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Sophia Mantle ScroopPatterns.com

Call for Pattern Testers for 18th century mantle patterns!

UPDATE: due to an overwhelming response, applications to test this pattern are now closed.  Thank you to everyone who took the time to apply!

Amber of Virgil’s Fine Goods and I have been working on a particularly adorable and exciting new 18th century pattern collection to add to the Scroop + Virgil’s Fine Goods historical pattern collaboration – three 18th century cloak and mantle patterns which will be available individually, or as the ultimate awesome pattern bundle.

Our pattern is almost finished, but we want to check that it’s as fabulous as possible, so we need testers to help us check it out!

If you’d like to apply be one of them, keep reading to learn more!

Please note that we always get significantly more applicants than we have spots available, so we are not able to include everyone who applies in the testing pool.

The Patterns:

The Marie Mantle:  1740-1779, is an unlined short mantle with two body views and an optional small hood.  The pattern includes instructions on self-fabric trim variations, as well as instructions on making it in lace or gauze in addition to standard fabrics like light-midweight silks.

 

Marie Cloak ScroopPatterns.com

The Charlotte Mantle 1770-1795, is a lined or unlined mantle with two body views and an optional large hood. The pattern includes instructions on self-fabric trim variations.

Charlotte Cloak ScroopPatterns.com

The Sophia Mantle: 1775-1810, is a fully lined mantle with two body options featuring squared off lappets that fall to mid-calf, an enormous high-fashion hood, and instructions on adding fur, marabou feather or handmade fringe trim.

Sophia Mantle ScroopPatterns.com

(and yes, this faaaaaabulous mantle is one of the primary inspirations for the Sophia)

Sizing:

All three patterns will be available in four sizes which cover the full Scroop + Virgil’s Size Range of 30”/76cm bust to 52”/115cm bust.  Because mantle patterns are so adaptable, the patterns will easily fit larger and smaller sizes as well.

Scroop + Virgils Cloak and Mantle Patterns Size Chart

Testers:

These cloaks/mantles are easy/intermediate historical patterns.  There is the option to learn some slightly trickier techniques based on the fabrics and trims you choose.  Testers should be comfortable hand-sewing.  You should have some experience working with the type of fabric you intend to test in.

To be a tester you will need to:

  • Be able to print patterns in A4, A0, US Letter or US full sized Copyshop paper sizes
  • Have the time to sew up the item. You’ll have 27 days to make a finished cloak/mantle, photograph it, and provide feedback.  The view you are making, and the
  • Be able to photograph your make being worn, and be willing for us to share your photos on this blog and instagram.
  • Provide clear feedback
  • Agree to a confidentially agreement regarding the pattern

We would hugely appreciate it if testers would share their finished make once the pattern launches, but this is not mandatory.  We’re asking for TESTERS, not marketers.

As always we’re looking for a range of testers. We need a spread of geographical location, body type, sewing experience, and personal style.

The Timeline:

Materials:

If you’re selected to test we’ll let you know and send you the materials requirements, line drawings, and the full pattern description before 10 pm NZ time on Thursday the 27th of October.  This is Wed the 26th for most of the rest of the world.

Patterns:

We will send out a digital copy of the pattern to testers before 10pm NZ time on Thursday the 3rd of November.

Testing & Reviewing:

Testing will go for three and a half weeks. .

Testers will have until 10pm NZ time on Mon the 28th of November to provide feedback and images of their mantle

What you get:

Pattern testers will get a digital copy of the full bundle pattern which includes all three cloak patterns and instructions, lots of thanks, and features on my blog and our IGs.

Testing also offers testers an opportunity to get group and 1-1 feedback, assistance, and sewing tutorials from Amber and I – similarly to what you’d get in an online sewing workshop.  We’re modelling our testing process after an online class, albeit one you don’t pay for, because you’re letting us beta test the pattern on you.  There’s an online group that testers can join as they wish. We’ll also be running a couple of live zoom events.  We’re committed to making testing as beneficial to testers as it is to us, and improve our testing process with every pattern we do.

Hope to hear from you!

To Apply:

Follow this link and fill out the form!

And to get your creative juices flowing, enjoy some of the inspirations behind the patterns!

Portrait of an Unknown Lady, c. 1764, by Joachim Martin Falbe (German, 1709-1782)

Portrait of an Unknown Lady, c. 1764, by Joachim Martin Falbe (German, 1709-1782)

Lady Frances Erskine (1716–1776, by David Allan, ca. 1764, (c) Aberdeen Art Gallery & Museums; Supplied by The Public Catalogue Foundation

Lady Frances Erskine (1716–1776, by David Allan, ca. 1764, (c) Aberdeen Art Gallery & Museums; Supplied by The Public Catalogue Foundation

Gallerie des Modes et Costumes Français. 7e. Pierre-Thomas LeClerc, Engraver Etienne Claude Voysard, Publisher Esnauts et Rapilly 1778

Gallerie des Modes et Costumes Français. 7e. Pierre-Thomas LeClerc, Engraver Etienne Claude Voysard, Publisher Esnauts et Rapilly 1778

John Collet, ca. 1725–1780, British, A Lady of Fashion, ca. 1778, Pen, black ink and watercolor, Yale Center for British Art, Paul Mellon Collection, B1977.14.4966

John Collet, ca. 1725–1780, British, A Lady of Fashion, ca. 1778, Pen, black ink and watercolor, Yale Center for British Art, Paul Mellon Collection, B1977.14.4966

Cape, 1795–1800, British, silk, Brooklyn Museum Costume Collection at The Metropolitan Museum of Art; 2009.300.3890

Cape, 1795–1800, British, silk, Brooklyn Museum Costume Collection at The Metropolitan Museum of Art; 2009.300.3890

The inspiration behind the Angelica Gown

We thought you might enjoy seeing some of the inspiration behind the Angelica Gown.

