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Books We Love
Reversible Knitting: A Handbook and Stitch Dictionary by Cecelia Campochiaro
A Book Review by Celia McAdam Cahill
Think of being able to throw on a scarf, shawl, blanket, accessory, or even a sweater without caring whether the right side is facing. That’s what reversible knitting is all about. There is no such thing as a right or wrong side, so you’ve always got your best face forward.
Cecelia Campochiaro takes a long-needed deep dive into the subject in her new book, Reversible Knitting. And when I say deep dive, I mean it. Even as a Master Knitter, I figured reversible stitch patterns were those few stitches that based themselves off garter stitch or a balance of knit and purl. True, but wildly oversimplified! Campochiaro’s detailed approach and analysis of the interplay detailed in the first three chapters of the book goes on to create an astonishing 357 reversible stitch patterns in the remaining five chapters.
What I found particularly interesting is how this book grew out of Campochiaro’s earlier book, Sequence Knitting, published in 2015. She noticed that all of the one-row patterns used in the earlier book created a reversible fabric when done in a solid color, with multiple color sequences’ reversibility depending on how much garter stitch was included. Pondering that more deeply, she realized that stacking these one-row patterns in different ways would create reversible stitches.
Thus begins the deep dive. The number of factors that Campochiaro considers in the reversibility of a fabric is both amazing and evocative of “Of course! Why didn’t I realize that?” It’s not just whether it looks presentable on both sides but also whether the two sides are actually the same or mirrored, and what the features are that determine this. Charting, adaption, and creativity are all cornerstones of this book. Readers don’t just get the what but also the why, and knowing that inspires greater application to one’s own knitting.
The first chapter lays out the basic concepts of reversible knitting, including (back)grounds and layers, but it also adds important considerations like fabric density and selvedge choices. The “Building Blocks” chapter illustrates some of the basic reversible fabric types, including ribs, accordions, garters, and the various mixes of those, that are the direct outcome of Campochiaro’s one-row Sequence Knitting revelations. Modifications, covered in Chapter 3, provides options to include striping and slip stitches that further expand the possibilities for reversible fabrics.
The rest of the book is a stitch dictionary of reversible stitch patterns, with each chapter focusing on a particular approach, including allover knit-purl patterns, slip stitches, openwork, and cables. The final chapter, “Deliberate Distortions,” is particularly interesting, as it incorporates increases and decreases into reversible stitches. Chevrons are a very common example of this, but the buckles and warps that occur in the application with other stitch patterns become almost avant-garde art.
On the practical side, the book is well presented and indexed, and photography is very clear. There are charts and photos accompanying every single stitch pattern. The illustrations are mostly in black and white, which is not an issue as Campochiaro uses contrast-color yarn to make samples, and there is color printing where necessary. On the other hand, it is softbound and heavy which can make it difficult to lie flat when you want to use it as a reference as you’re working the stitch patterns.
I appreciate that Campochiaro is able to explain the some really intricate concepts and applications in terms that are easy to understand while never talking down to the reader. I’ll conclude with how I summarized the book to our @@IT Cast On IT@@editor, Arenda Holladay: I love the way Cecelia’s mind works. Great reference book.
Reference
Campochiaro, Cecelia. Reversible Knitting: A Handbook and Stitch Dictionary. Chroma Opaci Books, 2025.
Principles of Knitting: Methods and Techniques of Hand Knitting by June Hemmons Hiatt
A Book Review by Sharon Levering
This expanded, revised, and updated version of The Principles of Knitting was eagerly welcomed by knitters when it was finally released in 2012 since the original 1988 edition went out of print in the mid-1990s. Considering how comprehensive this knitting reference is for all things related to knitting, it isn’t surprising that many refer to this hefty tome as the knitting bible. This book will appeal most to intermediate and advanced knitters, but even beginning knitters will find it invaluable as a complete, in-depth knitting reference. Hiatt herself says that she wrote the book for beginners since every instruction is written for a knitter encountering each technique for the first time.
