>PATTERN EXTRA: Lacy Top Cardi Adjustments

>OK. This was not as big a problem as I anticipated. What follows is crochet tech talk, strictly for readers who have requested a way to crochet the Lacy Top Cardigan with deeper armholes to fit. Everyone else will still have to wait for a happier post! 🙂

As I have mentioned in “Amazing Crochet Lace” and elsewhere, top-down garment construction allows you to try on the piece while you are crocheting. This is never an orderly fit. It is my experience that the body, particularly across the back, will seem sloppy and loose, while the underarm and armholes may feel tight and too high. Please consider that the fabric has a good deal of stretch, that crocheting the rest of the garment (particularly adding sleeves) will surely change the fit, and that blocking usually pulls everything longer. However, upon examining this pattern, I can see why you might want more breathing room in the armhole, particularly in the two larger sizes, L/XL (45) and 2XL (50). So here’s what I think.

Mercifully, all sizes complete the front neck shaping and the yoke increases before this adjustment happens. This lace stitch pattern has a four row repeat. The simplest way to add depth to the armhole without changing either the bust or sleeve circumference (once you have completed all shaping at fronts and corners, and before joining fronts and back at underarms) is to work four rows even in stitch pattern, putting you back at the same step. At that point you are ready to join the underarms in exactly the same way as written. However, four rows at this relaxed gauge will drop the underarm by approximately three inches. This will work well for the sizes L/XL (45) and 2XL (50). But may be too disproportionate for sizes XS (35) and S/M (40). I will address that later with a more involved solution.

Please refer to the pattern as published, as discussed in this post on July 8. To add 3″ to the yoke (armhole) depth, follow pattern as written, stop after Row 8 (9, 10, 10). Insert these four rows.
Size XS: Work Pat Row 4, then Pat Rows 1-3.
Size S/M: Work Pat Rows 1-4.
Sizes L/XL (2XL): Work Pat Rows 2-4, then Pat Row 1.
Return to instructions as written, continue with Row 9 (10, 11, 11)

Coming soon, pattern extras to grant deeper (but not this deep) armholes and a way to create more ease for generous upper arms without changing the bust circumference.

>Tirade #5

>Or is it # 4? Whatever. Reader, beware. The following tirade is not for the crochet dilettante. Crochet obsessed only read on. Everyone else can chalk this up to my being crabby and old and wait for the next happy post.

Pattern grading, or the task of extrapolating and writing crochet garment pattern instructions in multiple sizes, is a big pain in the butt. Universally, it is considered the worst part of a design job. Any designer who claims otherwise is either 1) fooling him/herself, 2) being paid so fracking much that he/she can ignore the pain, 3) being paid so much that he/she can turn around and pay someone else to do the grunt work, or 4) lying.

Pattern grading is SO awful that the term has seeped into crochet-designer-speak as a codeword for the worst possible case nightmare scenario. For example, if I were to ask, “How did that hip replacement surgery go?”, the reply “Not as bad as pattern grading” could be expected and understood.

In my job I make one real life crocheted garment sample, a singular and perfect thing, a joy to create and behold. Then I am obliged to beat my head against the wall until that sample is interpreted as a set of clear, concise crochet instructions for up to six sizes. My brain and temperament are well suited to the former task and not one iota interested in the latter. At the crux of the matter is the fact that I suck at counting. Who wants to get bogged down in the specific numbers? Does that raglan shoulder shaping increase mathematically, geometrically, exponentially? How many stitch repeats will that mean in size 2XL?

I’m a crocheter, not an actuary. My son is an actuary. He spends his working life in a cubicle (real or virtual) crunching numbers. He researches, compiles, and interprets statistical models, charts and reports filled with correlated, corresponding, codependent, confusing data supplied by clients concerning real life people. I think he enjoys his job in a scary, geeky way. I sometimes wonder if he is indeed my son, know what I’m saying? Just kidding, Nick.

Do you know that there are crochet designers who aren’t required to produce a single garment sample, write a single word or crunch a single armhole depth? These exhalted few need only supply a sketch and a stitch swatch in order to get money for a design. As wonderful as this sounds, I wouldn’t want to live there. The physical act of working with hook and yarn, the challenge of shaping and finishing each new garment concept, the satisfaction of turning the purely imagined into something tangible and wearable, these are priceless jewels, the rewards of my job. I would not, could not, delegate/relegate them to another crocheter. And since each project is a unique piece of me, I can’t hand over the nasty bits either, the writing and sizing, even though that would make my life a lot happier.

