Beyond the Pattern

I was inspired by a design I did almost 20 years ago to do a stranded vest in summer colors. The stitch pattern is simple, and by the time I did the last repeat, I had almost memorized it.

I do stranded work flat. I know this is shocking, but I find that my stranded tension is much better. I tend to tighten up the stranding when working in the round. I don’t mind steeks, I just prefer this method. I’ve graded this pattern as Complex, so feel free to work it in the round if that is your preference.

The finishing techniques I used also contribute to the Complex grading. I used the double-band pickup technique for all of the bands. If I am doing a piece which I think might fall into the “heirloom” category, I take the extra step to take the finishing up a level or two. This is another area where you can use the finishing techniques you prefer.

The vest’s length is slightly below the waist. The number of pattern repeats is the same for all sizes. (The difference in length is in the ribbing and the main color, before the first motif and after the last motif.) Should you want the vest longer, I suggest adding additional rows between the pattern repeats.

Sizes

XS (S, M, L) [1X, 2X, 3X] {4X, 5X, 6X}

Finished Measurements

Chest: 30.25 (34.5, 38.75, 43) [47.25, 51.5, 55.75] {60, 64.25, 68.5}”
Length: 19.5 (19.5, 19.5, 19.5) [21, 21, 21] {22.5, 22.5, 22.5}”

Materials

Purl Soho GOOD WOOL (383yds/350m, 100g/3.5oz, 100% Andean Highland Wool): 2 (2, 2, 2) [3, 3, 3] {4, 4, 4} hanks #1000 Heirloom White (Color A) and 1 (1, 1, 1) [1, 1, 1] {1, 1, 1} hank each #9970 Wild Heath (Color B), #9975 Purple Pansy (Color C) and #9925 Tree Frog (Color D)
Size 2 (2.75mm) circular needles (2) * for double-band pickup
Size 3 (3.25mm) needles or size needed to obtain gauge
Stitch markers
Stitch holders, waste yarn (WY), or barber cord
Tapestry needle
Safety pins to mark buttonhole placement
Seven .75″ buttons
Seven backing buttons

*You need two smaller needles for the double-band pickup technique. You may want to use even smaller needles. I recommend testing the technique on the gauge swatch to determine a size that works best for you. The two needles do not need to be the same size.

Gauge

In Stranded St st, 30 sts & 36 rows = 4″/10cm. To save time, take time to check gauge.

Abbreviations

EOR—End of Row.

Stitch Pattern

See Purple Pansies Chart.

DESIGNER NOTE—I recommend placing markers for each pattern multiple. I placed the markers while casting on. Since the body is worked in one piece to the armholes, there are a lot of stitches, and this makes counting them easier.

When you work stranded patterns flat, there are two stitches at each selvedge for the seam allowance. Work one stitch in each color at the selvedges. The chart does not include these stitches.

Vest Bottom

Using the long-tail CO technique and Color A, CO 18 sts, pm, *CO 16 sts, pm, rep from * 12 (14, 16, 18) [20, 22, 24] {26, 28, 30} times total, CO 17 sts—227 (259, 291, 323) [355, 387, 419] {451, 483, 515} sts.

Work in K1P1 ribbing for 1 (1, 1, 1) [1.5, 1.5, 1.5] {2, 2, 2}” ending on WS row. Work in St st for 0.5 (0.5, 0.5, 0.5) [1, 1, 1] {1.5, 1.5, 1.5}”, ending on a WS row.

DESIGNER NOTE—Stitches from the Purple Pansies Chart are worked. Note that the lines on the chart separating the pattern multiple from the pattern at the beginning and the end of the rows. Remember the chart DOES NOT INCLUDE the two stitches at each edge for the seam allowance. Work 1 stitch in each color at the selvedges.

The markers placed when casting on should make following the chart easier.

Using Colors A and B, knit 1 st in each color, work sts in Columns 1–16 of the Purple Pansies Chart once, then sts in Columns 17–32 of the chart 12 (14, 16, 18) [20, 22, 24] {26, 28, 30} times, then sts in Columns 33–47 of the chart.

Work in pat as est until the piece measures 10 (10, 10, 10) [10.5, 10.5, 10.5] {11.5, 11.5, 11.5}”, ending on a WS row.