Comprising over 700 pages, including a glossary, an eight-page bibliography, and an extensive 40-page index, The Principles of Knitting covers not just common techniques but also many less familiar ones; for example, twined knitting, tunisian knitting, and working intarsia in the round, that are not usually found in a basic knitting reference. This letter-sized, 2-inch-thick book is divided into eight parts, or sections, and broken down further into 33 chapters. For easy reference, each part/section number and name is given at the top of every left-hand page and the chapter number and title at the top of every right-hand page.
Every knitting technique is described thoroughly, with detailed, step-by-step instructions, often with clear line drawings to accompany the directions and/or black-and-white, thumbnail-size photos that show the results, whether a technique, a stitch pattern, or a finished swatch. Arrows on the drawings indicate how to work the stitches, making the directions easy to follow, with colored stitches to show how the finished technique should look (e.g., a twisted stitch in color on a background of untwisted stitches). Tips and suggestions, in which Hiatt offers further insights on topics covered in the text, are found sprinkled throughout the book in outlined boxes with italicized text. Sometimes, there are many variations of a technique that can overwhelm a newer knitter, such as the 35-page chapter of cast-on methods and the 14-page chapter for cast-off/bind off methods, including grafting. However, this wide range of methods can be a boon for those working on Level 3 of the Master Hand Knitting program.
“Part One” is geared particularly toward beginning knitters, focusing on how to hold and tension the yarn, form knit and purl stitches, and methods for knitting flat or in the round. Hiatt also explains “left-handed methods” of holding the yarn, which is what we usually call Continental knitting, a term she does not use although it is cross-referenced in the Glossary and Index.
Parts Two and Three make up the largest portion—nearly half—of the book and introduce the basic knitting techniques: casting on (sometimes called binding on, according to Hiatt), casting off (binding off), increases, decreases, steeks, short rows, and picking up stitches, as well as techniques and stitch patterns that employ these basics, such as buttonholes, hems and pleats, slip and elongated stitches, brioche, twist stitches, crossed and cable sitches, intarsia, shadow knitting, eyelets and lace, plus a chapter on colorwork.
The next three parts cover a wide range of other knitting techniques, from double knitting to fulling and felting, again with thorough instructions. Hiatt also presents a “glossary” of symbols—some basic and others for specific techniques—and includes several charts using the symbols as well as photos of completed swatches using the charts. Knitters can then visualize the connection between symbols, charts, and the finished product.
The “Pattern Design” section starts with determining gauge but also includes how to calculate yardage for a garment, which is especially helpful since few knitting books address this. Hiatt herself deems this chapter on stitch gauge to be the most important chapter in the book and maintains that her innovative method for determining a stitch gauge is extremely accurate. This leads me to wonder about its placement in Chapter 23, or almost three-quarters of the way through the book. The next couple of chapters on measuring and drawing schematics and customizing a design culminate with charting a garment pattern.
It is not until Part Seven, “Materials,” that Hiatt discusses fibers, yarns, and the basic tools of knitting, which seems out of order when those items are essential to starting the knitting process. The final part, “Working a Project,” begins with choosing a project, how to use markers, add new yarn, and correct mistakes. Following a written gament pattern is covered in the next chapter, followed by caring for and cleaning knits and blocking. The book ends with seaming, including several methods for finishing steeks. I would caution that Hiatt’s method for sewing in sleeves, with the seam worked on the inside, does not follow the method recommended by the Master Hand Knitter program.
While The Principles of Knitting is broad-based and very thorough, there are a few drawbacks. Instead of using accepted terms for some common knitting techniques, Hiatt employs her own nomenclature based on how she feels the technique is worked or the final look; for example, nearside and farside instead of front and back, half-hitch cast on instead of long-tail cast on, and running thread seam instead of mattress stitch. Although she explains her terminology in the Introduction, knitters may still find it disconcerting when trying to follow directions for unfamiliar techniques. Fortunately, the more familiar terms are cross-referenced in the Index so that knitters can find the instructions regardless of the term used. While some explanations may seem wordy, often the lengthy descriptions provide a more complete and deeper understanding of a technique.
