Do I Need To Wear A Bra Under My Tutu?

The Undergarments Worn By Ballet Dancers

In one of my earlier posts, I responded to a large number of visitors coming to Tutu-Love with the question, ” Do  ballerinas wear underwear beneath their costumes?” Recently, another question focusing on the topic of ballet costumes and bras has surfaced. People really do wonder what a dancer wears underneath it all. Because classical ballet training involves very form-fitting garments, it’s normal to be curious about this topic.

When we see a ballerina on stage in a tutu and take notice of the slim straps of the costume, some of us question whether she has any other support going on underneath. Aren’t we humans an inquisitive bunch?

Inquiring Minds Want To Know: Do I Need To Wear A Bra Under My Tutu?

After posting the question to the tutu designer herself, here are the basic facts about the bra area and bodice design:

• At Costume Creations, tutus are constructed with a higher cut at the front and sides to provide ample coverage for larger bust measurements.
• The top of the bust line is given a drawstring that can be pulled and tightened for a secure fit.
• Bodice fittings avoid low cuts for modesty and coverage.
• For support, the front bust line seams are supported with specialist spiral steam boning.
• Tutus are not sheer or see-thru. If made properly, they provide excellent support from the inside out.

What Is Spiral Steel Boning?

Boning itself is a material used to add shape and structure to fabric. It is usually made of rigid, thin plastic strips that are inserted into tunnel-like seams placed within a garment. Spiral boning is  a special type of boning that can twist and flex, yet bounce back into shape. It allows freedom of movement for the dancer, yet provides a beautiful shape to the bodice.

Spiral Steel Boning

Tips Are Affixed To Boning

Boning Is Cut To Fit Bodice

Professional Classical Tutus Are Made To Be Worn Without A Bra

A dancer does not need to wear a bra under a tutu. Competition judges can and do deduct for unsightly straps that may pop out during a performance. In the ballet world, undergarments are as unobtrusive and hidden as possible. Wearing a bra under a tutu during a performance is just as bad as wearing pointe shoes that don’t fit.

The fear, discomfort and worry will distract the dancer and rob her of the joy of freedom of movement. A professional tutu should give the dancer peace of mind, not added stress and concern.

Professional couture methods for classical tutus should guarantee that no dancer has to experience a tutu skirt that bunches, droopy fit, poor coverage, or anything else that distracts them from dancing with confidence.

Tutu Embellishments-Candlelight To Limelight

Do you have a love for all things shiny and beautiful? If you do, you can appreciate the luster and elegance of the crystal embellishments that are hand-applied to most of the Classical tutus designed at Costume Creations.

When we see their crystalline reflections, we are enjoying the modern version of theatrical garment decorating. Not only are they intricately sewn on in lovely patterns, they are enhanced by the types of stage lighting we have today.

Lustrous Patterns That Reflect The Beauty Of Classical Ballet

Tutu Decorating Techniques-Comparing Past & Present

Since one of my favorite things about the Classical ballet is the never-ending connection between past and present, I couldn’t help but wonder how tutus and their embellishments looked on stage in the days before modern lighting techniques. Not only were stages lit much differently, but some of the materials that are used to create today’s trims didn’t exist back then.

How Did They Perform Ballet Stories Before Electricity?

Several centuries ago, dance theaters were lit by candlelight.  Before that time, it was common for ballet performances to be held outdoors in daylight. As far as embellishments, many of the garments resembled fancy dresses with large collars and lace details. Tutus would come along much later.

The typical theater used gaslights in strategic spots to enhance the show for the audience. Since gaslight technology for stage lighting became more mainstream after 1845, we can get a good idea of what types of embellishments were available for tutu makers at that time.

A Starry Night Sky Performance

Even though the costumes in the video below are not embellished with many reflective materials, the sparkle of the simple dress trim catches the eye. The dark backdrop and lighting overhead create a purposeful focus on the dancing pair. They are known to be in the limelight.

A Limelight was a genuine stage lighting mechanism first used indoors at Covent Gardens in 1837.

