Sweater design
Encyclopedia
Sweater design is a specialization of fashion design
in which knitted sweater
s are designed to fulfil certain aesthetic, functional and commercial criteria. The designer typically considers factors such as the insulating power of the sweater (and its resulting warmth for the wearer); the fashion of its colors, patterns, silhouette and style line
s, particularly the neckline
and waistline
; the convenience and practicality of its cut; and in commercial design, the cost of its production and the profitability of its price point
. Sweater designs are often published in books and knitting magazines. Sweater design is an old art, but continues to attract new designers such as Nicky Epstein
and Meg Swansen
.
. General secondary criteria include
To satisfy these secondary criteria, the designer has several tools at their
disposal, such as yarn
s, color
s, pattern
s, textures, neckline
s, hemline
s, sleeve
shapes, style line
s, pocket
s and embellishments, as well as the fit of the garment
to its intended wearer, the silhouette
.
Despite the wealth of design techniques and studies of successful designs, the primary criterion (that the sweater be desired) is not always achieved, often due to factors beyond the designer's control including serendipity
.
The fit of a sweater affects its comfort, its attractiveness and, sometimes, its practicality (e.g., dangling sleeves can fall into food or get caught on hooks).
The simplest sweaters (drop sleeve, cylindrical) require six measurements:
A few more measurements usually produce a well-fitted sweater:
For a more tailored look, even more measurements are necessary
Ideally, these measurements will be taken directly from the intended wearer, since bodies are idiosyncratic and these measurements may vary independently of one another, e.g., the bust measurement does not determine the waist or hip measurements, just as the height does not determine the arm length or shoulder width. Alternatively, the body measurements may be estimated from clothing that fits the wearer well. As a last resort, standard measurements such as EN 13402
or US standard clothing size
s may be used.
Of course, a sweater need not conform exactly to the wearer's body. Ease may be introduced to make the sweater larger than the body (oversized), typically by increasing the circumference measurements by 2-6 inches. Different amounts of ease can be introduced at different points to give the sweater a distinctive silhouette
. For example, a "Gibson-girl" sleeve is produced by adding much ease to the upper arm and none to the lower arm, whereas the reverse is true for "bell" sleeves (also called "bishop" sleeves). Similarly, the bodice can fit loosely in the bust and tightly at the waist, or the reverse. Negative ease (i.e., subtracting from the body measurements) is also possible to achieve a very close-fitting look, but more than 2 inches is not recommended.
By making the sweater match the desired measurements, an excellently fitting sweater can be made. The width of a knitted piece at a given height should equal the corresponding circumference; for example, if the desired bust circumference is 38", then the front or back width at that height should be 19" each. The width of the upper sleeve (just before the sleeve cap, if any) should likewise equal the desired circumference of the upper arm.
Having determined the size and shapes of the knitted pieces, the number of stitches in a row is given by the desired width multiplied by the knitting gauge (e.g., 5 st/inch). Similarly, the number of rows in a column may be determined by multiplying the desired height by the vertical gauge (e.g., 3 rows/inch).
is flat and has little elasticity. To produce curvature in a smooth (unruffled) woven fabric, it is necessary to subtract or add wedges of fabric. Positive curvature (cupping, such as is needed at the bust point or over the rear) is produced by subtracting a wedge (a dart) with the point of the dart almost at the point of desired maximum curvature. The greater the angle of the wedge, the greater the local curvature. (The orientation of the dart is unimportant for the curvature, so it can be chosen to accentuate a style line of the garment.) Similarly, negative curvature (ruffling/saddle-shaping, as at a skirt hem, lower back or under the bust) is produced by adding a wedge (a flare). Although the base of individual wedges usually lies on a seam, sometimes wedges occur in pairs (diamonds) that are independent of the seams. Subtracting a diamond-shaped dart produces positive curvature at the outer points of the diamond, and negative curvature at the middle points that are brought together (good for the bust or back). Conversely, adding a diamond-shaped gusset produces negative curvature at its tips and positive curvature at its middle (useful in designing stuffed animals). Sometimes, the sharp, angular edges of the wedges are softened to form continuous princess seams
.
