the arms are grafted on. The grey ground is decorated with a Fair Isle pattern in blue, yellow, red, green, brown and black. However, in traditional knitting of this kind, no more than two colours are used in one row. A plain stitch is used for the ground while the coloured wools are knitted in purl, giving an overall striped effect to the ribbing.
Jumper

Jumper Great Britain Between 1926 and 1935 Hand knitted wool Width across chest 53 cm x length neck to waist 55.5 cm T.363-1984

During the 1920s, the Prince of Wales started a craze for knitted jumpers by wearing a Fair Isle sweater to play golf at St. Andrews in Scotland. This V-necked sweater is hand knitted in stocking stitch with 2 ply wool. The garment is knitted in the round up to the armholes and the arms are grafted on. The grey ground is decorated with a Fair Isle pattern in blue, yellow, red, green, brown and black. However, in traditional knitting of this kind, no more than two colours are used in one row. A plain stitch is used for the ground while the coloured wools are knitted in purl, giving an overall striped effect to the ribbing.
Jumper

Jumper Great Britain Between 1950 and 1959 Hand knitted wool Width arms outstretched 118 cm x length collar to waist 59 cm T.207-1985

This 1950s purple sweater has a fashionable open-neck and three-quarter length sleeves. Casual clothing inspired by sportswear was worn by American teenagers before being introduced into Britain. Although by this period much knitwear was machine made for the mass market, the label on this jumper declares that it is a hand knitted product of 'Women's Home Industries'.
Cardigan

Cardigan Great Britain 1982 Hand knitted angora and wool Width across shoulders 41 cm x length collar to waist 60 cm T.210-1985

Inspired by the patterns on decorative china plates, this jumper is made up of a kaleidoscope of stitches in bright primary colours, emphasising its hand crafted appeal. A patchwork effect is achieved by alternating blocks of stocking and fancy stitches. The pattern is published in The Knitwear Revolution by Suzy Menkes, Bell & Hyman,1983. The designer of the jumper, Patricia Roberts, set up a hand knitting business in 1976 and still runs a shop in London today. She has published many pattern books and issued ranges of luxury yarn. She is known for her innovative designs in bold colours using contrasting textures and decorative stitches.
Cardigan

Cardigan Great Britain 1982 Hand knitted angora and wool Width across shoulders 41 cm x length collar to waist 60 cm T.210-1985

Inspired by the patterns on decorative china plates, this jumper is made up of a kaleidoscope of stitches in bright primary colours, emphasising its hand crafted appeal. A patchwork effect is achieved by alternating blocks of stocking and fancy stitches. The pattern is published in The Knitwear Revolution by Suzy Menkes, Bell & Hyman,1983. The designer of the jumper, Patricia Roberts, set up a hand knitting business in 1976 and still runs a shop in London today. She has published many pattern books and issued ranges of luxury yarn. She is known for her innovative designs in bold colours using contrasting textures and decorative stitches.
Ensemble

Ensemble Great Britain 1985 Hand knitted cotton and lycra Width across chest 46 cm x length neck to hem 110 cm T.313 to B-1985

The designers Stevie Seward and David Holah formed the company Bodymap, which was known during the 1980s for producing innovative layered clothing. This dress is hand knitted from black cotton and has lycra stockings to match. The bright knitted ruffles add colour to the front of the dress, while the back is a plain tube, with ribbing at the top, skirt and cuffs for increased elasticity. The bows on the stockings are a feature of the back of the outfit.
Jumper

Jumper Great Britain 1942 Hand knitted wool Width at widest horizontal point 62 cm x length collar to waist 45 cm T.27-1987

This short sleeved jumper was knitted during the 1940s. Hand knitting was greatly encouraged during the Second World War and up to 1952 while rationing was in force. The coupon system limited the amount of clothes and clothing materials people could buy. 'Make-do and mend' suggestions included unravelling old knitted jumpers to re-use the yarn. The design and colours of this top show that it was possible to create attractive styles in spite of restrictions.
Jumper