DESIGNER NOTE—The fronts and back are worked separately. I recommend working the back first, which makes it easier to match up the lengths of the fronts. The procedure I used was to work the specified number of stitches for the right front, bind off stitches for the right armhole, work the stitches for the back, bind off stitches for the left armhole, and then work the stitches for the left front. I cut the yarn and placed the stitches for the fronts on waste yarn. I joined the yarn to the WS of the back and continued the armhole shaping of the back. Although you could work the back and the fronts at the same time, yarn management in stranded work is VERY difficult. As for the Setup Row, instructions are provided for groups of sizes.

Note that the armhole openings are quite wide for each size.

Divide for Back and Fronts

Work 52 (60, 68, 76) [84, 92, 100] {108, 116, 124} sts in pat as est, BO 10, work 103 (119, 135, 151) [167, 183, 199] {215, 231, 247} sts in pat, BO 10, work in pat as est to EOR. Break yarn and place sts for both fronts on waste yarn, yarn holders or barber cord. Join yarn to WS of back.

DESIGNER NOTE—When you work the Back and Fronts, maintain 2 sts at each selvedge for the seam allowance.

Armhole Shaping

Sizes XS (S, M, L)

BO 5 sts at both sides of the back 1 (2, 3, 3) times, then 3 sts 3 (2, 2, 2) times— 75 (87, 93, 109) sts. Work in pat as est until armhole there are 5 pat repeats of the Purple Pansies Chart. Using Color A, work 0.5″ in St st. BO.

Sizes 1X (2X, 3X)

BO 5 sts at both sides of the back 3 (4, 4) times, then 4 sts 2 times—121 (127, 143) sts. Work in pat as est until armhole there are 5 pat repeats of the Purple Pansies Chart. Using Color A, work 1″ in St st. BO.

Sizes 4X (5X, 6X)

BO 6 sts at both sides of the back 4 (4, 4) times, then 2 sts 3 (4, 5) times—155 (167, 179) sts. Work in pat as est until armhole there are 5 pat repeats of the Purple Pansies Chart. Using Color A, work 1.5″ in St st. BO.

DESIGNER NOTE—The Left Front is worked first. The stitches are transferred to the needle and the yarn is joined to the neck side of the front, on the WS. The last row worked on this side was on the RS and for the pansies pattern to continue, the next row must be worked on the WS. The armhole is shaped next.

Left Front

Join yarn at the neck side and knit to EOR.

Armhole and Neckline Shaping

Sizes XS (S, M, L)

BO 5 sts at the armhole edge 1 (2, 3, 3) times, then 3 sts 3 (2, 2, 2) times— 38 (44, 47, 55) sts. Work in pat as est until the piece measures 15″. BO 10 sts at the neck edge, then 5 sts 1 (1, 1, 2) times, then 2 sts 2 (3, 3, 3) times then 1 st 0 (1, 1, 1)—19 (22, 25, 28) sts rem. Work in pat as est until piece measures 19.5”. BO.

Sizes 1X (2X, 3X)

BO 5 sts at the armhole edge 3 (4, 4) times, then 4 sts 2 times—61 (64, 72) sts. Work in pat as est until the piece 16.5”. BO 10 sts at the neck edge, then 5 sts 2 (2, 3) times, then 2 sts 5 times—31 (34, 37) sts rem. Work in pat as est until piece measures 21″. BO.

Sizes 4X (5X, 6X)

BO 6 sts at the armhole edge 4 times, then 2 sts 3 (4, 5) times—78 (84, 90) sts. Work in pat as est until the piece measures 18”. BO 10 sts 2 times at the neck edge, then 5 stitches sts 2 (3, 4) times, then 2 sts 4 (3, 2) times—40 (43, 46) sts rem. Work in pat as est until piece measures 22”. BO.

Finishing

Block all pieces. Seam the shoulders.

DESIGNER NOTE—For the sample, I used the double-band pickup which I discuss in this article in the Summer 2017 issue of Cast On. The photograph below shows the neckband and front bands.

Note that this technique hides the raw edges. Since there are two stitches for the seam allowance and LOTS of yarn tails, this technique works well. The biggest advantage is that it also covers the yarn tails. I would love to tell you that it is easy to work, but it isn’t. I think it is worth it, but how you finish depends on your preferences. Before working the bands, I buried the yarn tails in the seam allowance stitches and trimmed them.

The button band is worked first so that you can use it as a guide for the buttonhole band. You can work any buttonhole you prefer, but I worked one-row horizontal buttonholes as they are sturdier.

Button Band

After the bands were finished, I picked up the neckband. I did not want a ribbed neckband, so on the last row of the double band, I bound off the first stitch knitwise and the next stitch purlwise, creating the edging. I used the same technique on the armhole bands.