Since knitted fabric is generally elastic, it conforms readily to the wearer's body without shaping. However, some shaping may be necessary when the knitted fabrics are unusually stiff (e.g., thick cable designs or heavily overstitched designs) or in regions of high curvature (e.g. sock heels). Ironically, shaping is much easier and less obvious with knitted fabrics than with woven cloth. Instead of cutting out wedges and sewing the edges together, knitters can add or subtract stitches; work short rows; or, most subtly of all, change the needle size to produce smaller/larger stitches in the desired "wedge" region.
The yarn affects the bulk and drape of the knitted fabric, as well as the visibility of stitches. Complicated stitch patterns are best seen with a smooth, highly spun yarn and may be invisible with "furry" yarns such as mohair or novelty yarns.
The washability of yarn affects its practicability. Thus, sweaters knitted for young children are usually knitted in acrylics, which are light in weight and washable.
The yarn will also determine the lifetime of the sweater (in general, highly spun yarns suffer less wear with time) and
how well it will retain its shape (elastic yarns like wool
are better than non-elastic yarns like cotton
or silk
).
The simplest choice is to use multiple shades of a single color (e.g.,
various shades of blue), perhaps accented with a contrasting color (e.g. flecks of yellow). The arrangement of shades on the sweater can have
a significant visual effect, due to the principle of chiaroscuro
; dark shades tend to recede and be smaller, whereas light shades advance and seem larger. For example, vertical stripes with a light color in the middle and dark colors on the sides has a slimming effect. Psychologically, bright colors tend to be associated with straightforward, innocent or extroverted personalities, whereas darker shades are associated with more thoughtful, experienced and introverted personalities.
The "temperature" of a color
also affects its perceived depth. Warm colors have red or yellow tones (including orange and yellow-green) and are associated psychologically with warmth and energy. Cool colors have more bluish undertones (including purples, aquas and greens) and are associated psychologically with serene, calm personalities. Warm colors tend to advance relative to cool colors, when both are presented simultaneously.
Contrasting colors may be chosen in various ways. A common choice is to take a complementary color
s from one of the several color wheel
s (e.g., blue and orange, green and red), or to choose a pairing that occurs in nature, e.g., yellow and red.
length and cap, waistline
/hemline
and neckline
/collar
; these various choices and their visual effects are described in their individual entries. The overall shape (silhouette
) of the garment is defined by the ease introduced at various points, as described above under "Fitting". In addition, a sweater may have ornamental lines/curves, even images. In general, these lines are chosen to achieve a balanced look; for example, well-chosen style lines can help compensate for body lines considered too long or too angular or too short or too rounded. However, visual effects may be idiosyncratic, and the knitter is encouraged to experiment.
Smaller boundaries (such as collars, tops of pockets, central seam in cardigan) may receive special ornamentation as well, e.g., cabling
along its edges.
Collar
s and lapels
are perhaps the most visually obvious embellishments. They frame the face, neck and shoulders, and complement the neckline
and armhole lines.
The choice of closures is an important practical consideration and can also help define the sweater's style. Buttons and zippers are the most common choices for sweaters, but frogs, ties and belts are also seen.
Shoulder pads and other shaping devices are uncommon, but can be included
to define a particular silhouette.
The fabric of the sweater can be ornamented with various textures, such as gathers, ruffles, pleats, ruching and shirring. Ornamental patterns can be
added using beads, buttons, sequins, bobbles, ribbons and knots, as well as appliqué or cordwork. Overstitching (also known as Swiss darning) and other
embroidery techniques allow for many visual effects that cannot be made with normal knitting, e.g., a circle of successively interlocking stitches.