Jumper Great Britain 1942 Hand knitted wool Width at widest horizontal point 62 cm x length collar to waist 45 cm T.27-1987

This short sleeved jumper was knitted during the 1940s. Hand knitting was greatly encouraged during the Second World War and up to 1952 while rationing was in force. The coupon system limited the amount of clothes and clothing materials people could buy. 'Make-do and mend' suggestions included unravelling old knitted jumpers to re-use the yarn. The design and colours of this top show that it was possible to create attractive styles in spite of restrictions.
Teddy bear

Teddy bear Great Britain Between 1937 and 1938 Stuffed and sewn mohair, with knitted and sewn fabric MISC.166&A-1988

This bear's name is Teddy. Its owner obviously loved it dearly as the bear's mohair is very worn away in places and its paws have several repairs. Teddy's clothes were specially made. The bear's owner knitted the scarf when she was seven years old. Teddy has another outfit to wear - a pair of stripy pyjamas.
Sweater

Sweater Great Britain 1980 Knitted wool Width chest 42 cm x length collar to waist 73 cm T.47-1989

This gansey, or woollen fisherman's jersey, was made in the East Yorkshire fishing village of Staithes. Once a large fishing port with a boat-building industry, Staithes was home to many fishermen whose garment of choice was this thick sweater which was close-fitting for warmth and tightly knitted to repel water. The traditional colour of the gansey is navy and this one is worked in the round in a pattern of vertical panels with alternate cable and double moss stitch. The name 'gansey' comes from Guernsey, one of the islands from which these jumpers originated. The jumpers were knitted by women for their fisherman husbands during the 19th century, but during the 1880s there was a craze for a fashionable female version of the jersey. The cable pattern was later adopted to decorate cricket jumpers. By the 20th century workwear like ganseys and aran jumpers was an established type of leisure dress for the middle classes.
Sweater

Sweater Great Britain 1980 Knitted wool Width chest 42 cm x length collar to waist 73 cm T.47-1989

This gansey, or woollen fisherman's jersey, was made in the East Yorkshire fishing village of Staithes. Once a large fishing port with a boat-building industry, Staithes was home to many fishermen whose garment of choice was this thick sweater which was close-fitting for warmth and tightly knitted to repel water. The traditional colour of the gansey is navy and this one is worked in the round in a pattern of vertical panels with alternate cable and double moss stitch. The name 'gansey' comes from Guernsey, one of the islands from which these jumpers originated. The jumpers were knitted by women for their fisherman husbands during the 19th century, but during the 1880s there was a craze for a fashionable female version of the jersey. The cable pattern was later adopted to decorate cricket jumpers. By the 20th century workwear like ganseys and aran jumpers was an established type of leisure dress for the middle classes.
Poncho

Poncho Great Britain Between 1990 and 1999 Hand-knitted wool patchwork T.1039-1994

Travellers are people who lead a nomadic existence and often reject the norms of society, such as buying clothes readymade from chain stores. This poncho has been hand-knitted in a patchwork of different coloured wools. Ponchos, back in vogue for Autumn/Winter 2004/05, originated as peasant dress in South America where they were usually made from woven fabric. They became popular in the US during the 1940s and in the sixties an interest in ethnic dress saw another poncho revival.
Knitting needle case

Knitting needle case Great Britain Between 1870 and 1890 Leather Width when open 19.5 cm x length 13.5 cm T.712:1-1995

This 'Sunflower Knitting Needle Case' by Bassat Powell is embossed on the outside with a gold sunflower. It contains needles of steel in sizes ranging from 19 to 11, mostly finer than the average size of needles used today. These needles are not tapered at the ends as modern ones are and during Victorian times they were often called knitting 'pins'. Knitting needles have been made from a variety of substances, including metal, wood, ivory and plastic. The technology to produce thin metal rods was not available until the Elizabethan era.
Jacket

Jacket Great Britain 1993 Hand knitted wool Width across chest 63 cm x length neck to hem 74 cm T.167-1997