Using Color A and the two smaller needles, pick up sts along the left front. Work the double band as described in the referenced article until both sides of the band cover the seam allowance. Complete the band as described in the article. Work 0.75″ in K1P1. BO in pat.

Buttonhole Band

Along the right front, work as for the Button Band until the double band is closed, and then work 0.375” in K1P1 ribbing before working the buttonholes. Using a buttonhole technique of your choice, work 7 evenly spaced buttonholes on the band. BO in pat when the K1P1 portion of the band measures 0.875”.

Neckband

Starting at the right neck edge, work as for the Button Band but when you close the double band, bind off the stitches as you work them together—as you would for K1P1 ribbing BUT bind off the stitches instead of working ribbing.

Armhole Bands

Work as for the neckband. Rep for the second armhole.

DESIGNER NOTE—I highly recommend using backing buttons when you sew the buttons in place. If you are not familiar with using them, refer to this article by Frank H. Jernigan.

Sew the buttons on the left front using backing buttons.

Block again if necessary and weave in yarn tails not encased in the double band.

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Copyright 2026, The Knitting Guild Association, Cast On Summer 2026, All Rights Reserved

Copyright 2026, The Knitting Guild Association, Cast On Summer 2026, All Rights Reserved

Special Topics in Finishing Summer 2026

The Power of Decorative Edging

Decorative edging is one of the most expressive elements in knitting, transforming basic boundaries into focal points of design. Whether framing a delicate shawl, finishing a cuff, or bordering a blanket, edgings can easily add polish, structure, and artistic flair. They come in two primary orientations: horizontal (worked across the top or bottom edge of the fabric) and vertical (worked in rows congruent to the fabric sides), each with distinct techniques, aesthetics, and attachment methods.

This article is a brief overview of the options for decorative edgings, their characteristics, and the practical considerations for attaching and integrating them into your knitted projects. The examples I am using are all from designs in Cast On because the patterns all provide specific detail on the edging design and construction; photos include the garment as well as a close up of the edging to provide context.

Edging Approaches: Horizontal and Vertical

Horizontal edgings come in two flavors: they can run across the width of a piece, such as making up the cast-on or bind-off edge, or they can be worked at one or both side edges, such as an integrated button band. Either way, they are worked as part of the fabric.

Vertical edgings run along the length of a piece, with the most common applications being down the front of a cardigan or along the side of a blanket or shawl. They can be attached either by picking up and knitting stitches along the vertical edge of the piece or by knitting the edging separately, then sewing it on.

The Key Consideration: Will Your Edging Lie Flat?

It is a basic rule of knitting that stockinette-based stitches will roll at the edges. For your edging to lie flat, the stitch pattern needs to be either garter-based or a balance of knits and purls. This is a key consideration when selecting what edging you might want to add to your project. The Mistral pattern (insert link here) fits that requirement by using a garter-and-slip-stitch colorwork edging.

Attachment Options

How an edging is attached to the main fabric is as important as the edging itself. The wrong attachment method can pucker, distort, or cause the edging to fall away from the fabric. The right method creates an invisible or intentionally decorative join.

Knitting On As You Go/Integrated Edging

The most seamless attachment method simply works the edging as part of the main fabric, using either the horizontal or vertical edge—or both!

For a horizontal edge, the edging would be either the cast-on or bind-off edge, ensuring that the final edge has a non-rolling pattern. This is demonstrated in the Pegaso pattern, shown above, as well as the Evora pattern, shown below, which use several rows of garter to start the edge. Another key consideration here is to account for any differences in stitch gauge and/or pattern multiples between the edging and the main fabric by increasing or decreasing stitches evenly.

For a vertical edge, the edging would be cast on at the beginning and/or end of the row, again ensuring the edge has a non-rolling pattern. This is demonstrated in the Catalina pattern, shown above, which includes a K1P1 repeat at the edge. Here, the key consideration is the row gauge, making sure it is compatible with that of the main fabric. It is possible to make an adjustment for the row difference via short rows, but the math can get complicated; it is far easier to select stitch patterns for the edging and main fabric that have the same row gauge.

Picking Up and Knitting

In this method, stitches are picked up along a finished fabric edge, and the edging is then worked outward from those picked-up stitches. This method integrates the edging into the fabric structure and produces a clean join.