Fashion design
Fashion design is the art of the application of design and aesthetics or natural beauty to clothing and accessories. Fashion design is influenced by cultural and social latitudes, and has varied over time and place. Fashion designers work in a number of ways in designing clothing and accessories....
in which knitted sweater
Sweater
A sweater, jumper, pullover, sweatshirt, jersey or guernsey is a garment intended to cover the torso and arms. It is often worn over a shirt, blouse, T-shirt, or other top, but may also be worn alone as a top...
s are designed to fulfil certain aesthetic, functional and commercial criteria. The designer typically considers factors such as the insulating power of the sweater (and its resulting warmth for the wearer); the fashion of its colors, patterns, silhouette and style line
Style line
A style line is a line or curve in a garment that has a visual effect, e.g., the seam between two fabrics of different colors or textures. For comparison, a nearly invisible seam, such as a dart or pleat, would not be considered a style line...
s, particularly the neckline
Neckline
The neckline is the top edge of a garment that surrounds the neck, especially from the front view. Neckline also refers to the overall line between all the layers of clothing and the neck and shoulders of a person, ignoring the unseen undergarments....
and waistline
Waistline
Waistline refers to:*the waist on a human body — the narrow point of the abdomen between the ribcage and hipsor*Waistline — the line of demarcation between the upper and lower portions of a garment, which notionally corresponds to the natural waist but may vary with fashion from just...
; the convenience and practicality of its cut; and in commercial design, the cost of its production and the profitability of its price point
Price point
Price points are prices at which demand for a given product is supposed to stay relatively high.- Characteristics :Introductory microeconomics depicts a demand curve as downward-sloping to the right and either linear or gently convex to the origin...
. Sweater designs are often published in books and knitting magazines. Sweater design is an old art, but continues to attract new designers such as Nicky Epstein
Nicky Epstein
Nicky Epstein is a knitting designer and author of numerous books on knitting. She is known for her creative combinations of knitting stitches, and for the colorful patterns often found in her sweaters, especially involving applique of separately knitted motifs. In 2005, she was given a...
and Meg Swansen
Meg Swansen
Meg Swansen is a renowned knitting designer, owner of Schoolhouse Press and the daughter of Elizabeth Zimmermann. Similar to her mother, she has helped to popularize knitting and is a well-respected author and knitting teacher, especially at her knitting retreats...
.
Criteria
The aim of sweater design is a sweater that fulfils certain criteria. The primary criterion is that its intended wearer wants to wear it and, in case of commercial sweater design, is willing to buy it at a commercially feasible price pointPrice point
Price points are prices at which demand for a given product is supposed to stay relatively high.- Characteristics :Introductory microeconomics depicts a demand curve as downward-sloping to the right and either linear or gently convex to the origin...
. General secondary criteria include
- the insulating power, material and breathability of the sweater should make its intended wearer physically comfortable;
- the sweater should be appropriate for the occasion in which it will be worn;
- makes its intended wearer feel fashionably attractive;
To satisfy these secondary criteria, the designer has several tools at their
Singular they
Singular they is the use of they to refer to an entity that is not plural, or not necessarily plural. Though singular they is widespread in everyday English and has a long history of usage, debate continues about its acceptability...
disposal, such as yarn
Yarn
Yarn is a long continuous length of interlocked fibres, suitable for use in the production of textiles, sewing, crocheting, knitting, weaving, embroidery and ropemaking. Thread is a type of yarn intended for sewing by hand or machine. Modern manufactured sewing threads may be finished with wax or...
s, color
Color
Color or colour is the visual perceptual property corresponding in humans to the categories called red, green, blue and others. Color derives from the spectrum of light interacting in the eye with the spectral sensitivities of the light receptors...
s, pattern
Pattern
A pattern, from the French patron, is a type of theme of recurring events or objects, sometimes referred to as elements of a set of objects.These elements repeat in a predictable manner...
s, textures, neckline
Neckline
The neckline is the top edge of a garment that surrounds the neck, especially from the front view. Neckline also refers to the overall line between all the layers of clothing and the neck and shoulders of a person, ignoring the unseen undergarments....
s, hemline
Hemline
The hemline is the line formed by the lower edge of a garment, such as a skirt, dress or coat, measured from the floor.The hemline is perhaps the most variable style line in fashion, changing shape and ranging in height from hip-high to floor-length...
s, sleeve
Sleeve
Sleeve is that part of a garment which covers the arm, or through which the arm passes or slips. The pattern of the sleeve is one of the characteristics of fashion in dress, varying in every country and period...