This jacket is made in a blend of muted, autumnal colours and decorated with a pattern of oak leaves, a motif that recurs in Kagan's garments. These clothes are characterised by her use of different textures, such as the contrast here between the chunky wool background and the soft chenille which makes up the motifs. The intarsia technique is used to work the motifs. This means that a separate length of yarn is used for each block of colour across the row, so that the yarns are not carried across the entire row. Sasha Kagan trained as a painter and printmaker before moving to rural Wales. Her knitwear is inspired by the local landscape and by William Morris's Arts and Crafts textile designs and the biggest market for her designs is the US. Sasha Kagan and her studio assistants hand knit all her clothing using natural yarns.
Jacket

Jacket Great Britain 1993 Hand knitted wool Width across chest 63 cm x length neck to hem 74 cm T.167-1997

This jacket is made in a blend of muted, autumnal colours and decorated with a pattern of oak leaves, a motif that recurs in Kagan's garments. These clothes are characterised by her use of different textures, such as the contrast here between the chunky wool background and the soft chenille which makes up the motifs. The intarsia technique is used to work the motifs. This means that a separate length of yarn is used for each block of colour across the row, so that the yarns are not carried across the entire row. Sasha Kagan trained as a painter and printmaker before moving to rural Wales. Her knitwear is inspired by the local landscape and by William Morris's Arts and Crafts textile designs and the biggest market for her designs is the US. Sasha Kagan and her studio assistants hand knit all her clothing using natural yarns.
Row counter

Row counter Great Britain Between 1900 and 1950 Brass with paper Width 11.7 cm x height 9.3 cm x depth 2.5 cm T.34-1999

This row counter is inscribed along the top with the words 'The M.P. handy guide for knitting and crochet'. The dedicated knitter used the device to keep track of the pattern being knitted and to record the number of increases or decreases required by sliding the brass knobs to mark specific numbers. Increasing allows for the gradual enlargement of a piece of knitting, and decreasing is the opposite process. The counter incorporates a ruler along the bottom edge as well as a knitting needle gauge on the right side with 6 as the largest needle size and 12 the smallest.
Jumper

Jumper Great Britain 1982 Hand-knitted mohair wool Width 152 cm x length 58 cm T.64-1999

Sandy Black was a leading British hand knitter during the 1970s and 1980s and was among the first to make designer knits. This 'Fairisle Fun Mohair Sweater' was sold as a kit containing multi-coloured balls of wool, together with instructions, to be knitted at home by the buyer. The finished jumper is square-shaped with a round neckline, long sleeves and a stretch band at the wrists and waist. The mohair gives it a soft and fuzzy texture.
Sampler

Sampler Azores Between 1875 and 1900 Hand knitted fibre of the Azores cactus plant seed Width 17.5 cm x length 20 cm T.389-2001

Peasant knitters in the Azores islands, West of Portugal, used to specialise in making delicate lace items such as shawls and dresses. Instead of wool, they used a fibre from the Azores cactus plant seed. According to an 1893 article in Harper's Bazaar, doilies like this one were knitted on 'five, very fine, slightly curved, barbed needles.' This doily is one of twelve, of different patterns, which are sewn into a felt book with pinked edges.
Jumper

Jumper Great Britain 1976 Knitted mohair and string Circumference at bust 74 cm, length 25 cm T.94-2002

This multi-coloured, cropped mohair and string jumper was probably made in the later 1970s, the heyday of the punk movement. From 1976, Vivienne Westwood and her partner Malcolm McLaren sold similar tops from their shop 'Let It Rock' in the King's Road. Westwood explained: 'I started making mohair jumpers for the girls - you couldn't even buy mohair then. I loved the beatnik idea of wearing a man's sweater with tights.' This type of garment set the punk fashion for torn and unravelling sweaters. Real mohair is made from the fine hair of the angora goat, which also gives its name to another kind of wool. Imitation mohair can be made from a blend of wools.