Crochet Lace Innovations
Crochet Lace Innovations
Review by Andrea Truitt
When I first found out about Doris Chan's new book, I was eager to review it. When it arrived at my door, I became even more excited--so many techniques featured with lovely patterns! The beautiful layout and photography emphasize the sensual and feminine aspects of Chan's designs. Because this book employs techniques that may be unfamiliar to or unpracticed by many— broomstick lace, hairpin lace, and Tunisian crochet—along with Chan’s signature exploded lace, it has a bit of a different format than most other crochet books. Arranged by technique, each section begins with a tutorial, followed by the three to four patterns that increase in difficulty as the chapter goes on. Garments featured are tops, sweaters, scarves, skirts, two belts, and even a dress.
The cover features the Isabeau top from the Exploded Doily Lace chapter, and matching Tunisian belt, which exemplify well the book’s mood. The creamy color, paired with a dusty lavender dress, and the damask wallpaper backdrop capture the inherent, romantic prettiness; the hint of vintage provided by photographer Heather Weston works well.
Chan begins with broomstick lace, the standout garment being the Melisande Vest, a versatile, classic piece bought to life by the undulating stitches. I associate the yarn’s muted, pastel colors and roundness of the stitches with Art Nouveau and nostalgia. The most alluring item in the hairpin lace chapter is the Kylara Vest. Worked in gold yarn, it's worthy of a night on the town but could easily be adapted for day use. The designer uses hairpin lace on the edge, the main body of the vest being an exploded lace stitch. The Tunisian crochet garments failed to captivate me: two were scarves, and the larger cape, even with its laciness, was weighed down by its length. Many of the patterns use repeated and recombined stitches in different garments, Chan definitely showing and creating a distinct style. One must refer to the Garment 101 chapter for stitch directions and pattern modifications that can be made to accommodate a variety of body shapes and sizes. Expect to flip around between the garment pattern and this chapter; this is the trickiest part of the book’s format.
The final half of the book features exploded lace, with separate sections entitled “Motifs,” “Doily Lace,” and “Lace Trim.” The motifs chapter didn’t have any garments that suited me personally, but the Isabeau Top in the following chapter, as discussed earlier, caught my attention because of the lace pattern. Although open, the piece still has a substantial feel to it, which works nicely with its structured, form-fitting shape. The light colored yarn also shows off the stitch definition well. The Ling Collar in the last chapter consists of half-diamonds in the upper portion near the shoulders, which are set off by the bottom diamonds worked in a breezy mesh stitch that is scaled nicely. The garment could be worn loosely at the shoulders like a capelet or gathered at the collar as a neckpiece. Wearing it close to the neck would make it more sculptural.
While I like Chan’s exploded lace garments better in other books, most notably Amazing Crochet Lace, I prefer the designs made from the other techniques in this book. Combining unusual crochet techniques along with her exploded lace in the same book is a positive. Chan is expanding her range, incorporating new looks into her design style. Given the variety of crochet forms, and the complexity of the patterns and garment shaping, it is definitely geared to intermediate and advanced crocheters. The book is also better suited to those who have some experience with broomstick lace, hairpin lace, and/or Tunisian already under their belt. It gives me a lot to work with and practice, challenging me to branch out in terms of techniques and skill level.