shapes, style line
Style line
A style line is a line or curve in a garment that has a visual effect, e.g., the seam between two fabrics of different colors or textures. For comparison, a nearly invisible seam, such as a dart or pleat, would not be considered a style line...
s, pocket
Pocket
A pocket is a bag- or envelope-like receptacle either fastened to or inserted in an article of clothing to hold small items. Pockets may also be attached to luggage, backpacks, and similar items...
s and embellishments, as well as the fit of the garment
Clothing
Clothing refers to any covering for the human body that is worn. The wearing of clothing is exclusively a human characteristic and is a feature of nearly all human societies...
to its intended wearer, the silhouette
Silhouette
A silhouette is the image of a person, an object or scene consisting of the outline and a basically featureless interior, with the silhouetted object usually being black. Although the art form has been popular since the mid-18th century, the term “silhouette” was seldom used until the early decades...
.
- For commercial sweater design, the production of the sweater must also be inexpensive, lest the price pointPrice pointPrice points are prices at which demand for a given product is supposed to stay relatively high.- Characteristics :Introductory microeconomics depicts a demand curve as downward-sloping to the right and either linear or gently convex to the origin...
be too high and make the sweater undesirable. This is generally done by simplifying the design so that it can be made by machine; more complicated commercial designs are generally hand-knit in pieces that are then stitched together. For example, the separate pieces of the hand-knit sweaters found in stores are generally knit and assembled in different villages in ChinaChinaChinese civilization may refer to:* China for more general discussion of the country.* Chinese culture* Greater China, the transnational community of ethnic Chinese.* History of China* Sinosphere, the area historically affected by Chinese culture...
.
Despite the wealth of design techniques and studies of successful designs, the primary criterion (that the sweater be desired) is not always achieved, often due to factors beyond the designer's control including serendipity
Serendipity
Serendipity means a "happy accident" or "pleasant surprise"; specifically, the accident of finding something good or useful without looking for it. The word has been voted as one of the ten English words hardest to translate in June 2004 by a British translation company. However, due to its...
.
Functional role as criterion
Sweaters are worn in various circumstances. For example, while some sweaters are worn at fancy dress occasions, others are worn to work, to religious services, in sporting or outdoors events such as hiking and camping. Similarly, the choice of a sweater can vary with different climates and different seasons, even with different times of the day. The sweater designer will generally target a particular occasion and temperature, e.g., a bulky, cabled, long-sleeved woolen seater for camping versus a refined, elegantly simple, short-sleeved cashmere sweater for white-collar work.Comfort criterion
Comfort is paramount; the sweater should make the wearer feel at ease, in the most general sense. The temperature should be right, the fabric should "breathe" and should not irritate the skin. The sweater should hang right and not need constant adjustment; It should fit well and allow for customary motion without binding (e.g., at the armholes). Finally, a sweater should not make the wearer feel uncomfortable because of its "cut" (e.g. showing bra straps or too much cleavage) or general style (e.g., colors/patterns that the wearer feels are inappropriate).Fitting a sweater
The simplest sweaters (drop sleeve, cylindrical) require six measurements:
- circumference around the bust/chest (widest point)
- circumference (or width) of the neck
- under-arm length (armhole to sleeve-cuff hem)
- circumference of the arm at the sleeve-cuff hem
- back length (vertical distance from back of the neck to lower hem)
- armhole depth (vertical distance from bottom of armhole to lower hem)
- circumference at the lower hem
- over-arm length (shoulder to sleeve-cuff hem)
- circumference of the upper arm near the armhole
- bust height (vertical distance from back of the neck to bust line)
- shoulder width (horizontal distance between bony shoulder points, measured across back)
- slope of the shoulders (vertical distance from base of neck to shoulder-point line)
- neck-shoulder length (horizontal distance from base of neck to shoulder point)
- circumference at the waist, the point of largest inward or outward curvature
- waist height (vertical distance from back of the neck to waist line)
Ideally, these measurements will be taken directly from the intended wearer, since bodies are idiosyncratic and these measurements may vary independently of one another, e.g., the bust measurement does not determine the waist or hip measurements, just as the height does not determine the arm length or shoulder width. Alternatively, the body measurements may be estimated from clothing that fits the wearer well. As a last resort, standard measurements such as EN 13402
EN 13402
EN 13402 is a European standard for labelling clothes sizes. It is based on body dimensions, measured in centimetres. It replaces many older national dress-size systems in popular use before the year 2007. Acceptance of this form of standardization varies from country to country...
or US standard clothing size
US standard clothing size
US standard clothing sizes were developed from statistical data in the 1940s-1950s. They were similar in concept to the EN 13402 European clothing size standard....
s may be used.