Learning how stage lighting evolved is a wonderful way to explore another aspect of ballet history. This is a great example of the magical way ballet sticks firmly to tradition, yet takes advantage of progressive materials.

These Tutu Skirts Shimmer Like Stars In A Night Sky

Enhancing A Tutu Was Very Different In 1832

If you happened to be a tutu maker in the mid 1800’s, your choice of embellishments not only reflected the styles of that era, but the materials that were available for enhancing theatrical garments. Crystals, sequins, embroidered lace and metallic threads are what we enjoy today, but many of these materials weren’t quite mainstream when the first long tutu appeared in 1832. As a matter of fact, many photos and paintings show the long tutu skirt as quite unadorned at that time.

When Traditional Tutu Embellishments Came Along

• 

  Prettier than the Milkyway Galaxy

  Sequins- 3000 B.C. : The sequins we know and love today have an incredibly old history. They date as far back as ancient Egypt when they were little disks made of metal. Today they are made of  shiny plastic.

• Crystal Rhinestones-1775: Crystals have evolved from basic Rhinestone gems for jewelry to the beautiful flat-fix crystals for specialty garments like Classical tutus. Few are more brilliant than those famous Swarovski Crystals.
• Embroidered Lace-Compared to the other embellishment types found here on this list, lace making isn’t as ancient. Although the exact dates differ, historical sources give the early 1500’s as the century when lace was first made.
• Metallic Thread– Although it sounds like anything metallic would be modern in creation, the material originated from Asia more than 2000 years ago. It was called Goldwork.

Which came first, stage lighting or embellishments?

Of course it’s impossible to cover every single thing that humans have used to decorate their garments since the dawn of time, but embellishments like seed pearls, bone buttons, beads, gold, silver and bronze have been around since Cleopatra ruled the Nile.

What Was It Like Being A Tutu Maker In The 1800’s?

If we use our imaginations and step into our pretend time machine, we can get a glimpse of what a tutu maker’s life must have been like back in those days:

• 

  1892 Tutu style for The Nutcracker Ballet

  Eyestrain-Sewing by candlelight or gaslight into the wee hours of the morning. It was dangerous to work with fabrics in the vicinity of open flames, even with glass hurricane covers.

• Living Close To The Theater District-A tutu maker would have had a difficult time living way outside the city limits in order to practice her craft. Back then, you either lived in the city where the work was, or lived out in the country off your own land.  Suburbs were yet to come.
• Sourcing Only Local Supplies-In the days before catalogs and phones, tutu makers had to use materials that other merchants offered locally. They may have had to walk to the thread maker, the textile factory, or the bead and lace shop for their items.
• Costumes Were Delivered By Horse And Buggy-If, by some chance, a tutu needed to be transported to another theater, there was no overnight delivery by plane. It went by horse and carriage, Currier, or ship.
• No Instant Anything-No phones, no electricity and gasp, no Internet. There was no such thing as online orders, photography or films. The sewing machine wasn’t invented until 1846; fourteen years after the first tutu appeared.

Tutu Questions & Answers With Monica

1. Since you began your tutu making journey, what have you noticed are the biggest  changes in the world of embellishments?

The biggest change in the world of embellishments is everything is looking a better standard because Tutu Makers have access to so many more embellishments available world-wide on the internet. I would say although it is important how costumes look in photos on the internet,  the real test is how they look and feel on stage. The fabrics should flow, the colours should blend and contrast well with the sets, and the design should suit the dancer and the music.

 

2.  What would you do if you had to go back in time and make tutus by candlelight?

If I had to go back in time and make costumes by candlelight I would manage quite well because I remember the power cuts we had in the 50s 60s and 70s. We always had candles in the house and I still keep them now. I would carry on just the same. I am of that generation that copes without complaint.

 

3.  Was there anything better about the life of a tutu maker in the late 1800’s when compared to today?

France, Circa 1700-1750. Goldwork embellishment on a Stomacher using metallic thread lace

I think the tutu makers in the 1800s probably had life a lot harder. The costumes had to reach very exacting standards to attract the audience to attend the ballet and go back again. I think today’s audience are generally possibly less demanding on costumes because they are accustomed to seeing simple contemporary costumes. So automatically are quite accepting of anything.