Now that you know I am not by nature a number cruncher, you can understand how I have no simple solutions to the problems of pattern grading or the alteration of existing pattern sizes to accommodate other than average proportions. I can’t point you to a fancy software program or a secret formula. I have no magic bullet. Everything I know about this subject I learned the hard way, through experience, time, trial and error.

We designers are admonished by our professional peers to never give anything away for free, not of our work or of our expertise. Our time and talents are valuable, I am scolded, so don’t offer free pattern support. You did your job, got paid. Done. But I am often asked by crocheters, readers and fans for advice. In order for them to get happy results I’d have to completely rework, rewrite and reinterpret, row by row, major sections of the pattern grading. How can I make this top longer, is it possible to shape the waistline, I need deeper armholes, these sleeves are too tight, my neckine is too loose, I have too many shell repeats, what the frack is a Yoke Row, help, help, HELP!

And I do. Help people. Dispense free pattern support. All the time. It’s a little about being well-thought-of by my readers. I don’t mind being the hero in these situations. But it is a LOT about spreading the joy. Once you help a fellow crocheter get unstuck, reach that genuine “AH-HA!” moment and eventually finish a project that fits well, looks great and gets plenty of admiration, the satisfaction is not just on her part. That’s part of my own job satisfaction, is it not?

So what I am getting at is, in a while, in response to readers, I will take the time to post a little pattern extra that concerns the Lacy Top Cardigan.

>Mom and Me

>When did I become my mom? It happened so gradually and sneakily. All those adolescent years I railed, ranted and rebelled over the steady, calming oversight she unstintingly provided as I grew into my independence, all those moments I totally resented being parented, all came into extreme focus in Buffalo at CGOA Chain Link. Because I spent one whole day mothering my mother.

She has only functional abilities in English, only the merest glimmer of the many things I have written about her and no idea at all of the resulting notoriety she owns among my friends and fans. There had never before been an opportunity for me to introduce Mom to my crochet world. She is even less happy with traveling than I am, and can hardly be coaxed out of her comfy home except for the weekly line dancing classes with her senior groups. And the ritual bus trips to Atlantic City to commune with her favorite penny slots.

Finally, earlier this month at the event of events for the crochet community, I brought along my mom. We road tripped the 9 hour drive together, with me driving and Mom dispensing coffee, snacks and running commentary. She stayed at my brother’s home not far from downtown Buffalo, and mercifully not with me at the venue hotel. Relationships between mothers and daughters aren’t always easy. I envy those women who can honestly say that they could spend time in close quarters with their moms and not go stark mad. I expected the worst. What I got was a revelation. Illumination.

You know how parents are advised to really listen to their kids. Well, for the first time in many years I had an opportunity to truly listen to my mom. I didn’t make her hang with me the entire week of the conference since I anticipated I’d be running around taking care of the business of eventing. I set up a schedule for her one day visit to the convention center. I tried to anticipate her needs, play on her interests, make her feel comfortable among so many ardent and loud strangers. I went so far as to draft my friends as watchdogs to show her around while I was busy and couldn’t just play, for fear that she might wander off alone and feel lost. In other words, I was mothering her. I needn’t have worried.

Here we are minutes after her arrival downtown. She chatted easily with Tammy (“Sammy”) Hildebrand on her right and with Vashti Braha on her left at the Coffee Spot where we gathered on Friday morning.

 

These two photos courtesy of Vashti.

She charmed all my friends being her adorable self, without my shepherding, without my running interference, without translation. She shopped the market on her own, purchasing a gaggle of beaded bracelets that will surely wow the crowd at line dance class. She examined every entry in the 2009 CGOA Design Contest and voted for her Peoples’ Choice. She voted twice, actually. Her sentimental choice was, now that I can report her transgression without repercussions, the pretty pink freeform vest designed by her new friend (and my best conference mate) Diane Moyer.

Hokey Smokes! That is so ME… voting two times, that’s something I would have done had I not been one of the official judges! She sat in with me for the last hour of Dee Stanziano’s PushmiPullyu class, and although I doubt she understood what was being taught, still she made friends with class members. She attended the CGOA membership meeting that evening and circulated with me during Drew “Mr. Hospitality” Emborsky’s New Member welcoming party after the general meeting. She even got to chatter in Japanese with my new friends Kang and Kazue, the reps from Tulip Co.

Kang, Mom and Me at dinner Friday night, photo by Kazue
During the long road trip home (isn’t it strange how the trip home always seems so much longer than the trip there?) I not only listened to Mom, I also really looked at her and for the first time in many years, I saw her. She is me. I am she. OK, I actually have more gray hair than Mom does. And she is majorly partial to bling, whereas I am not. But you can see what I mean, huh?

