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Twist Collective Blog

Style Notebook, featuring Sarabande

I remain intrigued by the wardrobe potential for Kristen TenDyke's Sarabande. We shot it for the magazine with a grand ball skirt in a luxurious lair, but I would probably get a lot more use out of it with a pair of jeans. Here's I would wear it, over a striped top with snow boots and a fun satchel. I apologize if the price of the bag throws you off, but this is fantasy after all.

Sarabande Sunday

Kelmscott: Crochet Buttons Tutorial


by Carol Sunday, originally posted to her blog, Sunday Knits.

For button covers, start with a slip knot again; this counts as the first chain. Keep it loose — it'll need to be. Chain 3 more.
Connect the circle by slip stitching into that first chain.

chain4  close_ch4

Expand the circle by slip-stitching 3 more times into the same chain. Slip stitch 2 into each of the next 3 chains, slip stitch 2 into the next stitch. Continue increasing according to pattern instructions until there are 16 sts.
The crocheted disc should be nice and flat.


After slip stitching a full round and doing a few decreases ((skip 1 slip stitch 1) five times), insert button into cap. I used a flat button with holes big enough for my tapestry needle.


Once the button is inside, it's easier to hook the stitch from its top than its bottom.


Keep decreasing until there are 5 stitches left in the round. Cut yarn, pull through, and sew the button on, sewing it far enough from the edge to avoid gaping. Allow for a 3/4" to 1" overlap.


As you've come this far, the only thing left is to wear and enjoy!


Kelmscott: Crochet Trim Tutorial


by Carol Sunday, originally posted to her blog, Sunday Knits.

tutorial photographs by Robert Sunday

I've always liked the look of crocheted trim and buttons on a sweater — traditional in a very charming sort of way, so it seemed like a pretty way to finish off my Kelmscott sweater.


Crocheted edges also add some firmness to an edge and help keep it from stretching out.

I'm no expert when it comes to crochet, but that doesn't keep me from adding a little, because it's not all that difficult. For the rest of you non-crocheters, here's a little tutorial.


For a slip stitch (sl st) edge, start with a slip knot and place on hook. Insert hook into a knitted stitch at the bottom of the right front edge.

slst_trim2  slst_trim3

I'm not sure if it's standard to insert into a whole stitch or into just the outside leg of a stitch, but I get the nicest looking edge by going into just one leg. One row will have a long easy leg; the next will have a short bundled — and not so easy — leg.

slst_yo  draw_through

As with knitting, a crochet stitch can be made by throwing or picking. Picking may be more efficient, but I'm a thrower. Wrap the yarn in front of the hook, pull the loop down through the knitted stitch then through the stitch on the hook.

For this sweater, I used a hook that's small for this weight of yarn, which makes it slow going, but does tighten up the edge nicely.

btnhole1  btnhole2

At the buttonhole marker, end the stretch of slip stitches with a short leg — it's firmer; make a chain as follows: yo, hook the yarn, drawing it through the loop; repeat 7 times.

buttonloop1  buttonloop2

Reinsert into the next short leg, and resume slip stitch.

Stay tuned for how to make the lovely crochet buttons.

Style Notebook, featuring Bright Star

Julia here.

Bright Star by Cathy Caron is a sweater that really grew on me as we were planning photography for the winter issue.  I liked it the way Cathy pitched it — on a mannequin — but how would we style it? At first I didn't know, but a little thought later, I couldn't stop thinking of ways to wear it. 

You've seen the sweater over that vintage dress with the amazing skirt as we showed it in the magazine.  The cardigan covers the halter-style top of the dress; as a strategic piece, Bright Star turns a season-and bra-specific dress into something that can be worn almost year round, into a practically indispensable wardrobe option.


Another vintage profile was this rayon dress I had on loan, but I thought it had a seriousness to it that we weren't looking for in the Faneuil Hall story. I would put this particular silhouette with brown oxfords and ankle socks for a 30's feel, like a young Judy Garland running down to the drugstore to get an egg cream.


Personally, I don't really think of myself as someone who would wear a cropped sweater, but lately, I've become somewhat enamored of the idea of smaller lighter sweaters worn as layers, with longer sleeves of jersey t-shirts showing, and maybe even a great "on trend" boyfriend jacket thrown over the whole thing with the sleeves rolled up.  Even north of 45 (as I am), I understand that it's possible to be youthful without being ridiculous. Serious boots with warm textured tights ground the whole look.

Over smart trousers, Bright Star can be polished and professional looking.  So long as you keep the under-layer longer, mixing up the proportions, you'll look stylish and intentional. This has a Murphy Brown feeling to me.


To be sure, you're going to need your Spanx for that one, but I think many knitters would look taller and leaner with a sweater fitted through the ribcage, and the illusion of a higher waist that Bright Star has. And of course, anyone is free to give it a few extra inches of ribbing to cover the trouser waistband, if they were so moved.

How would you wear Bright Star?

Design Process: Mystère


by Cecily Glowik MacDonald Originally published on her blog, Winged Knits.


I am so thrilled to have a design included in twist collective's Winter 09 issue. For this design I began with the idea that I wanted a pullover that could be worn dressed up with a skirt or just thrown on with jeans, something very versatile and easy to wear.  I really wanted it to be a rather simple knit with a few easy details to keep it interesting, what I think of as relaxing, almost meditative knitting.



I love the texture of the Reverse Stockinette Stitch up against the smooth Stockinette Stitch panels.  Down the center of the Stockinette Stitch Panels on the front and back is what I called a “shadow cable”.  This cable is twisted many rows apart to keep it from pulling the stitches as much as a traditional cable does, this keeps the panel more flat and adds a bit of “Mystère” as to what the stitch is. 




And the saddle shoulder is an unexpected touch.




The lovely gray in the model sweater is a wonderful choice for a garment that can be worn with many outfits, but I also think that this design would work well in a strong, bright color. However, when choosing a color for this sweater it is important to note that the darker the color, the less visible the shadow cable will be.  The cable is basically visible because of the shadows cast by the twisted, raised stitches, the darker the color, the less contrast there is between the shadows and highlight areas.