In the 1800s the demand was for absolute artistic excellence. Yes, I think it would have been very hard for them to be successful. We have the option to sell costumes of varying prices online. The costumers of the 1800s would have been extremely “select” and chose from many. Also many more people could sew then. These days sewing and embroidery is a dying art. So we have competition, but easier to cope with.

However, Costumes for Competition I would say have to be of an extremely outstanding standard these days. So comments above refer more to a ballet for a theatre audience

4. If you could  only chose one type of lighting to reflect from your beautiful embellishments, would it be candlelight, Limelight, or modern electric light?

My choice would be natural candlelight to create the magical aura ballet should have. The crystals would sparkle beautifully under candlelight as the dancer moves.

© Design Copyright Monica Newell

 

5. Would you ever make a Classical tutu with an unadorned skirt?

I would only make an unadorned skirt for either Practice , Exam,  or if the Ballet Director had absolute simplicity in mind.

For competition today there is an expectation of high level decoration. However, when I competed in the 60s the general rule was white plain tutus with no decoration only.

 

Un Tutu Extraordinaire: Mesmerizing In Any Light

© Design Copyright Monica Newell

Speaking about lights and costuming, this beautiful tutu reflects a light spot  from above. The lighting puts that gorgeous section of skirt and embellishment in its own little Limelight.

I love how the combined artistry and talents of the dancer, costumer and photographer make magic for all of us to enjoy.

Although we think of the “spotlight” effect as a modern enhancement for photography and theater, somebody way back in the 1800’s was already trying to make a spotlight invention.

What is most fascinating is the risk they took to combine a mixture of hydrogen and oxygen gas flame applied to a piece of quicklime to see what would happen.

Lighting a piece of quicklime on a modern gas stove produces the orange glow known as Limelight.

As the lime burned, it created an orange glow. This orange glow was somehow contained and directed to certain spots around the theater to showcase the dancers in a more audience-pleasing way. Isn’t all of this simply fascinating?

The more we think about ballet costumes, the more topics we discover to learn about.

Everything  that we know and love about theatrical garment enhancement is intertwined with ancient history, scientific inventors, unusual contraptions, incredible risk taking and the desire to make ballet performances better and better.

Just when we think we have learned all there is about the art of tutu making, we find more to contemplate ( and love) about these wonderful garments and the special people who make them.

 

 

Image Credits:

1. Candelight, Pixabay.com, CC0 Public Domain Free
2.  1892 Nutcracker Tutu By anonymous Russian 19th century photographer [Public domain], via Wikimedia Commons
3.  Stomacher France By PKM (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0) or GFDL (http://www.gnu.org/copyleft/fdl.html)%5D, via Wikimedia Commons
4. Homemade Limelight by Chemicalinterest [Public domain], via Wikimedia Commons

 

The Top 4 Fitting Points For Professional Tutu Results

Whatever are they talking about?

Wouldn’t you love to hear the private conversation between a tutu maker and her client when they get together? Do they sit, chat and have tea? Maybe they get right to business and plan for tea later. Perhaps tea is forbidden anywhere near the delicate netting and expensive trims in the fitting room.

What we all understand is that a designer and client come to an agreement on what the end result is supposed to look like. However, both care what it feels like and what it moves like as well. Are you surprised to learn that an individual dancer has great input in the whole process?

Sitting Pretty Doesn’t Work For Ballet Garments

When a costume designer creates a couture garment like a classical tutu, the fitting process has a double challenge.  The garment has to flatter the dancer’s body and it has to function athletically during a variation. Tutus are made to move and create that thrilling theatrical presence on stage that keeps people spending money on ballet tickets.

Fitting A Tutu Is A Respectful Collaboration

Dance photography can capture the many angles of a tutu. Isn’t this one a beauty?