The Principles of Knitting should be in every knitter’s library as a complete reference that can provide answers to nearly every question about knitting. It is a book that can be read, not just to learn how to execute a technique but to understand it or even discover a new method to apply to their next project.
Reference
Hiatt, June Hemmons. The Principles of Knitting: Methods and Techniques of Hand Knitting. Simon and Schuster, 2012.
Barbara Abbey’s Knitting Lace by Barbara Abbey
A Book Review by Tonia Lyons
Barbara Abbey’s Knitting Lace is considered a classic in the lace-knitting world. Originally published in 1974, this long-time classic is now available as an ebook through Schoolhouse Press. The author, Barbara Abbey, spent many years collecting bits of lace and the instructions for knitting them (most dating back to before 1900), recording those instructions on file cards. This book is the culmination of that collection process, giving today’s knitters an opportunity to knit these beautiful lace motifs and continue the tradition founded so long ago.
The book is divided into five sections: Making Lace, Special Problems, Lace Stitches, Background Stitches, and Things to Make. Within the pages you’ll find 100 lace edgings as well as insertions, background lace, collars, doilies, and more (all knit flat on two needles). The book also includes a 5-page index, black-and-white photographs of the lace stitch patterns, included projects, and helpful illustrations. While some of the terminology is outdated when compared with today’s knitting vocabulary, her detailed explanations make the techniques clear and easy to understand.
Making Lace, the first section, focuses on the necessary symbols and abbreviations that Abbey uses throughout the book, as well as the many basic knitting techniques needed, such as casting on, grafting, etc. As she discovered the many traditional lace patterns (very often written out line-by-line and difficult to read), she translated the patterns into common knitting abbreviations and shorthand symbols, making them much easier to read and knit. She explains each symbol and abbreviation, often accompanied by a simple black-line illustration, and then provides instructions and drawings for a variety of cast-on methods as well as instructions for grafting.
In the Special Problems section, Abbey provides instructions on working various stitches that may cause some confusion. She explains how to work into double yarn overs on the next row, as different patterns will have different expectations. She also discusses gathered stitches (knitting multiple stitches together), wrapped (elongated) stitches, short-row turns, and dealing with dropped and tight stitches.
The third section, Lace Stitches, is where the fun really begins. Once you understand the terminology, abbreviations, and required techniques, you’re ready to knit the beautiful lace designs in this part of the book. Abbey organizes the many stitch patterns by the number of stitches, beginning with the fewest number to more complex motifs of 95 stitches. Each of the 100 edging- or insertion-stitch patterns includes the title and number, the number of stitches required, row-by-row instructions using the symbols and abbreviations detailed in section one, and a black-and-white photograph of the pattern.
Section four, Background Stitches, includes a variety of reversible stitch patterns that provide a canvas for the intended project where the delicate lace motifs in the previous section can be added as an insertion or an edging. The author also provides instructions for determining how to create a project to a specific size. The ten included stitch patterns are explained in the same manner as the lace stitches in the previous section, including the title, number of stitches in the multiple, abbreviated row-by-row instructions, and a black-and-white photograph of the stitch pattern.
The final section, Things to Make, takes the information from the previous sections and showcases the many ways these background stitches and lace edgings and insertions can be combined and used in a variety of projects. The book includes 19 project examples, including a square shawl, a mantilla, two lace collars, a counterpane strip, an afghan and a bedspread, and a selection of doilies. Each project includes all of the necessary pattern information, materials, project measurements, the lace stitch patterns used (with row-by-row instructions for each stitch pattern), as well as instructions for knitting and finishing the project.
