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Hand coloured mezzotint showing three figures in 18th century dress: a gentleman in a red coat and black breeches between a lady in a yellow dress with white mantle, and a lady in a white dress with blue sash

Fabric requirements for the upcoming Scroop + Virgil’s Fine Goods Mantle Patterns

The mini-collection of Scroop + Virgil’s Fine Goods mantle patterns are due to launch the first week of December, and we’re SO excited about them!

Apparently you’re so excited too, because we’ve been receiving messages asking about the fabric requirements for the upcoming patterns, so you can shop the Black Friday sales for your fabric and get sewing as soon as the pattern launches.

As always, happy to help! Here are the suggested fabrics and requirements for each pattern, so you can start shopping and dreaming 💛

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.

The Patterns:

The Marie Mantle: 1740-1779

The Marie 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.

Recommended Fabrics:

Light-midweight silks including silk satin, silk taffeta, and silk lustring/lutestring. Lightweight cottons including muslin and voile. Gauze weaves, lace, and net in silk and cotton.

Consult period images and extant mantles for examples of accurate fabrics and colours.

IMPORTANT: The fabric requirements include the amount needed for cloaks cut in one piece with no centre back seam and the grainline running along the width of the mantle, and mantle cut with a centre back seam and the grainline running up and down the mantle. Directional fabrics should be cut with a centre back seam, or otherwise pieced.

Mantles with hoods and without hoods require the same amount of fabric.

Notions:

1½y/1.3m long x ½”/1.2cm-2”/5cm wide silk ribbon for the neck ties
100/2 linen or silk hand-sewing thread
Hoodless mantles: ⅝y/.5m ¼”/3mm wide cotton or linen tape to reinforce the neck
Lace Edging for Fabric Mantles, hem, front edge, and hood edge trimmed with lace:
- View A: 5⅛y/4.7m long x ¾”-2”/2cm-5cm wide lace trim with one straight edge and one scalloped
- View B: 5¾ y/5.2m long x ¾”-2”/2cm-5cm wide lace trim with one straight edge and one scalloped
Lace Edging for Fabric Mantles, hem only:
- View A: 2⅝y / 2.4m long x ¾”-2”/2cm-5cm wide lace trim with one straight edge and one scalloped
- View B: 2⅞y / 2.6.m long x ¾”-2”/2cm-5cm wide lace trim with one straight edge and one scalloped
Lace Edging for Lace Mantles, to create the effect of an all-lace mantle:
- View A: 5½y/5.2m long x ¾”-2”/2cm-5cm wide lace trim, either with one straight and one scalloped edge, or with scalloped edges on both sides of the lace
- View B: 6¼y/5.8m long x ¾”-2”/2cm-5cm wide lace trim, either with one straight and one scalloped edge, or with scalloped edges on both sides of the lace
Self Fabric Trim: Add an additional ¼y/.2m to your fabric requirements for self-fabric trim cut into strips.

The Charlotte Mantle 1770-1795

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

Recommended Fabrics

Outer Fabric: silk taffeta and satin, figured silks. Midweight fulled wools. Sheer cotton for unlined versions, and printed cotton for lined.

Lining: Light-midweight silks including silk satin, lightweight taffetas, and silk lustring/lutestring. Cotton and wool cloaks sometimes had cotton or linen linings or part-linings. If using silk, the outer and lining may be the same fabric.

* Additional piecing is required to fit the pattern pieces on the fabric. See cutting layouts for suggestions.

Consult period images and extant mantles for examples of accurate fabrics and colours.

IMPORTANT: The fabric requirements include the amount needed for mantle’s cut in one piece with no centre back seam and the grainline running along the width of the cloak, and cloaks cut with a centre back seam and the grainline running up and down the cloak. Directional fabrics should be cut with a centre back seam, or otherwise pieced.

Mantles with hoods and without hoods require the same amount of fabric.

Add an additional ¼y/.2m to your fabric requirements for self-fabric trim.

Notions:

1½y/1.3m long x ½”/1.2cm-2”/5cm wide silk ribbon for the neck ties
100/2 linen or silk hand-sewing thread
Hoodless mantles: ⅝y/.5m ¼”/3mm wide cotton or linen tape to reinforce the neck
Optional: 2”/5cm wide silk ribbon for trimming. Trim can also be made from self fabric cut into strips. Add an additional ¼y/.2m to your fabric requirements for trim.
- View A: 9¼y/8.5m ribbon.
- View B: 11¼y/10.3m ribbon

The Sophia Mantle: 1775-1810

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

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

Recommended Fabrics

Outer Fabric: silk taffeta and satin, figured silks, velvet and velveteen, fulled wools. Silks & velvets in black, ivory/white, and shades of pink and coral; and wools in black and red are the most common colors seen in extant examples and period images.