Let’s picture a dance student on her way to a costume consultation. What’s on her mind? Maybe :

• I hope it turns out perfectly for my role.
• I hope the colour will look good on me.
• I wonder if the straps will stay up during this variation?
• What if I gain or lose weight after it’s finished, then what?
• How should I carry it home?

As it turns out, the real conversation is based around the areas of the body that need coverage, allowance for movement, ease, aesthetics or accentuation for beauty.

First time clients always receive the advice and expertise of an experienced tutu maker, but advanced dancers will also trust their costume maker with the details.

Every little construction detail is important for maintaining professionalism of appearance, but there are four main  points that a dancer discusses with Monica of Costume Creations when she comes in for a fitting. After designing thousands and thousands of professional tutus for dancers all over the world, she gets the same concerns from all of her dance students:

1.Sufficient Bodice Coverage

I think the first thing most girls concern themselves with is that the fit is high up at the front so they are not exposed when they stretch up and bend back.

I can understand why. The ballerina represents class and elegance. It would be mortifying to have a bodice that doesn’t provide ample coverage during a performance. Secure, dependable bodice coverage means freedom.  Creating a worry-free dance experience for the client is another goal for the designer.

2. Tight Waistline With Moderate Room

For second I would say tight on the waist for a nice shape, but not too tight so they can breathe.

This must be done cleverly and carefully. Tutus definitely appear to be form-fitting; especially around the waist and lower bodice area. This elegant silver tutu is a perfect example of form-fitting style. Ease has to be carefully calculated. Too much ease causes wrinkling, drape and little accentuation of the waistline. A tight, corset-like waist could split a seam on stage. No dancer wants to faint on stage from costume asphyxiation.

 3. Tutu Skirt Placement And Profile

A nice sit of skirt – not drooping or flopping.

Let’s consider this part the balancing act where the tutu skirt is attached at precisely the right place on the hip. Just like geometry, angles matter a lot. Tutus serve a purpose other than making a dancer look beautiful. They were created to prevent looking down at the feet.  Correct circumference is important. A  dancer is judged and viewed from almost every angle. Dance photographers are taking advantage of these angular views to create intensely beautiful ballet pictures.

 4. Snug Fitting Brief

A nice snug fit on the rear with aesthetic lines and appearance.

© Tutu Designed by Monica Newell, © Image by Philter Photography.UK- All Rights Reserved

The brief part of the tutu has to do much more than keep the gluteus  muscles warm. It has to cover an area that has two very active hip joints and moving legs tempting it to sag, bag, or, heavens forbid, ride up in the middle of a variation.

Now it’s easy to see why these four areas are the main fitting criteria for a tutu. Top, bottom, center and skirt placement for balance.

Tutu Makers Are Secret Mathematicians

In order to make a 3-dimensional garment that looks great from every angle, looks tight, but isn’t, allows complete freedom of movement and is made completely by hand takes a huge amount of skill. The magic of couture work is the un-magical dedication to a difficult craft. Not only is a tutu maker an artist, but an architect that uses physics and geometry.

They measure and come up with angles. They create linear patterns using intervals of space. They take flat, lifeless material and construct it into a crisp shape that keeps its form during leaps, jumps, bends, sways, kicks, waves, folds, stretches, curl-ups and curtsies. We may as well add a bit of engineering and mechanics know-how to the repertoire of skills an expert tutu maker is blessed to have.

 

Image Credits: Eavesdropping By Vittorio Reggianini (1858–1938) [Public domain], via Wikimedia Commons

Ballerina By The Fireplace by Philter Photography.UK

How Ballet Students Deal With Disappointment

Have you ever wondered what a young dance student does when a coveted award, placement or role is given to another dancer? Do they get angry? Do they beat themselves up about it? Perhaps they run home in tears and sulk for days. Maybe they blame the choreography, the brand of their pointe shoes, or the poor condition of the stage flooring.

In the civilian world outside the realm of serious ballet study, it isn’t far-fetched to imagine negative reactions and highly charged emotional scenes when a child doesn’t get what they want when they want it. We live in fast-paced times where instant gratification is the norm for our young people.

