Jane Austen Knits, Summer 2012


Pemberley Reticule
Catherine Salter Bayar

Jane Bennet Socks
Rachel Coopey

Paisley Lace Shawl
Annie Modesitt

A Book Cover for Edmund
Melissa J. Armstrong

An Aran for Anne
Kathleen Dames

Modified Mobcap
Elizabeth Cherry



Hessian Boot Socks
Anne Podlesak




Emma's Chemise
Mary C. Gildersleeve

Rose Garden Shawl
Jayme Stahl

Beloved Baby Bonnet
Kathleen Sperling

Summer Pelisse
Rene Dickey


Camden Place Cardigan
Marianne Hobart



Marianne's Romantic Bookmark
Carolyn Mills


Evergreen Lace Scarf
Sherri Sulkowski

Rosings Stockings
Kristi Schueler


Devoted Classic Cardigan
Suesan Roth

Middleton Waistcoat
Kristi Schueler

Entrelac Reticule with BobbleTrim
Annie Modesitt

Miss Jane's Hat
Heide Petroski

Frederica Shawlette
Susanna IC

Hetty's Sunday Cuffs
Danelle Sorensen

Anne Elliot’s Fichu
Bethany Hick


Cloudette Cardigan
Claudia Geiger

Afternoon Tea Wrap
Karen Joan Raz

Miss Bingley's Feathered Head Wrap and Lace Wrist Warmers
Julie Turjoman

Eliza's Wrap
Catherine Salter Bayar

Margaret Dashwood Shawl
Joanna Johnson

Harriet's Heartstrings
Karen E. Hooton

Kathleen Dames 

And More…

Mrs. Smith's Tea Cozy
By Kate Larson

Cotton Camisole
By Jennie Atkinson
From A Handknit Romance

Jane Austen Knits Summer 2012

Jane Austen Knits Summer 2012

“I’m an unabashed reader of novels, sir, but I don’t think it has clouded my judgment.”—Fanny Price in the 1999 film adaptation of Mansfield Park

I’ve always loved this scene in the movie when Fanny defends her decision to reject Henry Crawford’s chameleon attentions as well as her preferred reading material while holding a woolly shawl around her shoulders. And yes, the movie portrays a hardier, less distraught, and more selfassured Fanny than we know through Jane Austen’s novel published 198 years ago, but still (at least in my mind), the actress captures the mettle of Fanny Price. Th e scene would have been even more perfect had her shawl been handknitted. I can imagine Fanny knitting symbols of her secret love for Edmund into her shawl—symbols to give her strength and forbearance during days when she was plagued by her Aunt Norris’s persistent nettling or when she had to watch quietly as Edmund was falling in love with Mary.

I was thrilled as we were selecting projects for the Summer 2012 issue of Jane Austen Knits that several of the designers noticed that Fanny was sadly neglected in our 2011 premier issue, and they rose in defense of Fanny, wanting to make sure her voice was heard in the 2012 issues.

It is the personal connections to the stories that give these knitted garments depth—each one tells a story with yarn. How often in our lives as knitters do we use yarn to communicate rich narratives? Jane Austen playfully dismisses the importance of fashion in her letters to her sister, Cassandra, and yet the details of wearing and making garments are contained in nearly every letter that survived.

We—in this era of ready-made clothing—have to stretch a bit, though, to really grasp the importance of cloth and garment making at the turn of the nineteenth century, just as the Industrial Revolution literally was changing the way cloth was made. But as knitters, our understanding is probably greater than that of the average twenty-fi rst-century person—we know the pleasure of making something from scratch as well as the disappointment when things don’t go as planned. We can only hope that with hard work and persistence, as well as a bit of luck, we’ll achieve the same potential bright futures with our knitting endeavors as Jane Austen’s heroines gain at the ends of her novels. Happy knitting,



Amy Clarke Moore, editor