Of course, a sweater need not conform exactly to the wearer's body. Ease may be introduced to make the sweater larger than the body (oversized), typically by increasing the circumference measurements by 2-6 inches. Different amounts of ease can be introduced at different points to give the sweater a distinctive silhouette
Silhouette
A silhouette is the image of a person, an object or scene consisting of the outline and a basically featureless interior, with the silhouetted object usually being black. Although the art form has been popular since the mid-18th century, the term “silhouette” was seldom used until the early decades...
. For example, a "Gibson-girl" sleeve is produced by adding much ease to the upper arm and none to the lower arm, whereas the reverse is true for "bell" sleeves (also called "bishop" sleeves). Similarly, the bodice can fit loosely in the bust and tightly at the waist, or the reverse. Negative ease (i.e., subtracting from the body measurements) is also possible to achieve a very close-fitting look, but more than 2 inches is not recommended.
By making the sweater match the desired measurements, an excellently fitting sweater can be made. The width of a knitted piece at a given height should equal the corresponding circumference; for example, if the desired bust circumference is 38", then the front or back width at that height should be 19" each. The width of the upper sleeve (just before the sleeve cap, if any) should likewise equal the desired circumference of the upper arm.
Having determined the size and shapes of the knitted pieces, the number of stitches in a row is given by the desired width multiplied by the knitting gauge (e.g., 5 st/inch). Similarly, the number of rows in a column may be determined by multiplying the desired height by the vertical gauge (e.g., 3 rows/inch).
Shaping
The human body has curvature, but woven fabricWoven
A woven is a cloth formed by weaving. It only stretches in the bias directions , unless the threads are elastic. Woven cloth usually frays at the edges, unless measures are taken to counter this, such as the use of pinking shears or hemming.Woven fabrics are worked on a loom and made of many...
is flat and has little elasticity. To produce curvature in a smooth (unruffled) woven fabric, it is necessary to subtract or add wedges of fabric. Positive curvature (cupping, such as is needed at the bust point or over the rear) is produced by subtracting a wedge (a dart) with the point of the dart almost at the point of desired maximum curvature. The greater the angle of the wedge, the greater the local curvature. (The orientation of the dart is unimportant for the curvature, so it can be chosen to accentuate a style line of the garment.) Similarly, negative curvature (ruffling/saddle-shaping, as at a skirt hem, lower back or under the bust) is produced by adding a wedge (a flare). Although the base of individual wedges usually lies on a seam, sometimes wedges occur in pairs (diamonds) that are independent of the seams. Subtracting a diamond-shaped dart produces positive curvature at the outer points of the diamond, and negative curvature at the middle points that are brought together (good for the bust or back). Conversely, adding a diamond-shaped gusset produces negative curvature at its tips and positive curvature at its middle (useful in designing stuffed animals). Sometimes, the sharp, angular edges of the wedges are softened to form continuous princess seams
Princess seams
Princess seams are long rounded seams sewn into women's blouses or shirts to add shaping or a tailored fit to closely follow a woman's shape. They are sewn into the front and/or back of a shirt, and extend from the waist up to the arms....
.
Since knitted fabric is generally elastic, it conforms readily to the wearer's body without shaping. However, some shaping may be necessary when the knitted fabrics are unusually stiff (e.g., thick cable designs or heavily overstitched designs) or in regions of high curvature (e.g. sock heels). Ironically, shaping is much easier and less obvious with knitted fabrics than with woven cloth. Instead of cutting out wedges and sewing the edges together, knitters can add or subtract stitches; work short rows; or, most subtly of all, change the needle size to produce smaller/larger stitches in the desired "wedge" region.
