i like this dress very much but i am also so frustrated by it: there are three missed opportunities for centring the different pattern motifs over one another, which i think is three too many for a piece at this large a gauge with so few pattern shifts!
(the dress is knitted from the top down. missed opportunity #1 is that the little four-eyelet motifs are arranged in a grid, but the grid is not centred over the points of the leaves that shaped the waist and flared out into the skirt; missed opportunity #2 is that the grid is also not centred above the repeating heart motif; missed opportunity #3 is that the points of the hearts bear no relationship to the points of the leaves.)
i would not be frustrated by it except fleetingly in my head if it didn’t bear so close a resemblance to the work of all my favourite doily designers who did work for burda and would never do this to me no matter what other shaping considerations they needed to bear in mind. herbert niebling in particular was a master of knowing how many extra stitches could be crammed into a round of knitting to complete an arrangement of motifs without disturbing the overall post-blocking shape of the piece. (here’s a beautifully knitted example, and another; this is a chart for a different doily, but it illustrates the wild variation in stitches per round it is possible to include and have the finished fabric lie flat.)
that dress reminds me the most of marianne kinzel’s designs in her first and second books of modern lace knitting, and she wouldn’t do this to me either — look at this admirable symmetry!
Watching Hannibal is like watching everyone in the show drive their own car that’s going 10 mph, so they have plenty of time to avoid collision and turn away, but instead they all end up running into each other and it’s a huge pile up and no one knows who to blame for this huge car crash and Hannibal is sitting on the sidewalk in a lawn chair drinking red wine and smirking to himself.