United Kingdom, Edinburgh, Dovecot Studios, Knitwear: Chanel to Westwood, until 11 March 2023

We are living through interesting times, and with the cost of living and energy crisis, it seems apposite of Edinburgh’s Dovecot studios to host a major exhibition focusing on knitwear. Whilst winter woollies are a staple in most wardrobes, Knitwear: Chanel to Westwood oozes style, substance, and sassy glamour.

Dovecot is a fitting venue for this exhibition: the arched windows, pillars, and beams of this former 19th-century Victorian baths form the perfect backdrop to the most delicate and daring knitwear, in- cluding a selection of 1930s knitted swimwear.

More than 150 pieces, from designers across the 20th and 21st centuries, are included in this exhibition, which comes courtesy of the ‘King and Queen of Vintage’, Mark and Cleo Butterfield of Torquay-based C20 Vintage Fashion. Their personal touch is felt in a Butterfields feature, with one image capturing Cleo’s mother wearing a knitted swimsuit. A cream, crocheted garment that Cleo made is also included, along with the 1960s knitting pattern that she used. Dovecot director, Celia Joicey adds: “Knitwear gets worn, often close to the body, and it doesn’t survive in the same way as a wedding dress might. So, museums have found it hard to collect knitwear. Museums want things in a pristine condition, but it’s collectors, such as Mark and Cleo, who have ensured clothes get preserved.”

As the title of the exhibition suggests, it begins with those iconic Chanel twinsets, accessorised with the de rigeur string of pearls. The three-piece knitted suit– comprising cardigan, sweater, and skirt —became Chanel’s calling card and, as Joicey puts it, “was a lightning rod for showing women they could wear knitwear in a chic way.” A red, Edwardian, knitted chevron underskirt nods to the origins of knitwear as underwear. Exhibited directly by its side, a contemporary H&M dress using the same chevron technique demonstrates the full circles fashion often travels. As Joicey admits, Chanel’s clothes “were not cheap, but they could be imitated and copied by other designers.”

The exhibition was curated by Dennis Nothdruft, of the Fashion and Textile Museum, in London. He deliberately takes us on a tour through the decades, nodding along the way to both the fashion influences, and the societal changes of each period. The

Fair Isle collection, in particular, demonstrates the perpetual importance of influence. Originally created for the islands’ fishermen and farmers to wear in harsh climes, the traditional Fair Isle was catapulted to fame in 1922, when the then Duke of Windsor— who would later abdicate the throne to marry Wallis Simpson —wore a Fair Isle sweater on the golf course at St Andrews. Soon after, the Fair Isle became a staple in the wardrobes of both aristocrats and celebrities, and later amongst the general public, in the form of Fair Isle hats, scarves, gloves, tank tops, sweaters, and cardigans.

In the 1930s, many Scottish knitwear firms, such as Pringle, began to export in huge quantity to America, where their knitwear was fashionable amongst actors and actresses. Some even took up knitting as a hobby, adding a sprinkle of glamour and allure to knitwear. Lana Turner was nicknamed ‘the sweater girl’, for her love of knitting on set.

Another section of the exhibition that reflects societal change is the ‘Make Do and Mend’ display, from the 1940s. “During the war there were limitations, and patterns were created to help people make appropriate clothing that did not waste yarns,” Joicey says. “People used ingenuity and creativity to make garments.” These wartime shortages are evident even in the Coco Chanel chevron tank top–uniquely signed ‘CC41’. The patterns here are smaller, the mix of colours more subdued, making use of less yarn, ensuring there was no waste.

The final display in the South Gallery again recognises celebrity influence, this time in the introduction of additional materials to knitwear. Fur and feathers are added by Diana Leslie, under her Animal Rainbow label of the 1980s. Lace, and embellishments such as jewels, beading, and pearls adorn knitted cocktail dresses, often worn by actresses. The display of crocheted work– featuring delicately created mini dresses, waistcoats, and Cleo Butterfield’s suit – is a sharp reminder of how intricate, detailed, and bespoke knitwear can be.

In the North Gallery, visitors are greeted by the ‘novelty’ jumpers, now familiar to us all as a result of the penchant for Christmas jumpers, and garments that share a message. This is where it all began. There is an eagle emblazoned across onejumper, next to a trademark Missoni striped top, and another Missoni vest top with layers of fringing— a design that has been replicated many times across the decades.

Finally, the exhibition arrives at Vivienne Westwood’s ‘disintegrating’ knitwear; showing a 1977, early punk piece that inspired a generation. Joicey observes: “It is quite common in fashion that you have individuals who will come up with a prototype that gets developed. Vivienne Westwood can knit, and would knit behind the scenes at shows — but she was being quite inventive with this jumper. Together with Malcolm McLaren, she was a vital part of the punk movement, though she distanced herself from that later, when she gave us the Pirate and Buffalo collections.”

Nestled beside Westwood is a Zandra Rhodes black and white full-length ensemble that captures the flamboyance of its creator, yet again reinforcing how beautifully knitwear can flow over the human form. Scottish fashion designer, Bill Gibb, is represented here, too, with a show-stopping ensemble of chevron knitted jacket, scarf, and knee-length peddle pushers, just as guaranteed to turn heads in the 1980s as it does today.

Julian Macdonald, Rei Kawakubo for Comme des Garçons, Ossie Clark, and Sonia Rykiel also feature in this exhibition and, on a cold, winter’s afternoon, this Dovecot offering is a joy to visit. It is an opportunity to reflect on the paths fashion has followed, and to learn from those who dared to be different. It also opens a knitted legacy to future designers. For, as Joicey comments: “The importance of knitwear in fashion can be taken for granted, but this exhibition is an opportunity to celebrate knitwear’s distinctive place in Scotland’s cultural and economic history, and to inspire future design directions.”

Fittingly, then, the exhibition finishes with a glance at the contemporary. A collaboration between Di Gilpin and La Fetiche boldly combines traditional Scottish gansey patterns with bright pops of modernist colour. Of particular note is the Violet Jumper, paired here with the cream short Gertrude Kilt.

As a bonus to visiting the exhibition, there is a pop-up knitwear shop, featuring sumptuous pieces from five of the best known contemporary Scottish designers: Fife-based Di Gilpin; Glasgow-based Jennifer Kent; Edinburgh-based Jeni Allison’s Custom Loop brand; Leeds-based Annie Hall; and Kinross-based Todd and Duncan. From Chanel to Westwood, there is more than enough here to warm your winter.

•• •Jennifer Harper