However, the minute a child steps into his or her first ballet class, they experience a different norm. They begin a long-term process that never really ends. Once a young dance student makes up their mind to seek out a career as a ballet dancer, they face a long list of must-dos and must-haves to grow and thrive as a dancer.

Serious Ballet Students Have A Long List Of Challenges

Here are just a few of the things that a student may have to think about:

1. How they are going to pay for classes, practice garments, shoes, costumes and transportation year after year.
2. Keeping themselves motivated to practice their daily exercises in or out of the dance studio.
3. Eating the right foods for energy and fitness. Sleeping properly and keeping a good schedule.
4. Staying disciplined when surrounded by out-of-control peers outside the world of ballet training.

It takes strong willpower and determination to keep your eyes on the prize if you are 12 or 13 years old and want a corp member contract by age 18.

Anticipating The Win, But Remaining Gracious No Matter The Result

Imagine yourself as a young ballet student. You are excited about winning a local dance competition. Your tutu is perfect and you have practiced your variation until it becomes a part of you. After the competition, you wait in eager anticipation for them to call your name. In your mind, you already know where you are going to display your trophy when you get it home. The judge announces the winner. It isn’t you.

I asked Monica the average age of her youngest ballet competition clients and was surprised to learn that they are as young as 2-5 years old. How is disappointment dealt with in these formative years? Here are a few ways that ballet students keep on keeping on:

1.Positive Parental Support

Ballet parents are special people. In a world where so many parents coddle their kids so they don’t experience any stress or difficulties, the ballet parent knows that experiencing struggles makes a child stronger. Young dancers learn early that their dreams aren’t handed to them on a silver platter. This equips them to handle life realistically. It  teaches a child that they will appreciate most those things in life that they had to work the hardest for.

2.Their Own Natural Resilience

It doesn’t take long for a young ballet student to learn that some things in life are harder to achieve than others. Even learning the basic turnout of the five positions will teach a child patience and perseverance. Kids are very resilient and bounce back quickly from challenges. Unlike adults who can become jaded with life, children have a natural effervescence that keeps them chugging along.

3.Peer To Peer Understanding

Who better to understand what it feels like to not get the role or the trophy than another dancer? Although some classmates may end up competing against each other, ballet training creates a sisterhood ( or brotherhood) just like any other sport or hobby. Dancers hang out together, support each other and give each other advice, comfort and encouragement.

Here is a great example of the frailty myth of the ballerina. The delicate, wispy movements of a dancer hide the true strength of both her physical body and the inner strength of her character. Ballet not only trains the body, but the mind as well.

 

“No matter how you define success, you will need to be resilient, empowered, authentic, and limber to get there.” ― Joanie Connell

How To Pack A Classical Tutu For Shipping Overseas

Precious cargo on board; your beautiful tutu.

With tutu makers in short supply, or should I say, those of excellence far and few between, dance students may find it difficult to locate a costume source in their immediate area. Experienced design companies like Costume Creations not only handle orders from local dancers, but manage to send custom orders throughout Europe and overseas to The United States.

Tutus shipped to The United States, France, Europe and Russia travel by Fedex Air.

Parcelforce on standby

Garments that are shipped throughout England travel by Royal Mail. For areas outside England like Wales, Ireland and Scotland, tutus arrive at their destination by Parcelforce. Don’t you love the bright red colour of this company?

Seeing all this hustle and bustle of  air transport makes one remember the days when packages had to travel by ship to reach foreign shores.

How A Tutu Is Prepared For Shipment

Are you as curious as I am when it comes to packing a classical tutu properly for long distance shipping? Does the tutu come in a big, round box so the skirt will lay flat? Who makes sure that the costume is packed tenderly and professionally with care?

I cannot speak for other businesses, but Monica of Costume Creations gives personalised attention to each garment all the way to the final sealing of the package. Tutus are taken in person to the postal service  and the entire packing procedure is witnessed to ensure the pristine quality of the garment stays that way.

It is interesting to learn that classical tutus are typically shipped in 18x18x18 boxes. Just like there is a fine art to constructing a professional tutu, there is a proper way to pack it for transport without bending the hoops or damaging the shape.