>2009 CGOA Design Contest: LOOK, LOOK!

>I’ve managed to scrounge up a few images of some the winning garment designs thanks to shutterbug friends.

GRAND PRIZE
Crochet Confection Evening Gown by Renee Barnes

PEOPLES’ CHOICE AWARD
Wedding Dress by Paula Bennett

FIRST PRIZE FASHION

Flamenco Dance Dress by Patricia Williams

SECOND PRIZE FASHION

Ocean Fiesta Dress by Andrea Graciarena

THIRD PRIZE FASHION

Sophisticated Spring by Paula Bennett

FIRST PRIZE CROCHET AS ART

Heartrock Hotel by Gwen Blakley-Kinsler

Thanks to Vashti for the photo of Myra Wood backstage at Saturday night’s fashion show modeling Paula’s third prize winner. That’s Kang Hyo Min in Pat’s Flamenco dress and Kazue Ohara in Andrea’s Ocean Fiesta dress, images kindly coughed up by Drew Emborsky. They are my (tiny-sized) new friends, reps from Tulip Company, who were exhibiting at the Knit&Crochet show this year. From the way they are beaming, Kang and Kazue didn’t seem to mind being drafted to wear these brilliant winning designs. 🙂

>And the winners are….

>Never in my life have I seen so much stellar crochet all in one place. I am talking about the CGOA National Conference this past week in Buffalo, NY, and in particular about the 2009 CGOA Crochet Design Contest. I had the gut-wrenching experience of taking part in the judging. We had four hours to examine all one hundred entries and come up with this short list. We could have been there for days.

I’m posting the winner list now, but plan to write more about some of the high points and hopefully have a mess of images soon.

 

2009 CGOA Design Contest Winners

Grand Prize ($1000 from Coats & Clark)

“Crochet Confection Evening Gown”, designed by Renee Barnes

Peoples’ Choice

“Wedding Gown”, designed by Paula Bennett

CATEGORY: FASHION

First Prize ($300 from Coats & Clark) “Flamenco Dancer Dress”, Patricia Williams

Second Prize ($200 from the Boye Needle Company) “Ocean Fiesta Dress”, Andrea Graciarena

Third Prize ($100 from DRG’s Crochet Magazine) “Sophisticated Spring”, Paula Bennett

Honorable Mention

Baby Dress Set by Carol Carlile

Short-sleeved Jacket with shawl collar by Margaret Hubert

Wedding Dress by Paula Bennett

Double-breasted Jacket by Mary Jane Hall

Bruges Lacy Dress by Hyacinth Thomas

Corset Top by Tracie Barrett

Playing the Angles Cardigan by Deborah Burger

CATEGORY: Home Decor

First Prize ($300 from Coats & Clark) Doily by Ferosa Harold

Second Prize ($200 from Interweave Crochet) Freeform Pillow by Shelby Lynn Allaho

Third Prize ($100 from DRG’s Crochet Magazine) Victori Africana Footstool by Rhonda Davis

Honorable Mention

Tamara’s Trail Throw by Tamara Gonzales

Avalon Doily by Kathryn White

Irish Lace Mat by Kathie Earle Doily by Ferosa Harold

CATEGORY: Accessories

First Prize ($300 from Coats & Clark) Spring Handbag by Jerry Rigdon, freeform bag

Second Prize ($200 from Boye) Black and White Headpiece and bag by Kathie Earle, DMC cotton #80

Third Prize ($100 from DRG’s Crochet Magazine) Butterfly Necklace by Sonja Hood, done in wire and glass

Honorable Mention

Evening Clutch Bag by Diane Moyer

Silk, Silver and Lace Purse by Julia Bryan

Beaded Evening Bag by Sonja Hood

Freeform Hat with Earflaps by Leslie Nelle-Urinyi

CATEGORY: Crochet as Art

First Prize ($300 from Coats & Clark) Heartrock Hotel by Gwen Blakley Kinsler

Second Prize ($200 from Interweave Crochet) The Harvest by Carol Ventura

Third Prize ($100 from Martingale & Co) Pop Top Bowl by Denise Royal

Honorable Mention

Crochet on a Rock with a Twist of Lime, Gwen Blakley Kinsler

Crochet Cabernet, Andera Van Benschoten

Prayer Flags by Martha Furman Kosro

Hearty congrats to all. Personal thanks to Cari Clement, to Lori Fuller who sweated all the pre- and post-show details at Caron headquarters, and a HUGE standing ovation for Caron International Yarns for their support and generous sponsorship of this year’s contest.