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Meet the Scroop Rilla Corset – the perfect WWI era corset pattern!

Meet the newest Scroop Pattern: the Rilla Corset, a historically accurate World War I era corset pattern that is easy and detailed enough for even the total corset novice to tackle.

The Scroop Rilla Corset Pattern

Buy it here!  

The Rilla Corset pattern came out of my search for the perfect WWI corset pattern for my Fortnight in 1916, and the realisation that what I wanted in a corset pattern of the era simply didn’t exist as a commercial pattern.

The Scroop Rilla 1913-1921 Corset Pattern

The Rilla Corset is based on an original PD Marvella corset by Belgian corset manufacturer PD Corsets. The Marvella was one of the best-selling corsets worldwide in the second half of the 1910s, making the Rilla corset the most accurate representation of what the average woman wore during the period, and the perfect base for WWI and early 1920s costuming.

The Scroop Rilla 1913-1921 Corset Pattern
With extensive instructions, and advice on achieving the correct fit for the era, the Rilla was designed to be an easy make for sewers with some corsetmaking experience, or a good introduction to corsetmaking for the moderately advanced sewer with no previous corsetmaking experienced.

The Scroop Rilla 1913-1921 Corset Pattern

Inspired by the way corsets were sized and sold in the 1910s, and the most common alterations that I help students to make when teaching corsetmaking, the Rilla comes in two waist-to-hip ratio (hip flare) size sets.  The ‘Average’ size set has a 13” difference between waist and hip, and is best for those with a natural waist-to-hip difference of 9” or more. The ‘Slender’ size set has a 10” difference between waist and hip, and is best for those with a natural waist-to-hip difference of less than 9”.

To make it easy to see the detailed lines and all the specific design features of the pattern, the Rilla is divided into three size packs:

Size Pack A: 30-38
Size Pack B: 36-46
Size Pack C: 44-52

The overlapping sizes of the size packs means that you’ll never be stuck with your measurements halfway between pattern size options – which always seems to happen to me!

The Scroop Rilla 1913-1921 Corset Pattern scrooppatterns.comLike all Scroop Patterns, the Rilla features detailed instructions and illustrations, and has been extensively tested on real women’s bodies, so you can be sure that while it is perfectly historically accurate, you will easily be able to get it to fit you perfectly.

The Scroop Rilla 1913-1921 Corset Pattern

But wait, there’s more! Since the Rilla launched during the Scroop Patterns Indie Pattern Month sale, it’s on SALE!  For the next 24 hours until the sale ends, you can get 10% off the Rilla Corset, and every other Scroop Pattern!

Scroop Patterns - 10% off with the code IPM2017



A petticoat for a 1916 evening dress

A cheater super-full 1916 petticoat

I’m making progress on my romantic historicism 1916 evening gown.

Harpers Bazaar 1916

The under-bodice is totally finished:Harpers Bazaar 1916 evening dress

Harpers Bazaar 1916 evening dress

Harpers Bazaar 1916 evening dress

My biggest concern about this gown was how to create a petticoat to support the width of the skirt.  The bell-shaped silhouette of 1916 was so high fashion, and lasted for so short a time, that there are very few extent petticoats to use as a guide.  There are lots and lots of examples of petticoats to create the more common A-line silhouette, but the bell-shape is harder to source.

There is this wonderful petticoat from a 1917 issue the Paris Journal of Fashion, and it’s on my to-make list, but I think I’m going to need to try a couple of versions to get it right, and I couldn’t find the right fabric.

Undergarments, 1917

I was getting a little frantic, and then I realised that the solution to the petticoat puzzle was right under my nose – in my UFO pile.

A petticoat for a 1916 evening dress

I’ve had this 1950s petticoat schedule for a re-make for a while. The construction and finishing is beautiful, and the petticoat fits me width-wise, it’s just almost 3″ too short in the bodice, which puts the waist round my ribcage. Ouch!

So, I cut off the bodice, added a side placket, and bound the bodice with bias tape.  I want the skirt to sit on my hips, rather than at my natural waist, so it doesn’t add any bulk there.

A petticoat for a 1916 evening dress

Once I’m done prepping the petticoat I’ll put pink ribbon through the beading lace on the petticoat.

A petticoat for a 1916 evening dress

A petticoat for a 1916 evening dress

If you’re thinking that the petticoat doesn’t seem that full, you’re right, but wait until I starch it!

In fact, it’s currently in the washing machine as I write this, getting pre-washed in preparation for starching.  Fully starched, it will hopefully do a good job of supporting the lower fullness of the evening dress, and the organza underlining of the upper skirt should create the upper fullness.

Bring on the poof!

A petticoat for a 1916 evening dress

Rate the Dress: Uber-lingerie frock by Lucile

With an impressive score of 9.3, last week’s Russian evening/court gown on Nadezhda Polovtseva continued our run of well-received Rate the Dresses.

It came up in the comments, so I thought I’d reassure you that I’m really not trying to pick garments that I’m sure you’ll like!  My goal is always to choose something that I think it interesting and provides grounds for discussion, and (with a few exceptions) I can rarely predict how a garment will taken.  So let’s find out how this one does…

I’ve been looking at lots of 1910s evening gowns for the construction of my Costume College Gala gown, so this week’s Rate the Dress is on-theme, with a confection by the queen of 1910s romantic froth: Lucile, Lady Duff Gordon.

This dress is the ultimate mid-1910s iteration of a lingerie gown: a delicate lace frock which uses techniques borrowed from lingerie construction, like lace insertion, hemstitching, faggoting, layers of texture showing through sheer veiling, and dainty ribbon trimming.

The overall effect is etherial, fragile, and utterly feminine, with a sweetness that turns the potential risqué overtones of peek-a-book lace and details taken from ‘underwear’ into a demure whole.

Even Lucile’s label is all sweetness and froth:

Dress, Lucile (British, 1863–1935), 1916–17, British, silk, cotton, Metropolitan Museum of Art, 1978.288.1a, b

Dress, Lucile (British, 1863–1935), 1916–17, British, silk, cotton, Metropolitan Museum of Art, 1978.288.1a, b

Sadly, the presentation of this dress never affords us a view of the hem, so you’ll have to imagine how it finishes, and how much of a view of clocked stockings and delicate satin shoes would have been provided.

What do you think?  Is the overall effect of all this texture and and daintiness charming and appealing, or a little too cloying and confusing?

Rate the Dress on a Scale of 1 to 10.