Choosing the yarn
The choice of yarn affects the comfort of the sweater, since it affects its warmth, weight and ability to "breathe" (air exchange). Some yarns will also produce itching or even allergic reactions in some wearers.The yarn affects the bulk and drape of the knitted fabric, as well as the visibility of stitches. Complicated stitch patterns are best seen with a smooth, highly spun yarn and may be invisible with "furry" yarns such as mohair or novelty yarns.
The washability of yarn affects its practicability. Thus, sweaters knitted for young children are usually knitted in acrylics, which are light in weight and washable.
The yarn will also determine the lifetime of the sweater (in general, highly spun yarns suffer less wear with time) and
how well it will retain its shape (elastic yarns like wool
Wool
Wool is the textile fiber obtained from sheep and certain other animals, including cashmere from goats, mohair from goats, qiviut from muskoxen, vicuña, alpaca, camel from animals in the camel family, and angora from rabbits....
are better than non-elastic yarns like cotton
Cotton
Cotton is a soft, fluffy staple fiber that grows in a boll, or protective capsule, around the seeds of cotton plants of the genus Gossypium. The fiber is almost pure cellulose. The botanical purpose of cotton fiber is to aid in seed dispersal....
or silk
Silk
Silk is a natural protein fiber, some forms of which can be woven into textiles. The best-known type of silk is obtained from the cocoons of the larvae of the mulberry silkworm Bombyx mori reared in captivity...
).
Choosing colors
The choice of colors is critical to the design of a sweater.The simplest choice is to use multiple shades of a single color (e.g.,
various shades of blue), perhaps accented with a contrasting color (e.g. flecks of yellow). The arrangement of shades on the sweater can have
a significant visual effect, due to the principle of chiaroscuro
Chiaroscuro
Chiaroscuro in art is "an Italian term which literally means 'light-dark'. In paintings the description refers to clear tonal contrasts which are often used to suggest the volume and modelling of the subjects depicted"....
; dark shades tend to recede and be smaller, whereas light shades advance and seem larger. For example, vertical stripes with a light color in the middle and dark colors on the sides has a slimming effect. Psychologically, bright colors tend to be associated with straightforward, innocent or extroverted personalities, whereas darker shades are associated with more thoughtful, experienced and introverted personalities.
The "temperature" of a color
Color theory
In the visual arts, color theory is a body of practical guidance to color mixing and the visual impacts of specific color combinations. Although color theory principles first appeared in the writings of Leone Battista Alberti and the notebooks of Leonardo da Vinci , a tradition of "colory theory"...
also affects its perceived depth. Warm colors have red or yellow tones (including orange and yellow-green) and are associated psychologically with warmth and energy. Cool colors have more bluish undertones (including purples, aquas and greens) and are associated psychologically with serene, calm personalities. Warm colors tend to advance relative to cool colors, when both are presented simultaneously.
Contrasting colors may be chosen in various ways. A common choice is to take a complementary color
Complementary color
Complementary colors are pairs of colors that are of “opposite” hue in some color model. The exact hue “complementary” to a given hue depends on the model in question, and perceptually uniform, additive, and subtractive color models, for example, have differing complements for any given color.-...
s from one of the several color wheel
Color theory
In the visual arts, color theory is a body of practical guidance to color mixing and the visual impacts of specific color combinations. Although color theory principles first appeared in the writings of Leone Battista Alberti and the notebooks of Leonardo da Vinci , a tradition of "colory theory"...
s (e.g., blue and orange, green and red), or to choose a pairing that occurs in nature, e.g., yellow and red.
Choosing shapes
The designer has many choices for how to shape the sleeveSleeve
Sleeve is that part of a garment which covers the arm, or through which the arm passes or slips. The pattern of the sleeve is one of the characteristics of fashion in dress, varying in every country and period...
length and cap, waistline
Waistline
Waistline refers to:*the waist on a human body — the narrow point of the abdomen between the ribcage and hipsor*Waistline — the line of demarcation between the upper and lower portions of a garment, which notionally corresponds to the natural waist but may vary with fashion from just...