Every Scroop + Virgil’s historical pattern starts with research.  We look at extant garments in private collections and museums.  We assemble huge inspiration boards of items from online databases, noting details and similar design and construction elements.

Then we start parsing and sorting.

What elements are commonly seen together?  What aesthetic features do we really want to include?  What construction features do we really want to include?  Is there a particular garment that is the starting point for the whole design, or are we mixing common elements?

Here’s what we ended up with for the Angelica Gown!

The Scroop Patterns + Virgils Fine Goods Angelica Gown 1775-1790 scrooppatterns.com

The Angelica Gown pattern is available as a digital download from ScroopPatterns.com, and as a paper pattern from Virgil’s Fine Goods.

View A Front:

This was an easy pick!  I absolutely love the neckline of this gown, and the waist edge, with its sharp curve and truncated point.  This shape shows up on other extant garments, and in fashion plates, so it was a great starting point.*

I’m fascinated by the tabs on one side of the bodice.  What’s the story there?  Why only one side?  I rather hope someone makes an Angelica with those silly tabs!

View A Back

The closest inspiration for the View B back is an Italian Gown that Amber was able to study and photograph in person.  Unfortunately we aren’t able to share those photos with you.  But it wasn’t the only dress we used as a basis:

We really liked the high back neckline of this Italian gown from the met, and the way the side-back panels match the straps – such an elegant design feature!

However, the very narrow back point panels of this dress are rather tricky to sew, and didn’t work well when graded out to a range of sizes.  So we looked at other gowns, with side-back seams with more exaggerated curves, set further towards the sides:

This Italian Gown is right here in Wellington, and it’s one I’ve been able to study in person.

View B Front:

Many of you will have recognised the inspiration behind the View B front:

Those spikey tabs!

This gown also helped inform the front-laced closure.

The long pointed front, sans points, shows up on some of the other inspiration gowns, including the silk brocade gown from Te Papa, and the chintz gown from the Met:

 

View B Back:

As beautiful as a four-panel back is, there are times when a simpler two panel back is just a better design choice: less seams to interfere with stripes or a print, and less work.

Look at that fabric above!  Obviously you wouldn’t want to interrupt it with another seam!

In addition to having a two-panel back, 1991.204a,b also influenced the overall design of the back.  We really wanted our Italian Gown pattern to have a very exaggerated, deep back point, just like this gown.

Other features:

While pinning was still the most common closure method in the last quarter of the 18th century, the number of extant garments that have a hidden front lacing closure suggest that it was reasonably common.    We thought that would be a really fun element to include!

 

(yes, the dress above is laced wrong)

We also thought it would be nice to have a one-piece sleeve, since the Amalia Jacket has a two-piece sleeve.

One thing we did keep from the Amalia pattern is the side seam.  It makes fitting and construction so much easier than a front panel that wraps all the way around to the back to without a seam, and it appears on quite a few of our inspiration gowns:

Being pale coloured was not a requirement for our inspiration gowns – that’s just a weird coincidence!  (the primary inspiration that Amber studied is actually a glorious red!)

The Angelica Gown pattern is available as a digital download from ScroopPatterns.com, and as a paper pattern from Virgil’s Fine Goods.

The Scroop Patterns + Virgils Fine Goods Angelica Gown 1775-1790 scrooppatterns.com

* (haha)

Rate the Dress: 1780s formalwear and fascinating embroidery

Inspired by all the 1780s sewing and research I did for the Scroop Angelica gown, this week’s Rate the Dress pick is a 1780s dress that showcases the inventiveness and playfulness of 1780s fashion, even within the framework of a very formal dress.

Last weeks (ish) rating: an 1860s formal afternoon dress

The scores for last week’s dress were very consistent: 9/9 for almost half the ratings, with a sprinklings of 7, 8s and 10s just to keep it interesting.

The Total: 8.9 out of 10

Just missing that tiny bit to make it 9!

This week: an 1780s formal gown in embroidered silk

I guess I’m in a very formal mood, because last week’s dress and this week’s dress are both quite formal, and have a certain stiff elegance to them.

Gown “robe parée”, 1780-85, France, silk with applique, embroidery and gauze flounces, Musée des Tissus de Lyon

Gown “robe parée”, 1780-85, France, silk with applique, embroidery and gauze flounces, Musée des Tissus de Lyon

Look closely though, and this dress isn’t as stiff as it seems.  The masterful embroidery on the bodice is asymmetrical, providing visual interest and movement, and leading the eye up to the face.  The trims and and skirt embroidery also evoke texture and movement in a way that is quite distinct from the frothy flirtatiousness of earlier rococo trim: more whimsical and quirky, less sweet and fluttery.

What do you think?  Could you imagine it being worn to court and making a favourable impression?

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.