Interlining (optional): cotton or wool flannel, very thin wool quilt batting. Polyester quilt batting is NOT recommended as it is too bulky.

Lining: Light-midweight silks including silk satin, lightweight taffetas, and silk lustring/lutestring. The outer and lining may be the same fabric. Some images show mantles with contrasting linings: black or pink/coral mantles with white linings appear to have been most common.

All fabric requirements allow for cutting directional fabric. Extra fabric will be needed for print matching.

* This size and view can be made with ⅝y/.5m less fabric if Piece B is pieced on the corners.

IMPORTANT: Add an additional ¼-½y/.2-.4m for self-made fringe trim.

Notions:

1½y/1.3m long x ½”/1.2cm-2”/5cm wide silk ribbon for the neck ties
100/2 linen or silk hand-sewing thread
Trim for neck, hood edge, & lappet ends only: 4y/3.7m fur, marabou feather, or cotton or viscose brush fringe.
All edges trimmed: 8¼y/7.5m fur, feather or or cotton or viscose brush fringe.
Self-made silk fringe, neck, hood edge, & lappet ends only: Add an additional ¼y/.2m of fabric per layer of fringing.
Self-made silk fringe, all edges: Add an additional ½y/.4m of fabric per layer of fringing.

And that’s it! Happy shopping!

We shared some mantle inspiration in our call for testers, but here’s a bit more:

An 18th century painting showing a lady with dark hair in 3/4 view, wearing a pink-red dress with a sheer lace mantle over it.

Thomas Gainsborough, portrait of Louisa Barbarina Mansel, Lady Vernon, 1763-7 (c) National Trust, Sudbury Hall; Supplied by The Public Catalogue Foundation

Carrington Bowles, ‘A Nettle between Two Roses’ 1790 hand-colored mezzotint British Museum

Carrington Bowles ‘A Decoy for the Old as well as the Young’ 1773, hand-colored mezzotint, British Museum

An 18th century portrait showing a lady with powdered hair, seated at a slanted table with her sewing basket in front of her, wearing a black silk mantle over a pink dress, with striking black hat

Princess Marie Charlotte Amalie of Saxe-Meiningen by Johann Georg Ziesenis

Two women in 18th century dress stand in front of a fence. Behind the fence are a pair of Highland cattle.

Georgian Frolics in the Country

Published by The Dreamstress

A few weeks ago my historical costuming friends and I rented a cottage in the country for our fifth(!) annual Historical Sew & Eat Retreat.

On Sunday we took a drive along the back roads in 18th century dress and admired some cows and explored the delightful Hattenburn Gardens.

The cows were interested in our grass, but not brave enough to eat it out of our hands…

I wore my Extremely Exuberant Amalia ensemble, and Nina wore her just-finished Angelica gown in the same fabric, in a slightly less exuberant colourway.

(fun fact: this fabric is made by the same manufacturer as the in/famous Our Flag Means Death breakup robe!)

Other than me, it was an Angelica fest. Mme Kez wore the sample Angelica she modelled, and Averil sported another just-finished Angelica, in country appropriate linen, altered to be front fastening with hooks.

And somehow we all, excepting Nina, forgot our bust bows. I don’t know how. Mine was sitting on my dressing table, complete with pin, when we got back.

The Hattenburn Gardens were lovely, with amusing and informative signs about the artwork, the plants, and permaculture. There were picturesque koi streams:

And lovely old benches (which Nina and Averil engaged in a ladies fisticuff battle over):

And shady spots to escape the blazing sun:

But the best thing about the gardens? Cats! I will never not be excited to see a cat!

He just loves me for my feathered hat. See how he ignores Nina? He had just espied the hat!

Cats and costumes. They just go together!

After touring the gardens and getting slightly blinded in the glare, we headed off for some very 18th century appropriate…

…ice cream!

It may not be ices at the Pot and Pine Apple, but real fruit ice cream is a delightful New Zealand experience, and we certainly delighted and amused the customers and staff at the roadside fruit shop.

Real fruit ice cream is frozen fruit of your flavour choice (I got strawberry and boysenberry, but cherry is also a firm favourite) blended up with vanilla ice cream right in front of you and swirled out into a ridiculous tower of fruity deliciousness.

They asked if we had come from filming something. We were very good and just said it was a hobby, instead of being cheeky and saying we were off the set of Time Bandits, which was filming in the neighbourhood!

A most delightful time! I highly recommend low pressure frolics over high pressure events!

Three little girls from school are Wheeeeeee!

Call for Pattern Testers for 18th century mantle patterns!

Published by The Dreamstress

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.

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.

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.

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

Sizing:

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)

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

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