/hemline
Hemline
The hemline is the line formed by the lower edge of a garment, such as a skirt, dress or coat, measured from the floor.The hemline is perhaps the most variable style line in fashion, changing shape and ranging in height from hip-high to floor-length...
and neckline
Neckline
The neckline is the top edge of a garment that surrounds the neck, especially from the front view. Neckline also refers to the overall line between all the layers of clothing and the neck and shoulders of a person, ignoring the unseen undergarments....
/collar
Collar (clothing)
In clothing, a collar is the part of a shirt, dress, coat or blouse that fastens around or frames the neck. Among clothing construction professionals, a collar is differentiated from other necklines such as revers and lapels, by being made from a separate piece of fabric, rather than a folded or...
; these various choices and their visual effects are described in their individual entries. The overall shape (silhouette
Silhouette
A silhouette is the image of a person, an object or scene consisting of the outline and a basically featureless interior, with the silhouetted object usually being black. Although the art form has been popular since the mid-18th century, the term “silhouette” was seldom used until the early decades...
) of the garment is defined by the ease introduced at various points, as described above under "Fitting". In addition, a sweater may have ornamental lines/curves, even images. In general, these lines are chosen to achieve a balanced look; for example, well-chosen style lines can help compensate for body lines considered too long or too angular or too short or too rounded. However, visual effects may be idiosyncratic, and the knitter is encouraged to experiment.
Choosing an overall pattern
The scale of the overall pattern relative to the size of the whole sweater is a key variable in the "look" of the sweater. Large overall patterns eliminate the need for accent patterns (see next section) but may be too bold for some wearers. A small, fine pattern makes an excellent background for accent patterns, but may not be visible with a particular yarn, or may be too retiring for some wearers.Choosing accent patterns
A sweater done uniformly in the same pattern overall is relatively simple and understated, which may be the desired effect. However, it is more usual to decorate the sleeve cuffs and either the neckline or the lower hemline with an accent pattern. The accent band can be rather wide (often ~1/3 of the total length) and its boundary can be straight or wavy/serrated.Smaller boundaries (such as collars, tops of pockets, central seam in cardigan) may receive special ornamentation as well, e.g., cabling
Cable knitting
Cable knitting is a style of knitting in which textures of crossing layers are achieved by permuting stitches. For example, given four stitches appearing on the needle in the order ABCD, one might cross the first two the next two, so that in subsequent rows those stitches appear in the new order...
along its edges.
Embellishments
There are many types of ornamental embellishments that can modify the overall look of the sweater.Collar
Collar (clothing)
In clothing, a collar is the part of a shirt, dress, coat or blouse that fastens around or frames the neck. Among clothing construction professionals, a collar is differentiated from other necklines such as revers and lapels, by being made from a separate piece of fabric, rather than a folded or...
s and lapels
Jacket lapel
Jacket lapels are the folded flaps of cloth on the front of a jacket or coat, and are most commonly found on formal clothing and suit jackets. Usually they are formed by folding over the front edges of the jacket or coat and sewing them to the collar, an extra piece of fabric around the back of the...
are perhaps the most visually obvious embellishments. They frame the face, neck and shoulders, and complement the neckline
Neckline
The neckline is the top edge of a garment that surrounds the neck, especially from the front view. Neckline also refers to the overall line between all the layers of clothing and the neck and shoulders of a person, ignoring the unseen undergarments....
and armhole lines.
The choice of closures is an important practical consideration and can also help define the sweater's style. Buttons and zippers are the most common choices for sweaters, but frogs, ties and belts are also seen.
Shoulder pads and other shaping devices are uncommon, but can be included
to define a particular silhouette.
The fabric of the sweater can be ornamented with various textures, such as gathers, ruffles, pleats, ruching and shirring. Ornamental patterns can be
added using beads, buttons, sequins, bobbles, ribbons and knots, as well as appliqué or cordwork. Overstitching (also known as Swiss darning) and other
embroidery techniques allow for many visual effects that cannot be made with normal knitting, e.g., a circle of successively interlocking stitches.