Show Notes
It's been a week of finishes and new beginnings. Off the needles, I've completed a Malabrigo hat and love the color pooling. You don’t hear me say that very often. I've finally finished my Amande socks—though I must say I rather hated working both the nupps and wrapped stitches techniques. Sometimes you have to try things to understand what you decidedly do not enjoy. My new obsession is Big Love by ANKESTRIK, a top-down cardigan with fascinating construction that I'm knitting in gorgeous Gilliat yarn. The pattern begins with a provisional cast-on at the shawl collar, and I minimised the inevitable ribbing alignment issues by using a Turkish cast-on and knitting across the first row rather than working the ribbing pattern. For the shoulders, I chose Chinese Waitress cast-on, which creates a lovely firm yet stretchy edge perfect for shoulder seams. The Ravelry community provided essential modifications—working the fronts two inches longer than the back prevents the sleeves from rotating forward due to the unusual construction. Many knitters went up a size or two for the sleeves, so I did my own spot-checking for sleeve pickup. Remember: Your measurement x gauge (stitches per inch) = Number of stitches you need for your desired size. This sweater connects to larger work I'm doing on a capsule collection based on my Changing Clothes manifesto. I've been thinking more intentionally about getting dressed—not for others' gazes but for my own comfort in what I call "Secret Pyjamas." The goal is creating sustainable, perfectly fitting garments made by hand, including finally tackling my Everest of well-fitted trousers. Behind the scenes, I've moved podcast hosting to Substack after twenty years with Libsyn. Yes indeed, I’ve been podcasting since 2005. Where has the time gone? Music: "Who Knows" by The National Parks If you’d like to help support the podcast, you can do so via Ko-fi or Patreon, or by spreading the word to a fellow knitter.
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More from Cast On
Everyone has worn something that felt like them. In this episode, that feeling starts with a teenage pantsuit made by Brenda’s mother, and widens into the question Claire McCardell asked in What Shall I Wear?: what happens when a woman dresses from self-knowledge instead of trend? The pantsuit is not nostalgia. It is the first proof that clothes can give you yourself back, when someone made them with you in mind. The stakes rise with Carol Tulloch, whose essay in The Culture of Sewing documents home dressmaking in the Jamaican community in Britain. The Windrush generation arrived dressed for the future they had been invited to build — handmade suits, dresses, skill, colour, intention — and met a country already deciding who belonged. Making clothes was not hobby there. It was self-definition under pressure.
The mirror didn’t care what I thought should be there. Steroids, weight, a body that changed without permission — none of that was the real difficulty. The difficulty was the gap: the distance between what the mirror showed and what I expected to see by now. That gap is where getting dressed stops being getting dressed and starts being negotiation. Lakyn Carlton calls it expertise — knowing to the millimetre what hides and what shows, and choosing. The fitted answer is the Leo from Bella Loves Patterns, cut in a red cross-grain pinstripe cotton lawn from SR Harris: stand collar, full placket, a shirt that reads as authority. Narrow shoulders shift the armscye out of place — Sandra Betzina’s Fast Fit fixes it at the shoulder line. One alteration. Everything else follows. The unfitted answer is the Jenna in autumn-coloured linen — volume as architecture, not surrender. Three trousers handle the lower half: the Mitchell for the long line, the Billy in grey crinkle linen from Misan for the days that want movement, the Pegs from episode two, nearly finished, for the proof of concept. On top, the Olya from Paper Theory in mustard geometric — the coordination layer. Big Love, the teal cardigan, tones with everything. The charcoal sweater’s replacement is coming; knitters do that. Knowing exactly what you need is not denial — it’s craft applied to the specific problem of getting dressed in a body that changed. MUSIC * Evergreen — Instrumental, by UPPLAND * Is What It Is, by Judah & the Lion
Stash Acquired Beyond Life Expectancy. It’s a joke until you do the maths. Eight complete sweaters-worths of yarn in DK and fingering weight alone, not counting the oddballs, the luxury fibre, or the container of 2-ply jumper weight — one 25g ball of every single colour Jamieson & Smith make. (Shut up. That was for research.) The stash stopped being weight when it got a job. Three questions — what do I need, what do I want to wear, what do I want to make — and a capsule of twenty garments across five categories. Ghost in the Apple Orchard, the red tweed vest from Episode 1, is done. Big Love, the soft teal cardigan, needs its bind off. Gilliatt is on the last ball. The next knit — a December-not-Christmas jumper in claret Shepherd’s Wool Worsted — came from the stash, not the shop, because the plan said claret and the stash had claret. Enough is not a number. It’s a relationship between what you have and what you’re making. To Be of Use, the audio piece from A Knitter’s Manifesto, is what a garment’s full life sounds like — from the making through the wearing to the mending. Sound design by Dr Felicity Ford. FURTHER READING * Max Weber on consumerism / acquisition as virtue * Glenn Adamson, Fewer, Better Things * Moral licensing as the mechanism by which an ethical act becomes permission for more consumption * Yanagi / mingei and the beauty of use MUSIC * Drop of Rain (Acoustic) — Instrumental by sød ven * Fly by Drew Holcomb & the Neighbors
The quest for trousers that actually fit involved eBay-stalking vintage pattern drafting books - Flat Pattern Cutting and Modelling for Fashion (Helen Stanley, 1972), Pattern Drafting and Dressmaking (Dorothy Moore, 1971), Dress Pattern Designing (Natalie Bray, 1961) - a Craftsy class, and sixty hours of work that produced a toile so catastrophically wrong I couldn’t bend my knees to climb the stairs. Cal Patch has spent years solving this from her studio in upstate New York - flat pattern drafting that starts with the body, not the size chart. This episode is a conversation with her about where the lightbulb turns on. The other revolution arrives by YouTube: top-down-centre-out, originated by Ruth Collins and taught in Stacey Taylor’s free tutorial series, starts with the one thing every well-fitting pair of pants hangs on: the waistband. The Pegs from Merchant & Mills are the making project - 1950s cut, high waist, narrowing to a turned-up cuff. The trousers aren’t finished. The method is sound. FURTHER READING * The 1958 US commercial sizing standard * Ruth O’Brien & William Shelton’s 1941 WPA study on women’s body measurements * The finding that approximately 8% of women have the hourglass proportions commercial patterns are graded for, Joy Spanabel Emery, A History of the Paper Pattern Industry * The 2025 plus-size runway representation collapse * Butterick’s 1863 graded tissue paper pattern - the first commercial sewing pattern Music: Story of Our Lives by Tim Halperin
Vinted used to feel like the internet version of a Naked Lady party: somebody else’s wrong thing becoming exactly what you needed, for a fiver and postage. Then the pro sellers arrived, the charity-shop stock moved online, and resale started to look less like an exit from fast fashion than another room inside it. A 2025 Yale study found the catch: people who buy second hand frequently also buy more new clothing. So low impact gets practical. Ghost in the Apple Orchard, Brenda’s red vest, is yarn on its third life. Two cream Vinted blouses become responsibility rather than regret, with Portia Lawrie’s Re:Fashion Wardrobe as permission to look harder at what is already here: one blouse pointing toward the Reed Skirt, the other rescued with £3.20 of Fyberspates Gleem and a willingness to outwit bad quality control. The larger cost is still there. Rana Plaza is not the hook, but it is the floor under the argument. Low impact is not purity, and it is not an escape route. It is attention: what do I need, what do I want to wear, what do I want to make — where did this come from, and who paid for it? FURTHER READING * Laura Edwards, Only the Clothes on Her Back Music: Story, by Abigail Osborn