Below: A lesson from Monica on how she carefully folds, bags and prepares a tutu for shipping. The folding lesson example uses a practise skirt and not the full tutu pictured.

Begin with a flat tutu, bodice up.

1. Fold in half with bodice inside.

2. Fold sideways into a quarter (soft fold, not hard so as not to bend hoop)

3. Transfer into bag and tie top.

4. Place in strong cardboard box and label FRAGILE- HANDLE WITH CARE

 

After Your Tutu Is Packed And Sealed

Once the precious cargo is resting comfortably within the shipping box at the postal service, this is what happens next:

1. The box will be measured and weighed.
2. A delivery option is chosen. 2 days express is the preferred choice for Costume Creations so the tutu doesn’t stay boxed for long.
3. A receipt with tracking number is obtained and shared with the client.
4. Package transit is checked online and updates are sent to the client.

What To Expect Upon Opening Your Package

With the careful folding and short stay inside the shipping box, your tutu should immediately bounce back into shape as soon as you take it out. To keep it clean and beautiful, it can be stored in a protective tutu bag. The bag dimensions should be at least 110 – 120 cms ( 43-47 inches) in diameter to prevent the edges of the skirt from crushing.

Anticipating The Arrival Of Something Precious

Beautiful Ballerina © Costume Designed by Monica Newell, ©Photography by Bryan Harris

All this modernity and easier access to costume designers via the Internet seems to catapult things into an ultra-practical business realm doesn’t it? However, there is something so magical and enchanting about classical tutus that they will never cease to be the romantic and charming garments that they are.

It isn’t just a box with a tutu in it. On the other end is a hopeful recipient anticipating the arrival of something beautiful into her life.

It is the heart of a young dancer looking forward to something created just for her. It is joyful excitement as she takes her precious costume out of the box and runs to the mirror to hold it up in front of her.  It’s here! It’s finally here! She tries it on. It’s perfect.

The arrival of her costume gives her another reason to dance right there on the spot. To dream. To imagine and practise and persevere. Most of all, both the beauty of the dancer and the costume meld together to create photographic memories that are priceless and well worth the wait.

 

“The idea of waiting for something makes it more exciting”
― Andy Warhol

 

 

Image Credits: Wikipedia.org, FedEx Express McDonnell Douglas MD-11 by Alan Radecki,  No Modifications, http://creativecommons.org/licenses/by-sa/3.0/, 18x18x18 box Courtesy of Amazon.com, Flickr.com, Aldergrove June 95 (14)(n) G-PFBT Viscount—-Parcel Force by Eric Johnston, No Modifications, https://creativecommons.org/licenses/by-nc-nd/2.0/

 

 

 

 

 

A Day In The Life Of A Professional Tutu Maker

How many hours does it take to hand pleat a tutu skirt?

Have you ever wondered what a typical day is like for a professional tutu maker? Of course, in the dance costume profession, each new day can bring a variety of challenges. The word typical is just a guideline. However, there is a certain ebb and flow to the daily work structure of any business. For the sake of reality, there is no such thing as a Monday-Friday 9am to 5pm workweek in the tutu making business.

Tutu makers and those who create couture garments are human. They may have children, grandchildren, or pets that need care during the day. They need regular rest, healthy meals and time to spend with loved ones. Don’t you wonder how they fit it all in and stay sane?

Before Our Sample Day Begins; The Prerequisites

” Hello, Costume Creations? “

Let’s pretend that a client contacts Monica at Costume Creations on a Monday afternoon by email or phone. She will collect, request and discuss the following information:

• The color, design and size
• The competition date and a general price quote
• A photo of the dancer to view body shape, coloring and to get an idea of their personality
• A request for any repertoire music that is not well-known

At this point, the client will receive a detailed measurement chart that includes height and weight. Once the measurements are received, the pattern making can proceed.  It may take part of Monday evening and all day Tuesday ( approx. 12 hours) to design the pattern. Now, it’s Wednesday morning.

Let’s Spend  Wednesday With Monica At Costume Creations

What time do you get up and what are your first plans?