On horizontal edges, the pick up is straightforward at a 1:1 ratio, with stitches picked up at the center V of the stitch below the cast-on or bind-off edge. It’s worth considering that many common cast on and bind offs will likely create a firm edge under the picked up stitches. If that isn’t your intention, a provisional cast on might be a better choice.

On a vertical edge, however, the pick-up ratio matters and is calculated by dividing the number of stitches by the number of rows in 4”. A common ratio for joining stockinette is .75, or 3 sts for every 4 rows. If too many stitches are picked up, the edging will pucker; too few, and the edging will pull.

For the front bands on Mistral, the calculations were a bit trickier since the gauge changes midway through the front. The tighter gauge of 22 stitches and 32 rows to 4” calculates as 22 divided by 32, or .82, or roughly 4 stitches for every 5 rows. The looser gauge of 18 stitches and 22 rows to 4” calculates to .68, or roughly 2 stitches for every 3 rows. The average of .82 and .68 comes to .75—a long way of calculating 3 stitches for every 4 rows. Alternatively—and probably easier—is to use the stitch gauge of the edging and the length of the edge. For example, if the edging is 20 stitches to 4” and the length of the edge is 20”, you’ll need to pick up 100 stitches (adjusted for the stitch pattern, of course).

Sewn/Grafted Attachment

Another classic way of attaching decorative edging is to work the edging separately and seam it to the finished main fabric using a tapestry needle and yarn. While it does involve an extra step, it can be a smart approach when the stitch or row gauge of the main fabric is not going to easily match up to that of the edging. This is shown on the Fireflight shrug, shown above.

Several sewing techniques can be used, depending on the desired appearance of the join, including mattress stitch for a vertical edge and Kitchener for a horizontal one. For heavier woolens, some may prefer a whipstitch or backstitch that will create a firmer seam.

Provisional Cast On and Later Grafting

For an invisible attachment, an edging can be begun with a provisional cast on. After the edging and main fabric are both complete, the held stitches are grafted together using Kitchener stitch for a seamless, live-stitch join. This does require advance planning to ensure your stitch counts match.

Planning Your Edging

It is clear that regardless of the approach, decorative edgings require special consideration to allow for differences in stitch and row gauge. Many decorative edgings are worked over specific stitch multiples (e.g., multiples of 6 sts + 2). When picking up stitches for an edging or planning a perpendicular lace border, the stitch count of the main fabric must be adjusted or the pick-up ratio modified to result in a count compatible with the edging pattern. Careful planning at the start of a project avoids frustrating mathematical problems at the finishing stage. Yes, that means swatching to find out if you need to alter your stitch count to accommodate either/both your edge pattern or difference in gauge between the body and edging.

Common Decorative Edgings

The simplest and most common edgings are garter stitch, seed stitch, or ribbing. Practical—as they provide for a flat edge—but one would hardly call them decorative. So let’s explore some more creative options.

Lace Edgings

A classic category, particularly of horizontal edging, is lace borders featuring eyelets, yarn overs, and decreases arranged into decorative motifs such as leaves, diamonds, or waves.

Ruffle and Flounce Edgings

Ruffles are created by dramatically increasing or decreasing the stitch count over a short section of knitting, causing the fabric to gather and flare. They can be worked bottom up or top down. When worked top down, ruffles start by picking up stitches along an edge and increasing at a ratio of 2:1 or 3:1 over several rows. Conversely, when worked bottom up, the cast on is 2 to 3 times the number of stitches and rapidly decreasing to the desired end number of stitches. These can also be worked in lace and texture patterns for extra flair.

I-Cord Edging

I-cord is a narrow, round tube of knitting produced on two needles or double-pointed needles. When applied as a vertical edging, it creates a smooth, rope-like border that is both decorative and structurally reinforcing.

Colorwork Edging

Colorwork can easily be introduced into any type of edging, whether it be a solid contrasting edge or creative colorwork. Corrugated rib, mosaic and slip-stitch patterns, and contrast laces are some common examples.

Conclusion

Decorative edging is where the knitter’s technical skill and artistic sensibility meet. Whether you choose a simple garter border for a child’s blanket, an intricate perpendicular lace hem for an heirloom shawl, or a clean I-cord edge on a tailored cardigan, the edging you select and how you attach it will significantly influence the finished character of your work. Understanding the range of options—horizontal and vertical, integrated and applied, sewn and live-stitch—gives you the vocabulary to make informed, creative choices that serve both the beauty and the function of your knitting.

Pattern Associated with Article — Mistral

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