If you are a lace knitter, Barbara Abbey’s book is a must-have addition to your knitting library. It’s considered a classic in the knitting world and should certainly be included in a lace-knitters library. The book is 143 pages long and measures 7.5 x 9.5 inches, but because I received a digital version of the book, I can’t relay any information about the binding or page quality. The author, Barbara Abbey, is also known for her other classic knitting books, 101 Ways to Improve Your Knitting and The Complete Book of Knitting.
Reference
Abbey, Barbara. Barbara Abbey’s Knitting Lace E-book. Schoolhouse Press, 2025.
A History of Hand Knitting by Richard Rutt
A Book Review by Alicia Doty Henn
Where did the craft we love come from, and how it has changed over time? We can find many answers and lots more questions in A History of Hand Knitting. Reverend Monsignor Richard Rutt, CBE, nicknamed the “Knitting Bishop,” researched the topic for 10 years before writing this book, first published in London in 1987. Republished by Interweave in 2003 with a foreword by Meg Swansen, it is a rich resource for students of knitting, including those working on the MHK program. It is currently out of print, but copies are still available from libraries and many online booksellers.
Rutt starts off with definitions, clarifying what makes knitting different from anything that came before it, and then works through knitting history chronologically, from before 1500 to the 1970s. The book goes on to describe the history of techniques developed at specific locales, including Wales, Shetland, and Aran. He also discusses the origins of traditions in the Americas and Asia. In one appendix, he has included the oldest English knitting pattern, which was for stockings and had been originally written in one long sentence. Rutt broke up this sentence for us, thank goodness, and fixed many mistakes in it, including the lack of a toe.
The diagrams and photographs alone are worth a good look although all are black and white, which seems appropriate for historical subjects. Rutt’s careful diagrams make clear the structure of fabrics that are similar to—but are not—knitting, for example, netting, nalbinding, and sprang. The ways that needles and yarn are held in the hands are shown in diagrams as well as how methods have changed over time. Photos of early museum pieces allow the readers to see for themselves not only the differences in techniques used but also how difficult it has been to preserve natural fibers. As a good historian, Rutt is clear about the limits of his understanding, saying that no clear sources are available to determine exactly when knitting started but that the best evidence is from between the years AD 500 and 1200 in the Middle East.
Rutt brought his expert knowledge in a wide range of topics, including the church, languages, and swimwear, into his history of knitting. His section on “Knitting madonnas” shows how artists in the 1400s added their own family’s knitting to their depictions of domestic scenes of Madonna and Child. He also discusses the history of liturgical gloves and other church garments. Using his expertise in languages (he spoke at least eight), Rutt shows the reader clues to the origins of knitting techniques and garments in terminology, for instance, that the Romans had no word for gloves. His section on early swimwear knits has some wonderful, if cringe-worthy, photos. Knitted fashions and household items through the ages are illustrated with photos, for example, Elsa Schiaparelli’s iconic Bow sweater in the 1920s. He explains the technological advances, such as drawn metal wires for needles, that made widespread knitting possible. He also lists references to knitting in classic literature, such as Tolstoy’s War and Peace, Dickens’ A Tale of Two Cities, and Jane Austen. Rutt also traces the history of knitting books, starting with “recipes for fancy knitting.”
Like a good historian, Rutt is careful to separate fiction from fact. Without judgement, he puts into context the uncertainties of the Armada story, or how Fair Isle knitting originated with the wreck of a Spanish ship on the island. However, he skewers Heinz Kiewe’s accounts of an ancient code of mystic meanings in Aran cables, pointing out that knitting itself could not be thousands of years old. He touches on knitting in South America, the US, and Canada, finding some connections with European knitting, but not excluding multiple origins of the craft.
I think that this book has something for every kind of knitter, from those who browse fashion photos to those who relish deep dives into the origins of specific techniques. The best part of this book, for historians, may be in its extensive list of English knitting literature. Even decades after publication, this book remains a fascinating resource for the MHK program and beyond. As an interesting read, it belongs in every knitter’s library.
Reference
Rutt, Richard. A History of Hand Knitting. Interweave Press, 2003.
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