The Dreamstress

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Scroop Patterns + Virgil’s Fine Goods = 18th century awesomeness

I am so excited to announce that Scroop Patterns is going to be collaborating with Amber of Virgil’s Fine Goods to create historically accurate 18th century (and, if those go well, Regency) patterns!

Amber of Virgil's Fine Goods, photo taken by Carol Kocian while at Colonial Williamsburg’s Margaret Hunter Millinery Shop — Photo by Carol Kocian at Colonial Williamsburg’s Margaret Hunter Millinery Shop

Historically accurate print-at-home PDF 18th century patterns have long been top of my costuming wish-list. Out here in NZ, ordering any of the ones from overseas takes weeks, and is extremely expensive. Even if you’re not so far-flung, PDF patterns means that you can buy, print, and get working on your item all within the same hour. (and yes, we’ll be doing paper patterns too!)

I’ve considered doing 18th century patterns for Scroop Patterns, but I don’t feel I have the depth of experience needed to make really amazing Georgian patterns: there aren’t enough 18th c garments in NZ for me to study, or experts to learn from. And I really wouldn’t want to do them unless I could be sure they were really, really good.

I thought about who did have the experience, and Amber was the obvious choice. She combines mantua-makers training with exquisite fit, beautifully made garments, and, most importantly, exceptional teaching skills.

I have learned so much from her blog and IG and Virgil’s Fine Goods & Lady of the Wilderness Facebook (her videos on draping sleeves for a 1778 Italian gown and then setting the sleeves on yourself were a total revelation – and her Letter to Costuming/Living History Newbies is super helpful).

So we’re combining Amber’s knowledge, and all the quality you’ve come to expect from Scroop Patterns, to make detailed, historically accurate, size-inclusive 18th century patterns! We think they’re going to be wonderful – and we hope you think so too!

We’re starting with an 1780s stays pattern, so that you have the foundation to build the rest of your wardrobe over. And then we’ve got so many more exciting plans!

Keep a watch out later today for our call for testers!

Rate the Dress: Edwardian Pinafore

Published by The Dreamstress

Pinafores and jumpers are all the rage in the sewing and fashion world at the moment, so I thought I’d get on board with the trend in Rate the Dress this week – with a pinafore-esque frock from 1906-7. And no, it’s not for a child!

Last week: a 1910s suit in purple and black

Either the Rate the Dresses I’m posting aren’t interesting a lot of people, or you are all super busy. Last week’s frock, while not attracting a lot of comments, did attract most who commented. With only two exceptions it got rave reviews: it was just what you all wanted to for a day of tea and shopping in London.

The Total: 9.3 out of 10

Two full points up on the week before!

This week: a red velvet Edwardian frock with a hint of pinaforeness

While pinafores are all the rage right now, historically we generally think of them as a child’s garment. That certainly wasn’t always the case: pinafore/jumper fronts had their moments in adult clothing as well, particularly in the 1905-17 period, and then again from the mid-1930s into the 1940s.

This week’s Rate the Dress is an early example of the fad, with a two peice dress with pinafore-effect bodice, the whole thing in red velvet and ivory lace.

Afternoon Dress: Bodice and Skirt, Anna Dunlevy (American, active 1889-1913), 1906-1907, Cincinnati/Ohio/United States, silk, cotton, Cincinnati Art Museum, 1954.414a-c

The Cincinnati Art Museum describes the dress as a bodice and skirt, but the catalogue record is for a three-piece ensemble. I suspect the dress is made up of the skirt, the lace under-blouse, and the pinafore portion, which is attached to the belt. I’ve certainly seen patterns from this era for similar ‘jumper-bodices and belt’ get-ups.

If that is the case, there might have been the option of wearing the skirt and bodice without the belt and suspender-y, pinafore bit, or switching out the bodice.

What do you think? Does this leave you jumping for joy, sartorially speaking? Or are you suspending disbelief that anyone thought this was a good idea, and bracing yourself for the onslaught of terrible scores?

(I’m sorry. I can’t help myself. I’m tired, and the tireder I am, the worse the puns!

Rate the Dress on a Scale of 1 to 10

A reminder about rating — feel free to be critical if you don’t like a thing, but make sure that your comments aren’t actually insulting to those who do like a garment. Phrase criticism as your opinion, rather than a flat fact. Our different tastes are what make Rate the Dress so interesting. It’s no fun when a comment implies that anyone who doesn’t agree with it, or who would wear a garment, is totally lacking in taste.

(as usual, nothing more complicated than a .5. I also hugely appreciate it if you only do one rating, and set it on a line at the very end of your comment, so I can find it! And 0 is not on a scale of 1 to 10. Thanks in advance!)

The 1921 Daisies & the Devil's Handiwork dress thedreamstress.com

I’m coming to Costume College! (for the last time)

Published by The Dreamstress

If you’re going to Costume College 2019, and have read your class schedule in detail, you may have realised that I’m teaching (yay!), but also wondered why I haven’t mentioned it publicly, like I have in previous years.

Yes, I’ll be at Costume College, and I’m very excited to see everyone, and to be teaching the following class:

Body Ideals & Corsetry: 1900-1930

11-1 on Friday (not 3-5 as shown in the book)

(and am very sad they didn’t pick the other class I offered them, on the history of the suffrage movement across the world, in all its form, and its complicated relationship with fashion, because that was going to be a great class, but ah well, more time to socialise and go to other people’s awesome classes).

But going this year is also very bittersweet. Unless there is a huge (and completely unexpected and unpredicted) alteration in the global situation, it will be my last Costume College ever.

Shortly after booking my tickets and registering for CoCo I realised how bad the climate crisis is.

Given the severity of the situation, and the threat climate change poses to the continuation of almost all life, I no longer feel I can justify flying for business and pleasure.

Obviously this has not been an easy or enjoyable decision to make. I’m still struggling with the consequences of global warming, and feeling a huge amount of guilt about my trip.

I almost decided to not go at all, but the trip will also allow me to see my sister, who I haven’t see in years – and that’s important.

I’m going to talk more about climate change, and what it means for me as a person, and a costumer, but I’m not quite ready.

For now, I’m focusing on having the most wonderful trip possible. I’ve committed to going, I must make the absolute most of it!

And if you’re going to Costume College, I hope you also have an absolutely wonderful trip. And do come and say hi to me while we’re there.