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REVIEW OF
By Uknitted Kingdom
‘Number knitting, The new all-ways-stretch method’
22
I’m a self-confessed “process knitter.”
The techniques and intricacies of knitting
and crochet hold far more interest
for me than a finished object. It is why I
have dozens of works in progress (WIPs)
and why, once I understand a new technique
used in a pattern, I often lose interest
in continuing. If the project is a
large sweater, or a blanket, it sometimes
morphs into a symbol of shame, a reminder
of my failure to see the job
through to the end.
The phrase “A Jack of all trades is a
master of none, but oftentimes better
than a master of one,” definitely explains
those of us with magpie-brains coveting
knowledge and collecting
techniques. Ooo, there’s a shiny
new skill I need to learn. Be right
back…
I hold an envious respect for
those who are more single-minded
and can apply their skills to one
project for years, decades, or even a
lifetime.
In the knitting and crochet world
there are many YouTubers committed
to long-term projects, such
as:
● Roxanne Richardson knitting a
sweater from every decade from
1890.
● Engineering Knits knitting and
crocheting from Weldons’ Practical
Needlework series
● Vintage Crochet following the
original (often vague and confusing)
instructions for a Victorian pattern
before revealing what it should have
looked like.
● Nathan Taylor, The Sockmatician,
who has worked tirelessly on
his double brioche and triple-knit
projects.
When I heard about Kelly Vaughn
(Knitswag on social media) and her
long-erm project to re-publish Virginia
Woods Bellamy’s “Number
knitting, The new all-ways-stretch
method” (1952), I was fixated for several
reasons:
● Despite the difficulty I have sticking
with a project, the one pattern I return
to again and again is the mitered
square. Each square holds my attention
from beginning to end and both of my
favorite techniques are used throughout
(central double decrease (CDD) and
picking up and knitting stitches (PUK)).
Virginia’s book holds the original mitresquare
method. Although she never
refers to the squares as ‘mitres’, nor
does she use CDDs, there’s no mistaking
them for anything else.
● The book is hard to find and incredibly
expensive. Only 5,000 copies
were printed in 1952 and they have
since become collector’s items; sometimes
eliciting prices of over $500 for a
hardcover original. Even the electronic
version is expensive. There are two
electronic versions ($74.99 and $39.99
– more on this to follow). What becomes
rare becomes wanted.
● After reading the 1972 reprint
editions of Mary Thomas’ Knitting Book
(1938), and Mary Thomas’ Book of Knitting
Patterns (1943), I have been far
more interested in the knitting of the
past than the knitting of the present.
Virginia’s book hits the sweet spot of
time between Mary Thomas, James
Norbury, and Elizabeth Zimmermann.
● Although 70+ years since publication,
Virginia’s approach, techniques,
and knowledge appear refreshingly
new. I think I can say with confidence
that you will never before have encountered
patterns written and
presented/charted the way Virginia
does in “Number Knitting.” There is so
much to learn from this book and yet, at
first glance, one might be forgiven for
missing its secrets. It’s old, yet new,
dated, yet exciting, and Kelly Vaughn is
unlocking the dust-covered jewellery
box and sharing the diamonds.
I can imagine at this point you might
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