I get up about 7am and put on freshly ground coffee. I feed the cats and Valentino. After that, I get going on work quite quickly. I spend some time on business marketing and promotion through online social media. I order fabrics, decorations and spend time sourcing quality materials. This could be online or require travel to London or Birmingham.

 

After the general pattern is finished, what do you start working on first?

I cut all the net frills accurately , cut the edges, then hand pleat them all before sewing onto the pant and basque. Next I cut the bodice panels and linings and cut the specialist boning for support.

If you begin pleating the tutu skirt at 8am, when will it be finished?

I would say the pleating probably takes about 15 hours – that does not count sewing the frills in place onto the pants.

How do you fit in time to care for yourself on a work day?

I usually only stop to eat one meal a day to save time.

 

How long is your typical work day ?

My job is quite long hours but I enjoy the creativity of working in a profession and art-form I love so much. I also go to Ballet Performances of professional companies to keep up with the latest innovations and I attend as many competitions as possible to see the standards and requirements and conditions.

How do you handle or prevent interruptions?

Interruptions are only really phone calls. It is usually quite easy to stop; answer the phone and get back unless I am gluing crystals or airbrushing. If I am airbrushing I don’t answer the phone or door.

When do you allow yourself to “call it a day” and get some rest?

I don’t really “rest”.  I occasionally take a day off to go to the ballet or see family.

How do you prioritize tutu-making with your other costume orders as well?

I don’t prioritize tutus above the other costumes; the main priority is Date of Competition. So that is the priority I give to everyone regardless of whether Ballet, Tap, or Gymnastics.

 

Considering that costume orders and inquiries continue to come in while completing previous orders shows us that it takes:

• Energy and passion-Working from morning until late at night takes dedication and a lot of physical energy. Loving the trade is an important part of the energy creation needed to make couture garments for the public.
• Organization and priority setting– Tutu makers work within schedules, deadlines and blocks of time.  They must be as self-disciplined as the dancers they serve.
• A calm, responsible head-It wont do to approach costume making with a frazzled mind and shaky nerves. Couture work isn’t about churning things out quickly. Quality over quantity is what matters.

 

Tutu Making  Requires Careful Management Of Time

A beautiful partnership based on skillful execution

Isn’t it interesting to find out that each part of a tutu can require the designer to spend days just working on one section? It can take 15 hours just to pleat the skirt. If you consider that all that time is devoted to just one garment order, it can boggle the mind to see how busy the days are for a professional costume designer.

It isn’t just a trade or a job, but a way of life. The quote at the bottom of this page sums it up nicely. Costume designers spend their lives intentionally directing their time and talents towards the skillful execution of theatrical design.

The dance student also works hard towards the skillful execution of ballet technique. It’s such a beautiful partnership; a dancer and their costume maker. Each works so hard to reach the pinnacle of perfection.

The dancer needs the designer and the designer needs the dancer. One is the canvas; the other the painter. When it comes to achieving excellence, allowing ease with the passage of time is an important part of the creative process.

 

“Quality is never an accident; it is always the result of high intention, sincere effort, intelligent direction and skillful execution; it represents the wise choice of many alternatives.” ~William A. Foster

 

Image Credits:

1. Girl On Phone, Pixabay Free, 2. Flickr.com, Alarm Clock 3 by Alan Cleaver, No Modifications, https://creativecommons.org/licenses/by/2.0/,  3. Cornish Cream Tea By Tuxraider reloaded at en.wikipedia [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC-BY-SA-3.0 (http://creativecommons.org/licenses/by-sa/3.0/)%5D, from Wikimedia Commons, 4. Fiskars Scissors By Evan-amos (Own work) [Public domain], via Wikimedia Commons

The Dangers Of Buying Used Tutus Online

Designs that are copied victimize the dancer who paid for a custom couture garment.

The word cheap and Classical Tutu should never be in the same sentence. These garments are so precious, so valuable to the traditions of the ballet, we must guard them respectfully and never allow them to become the victims of pinch-penny mentality.

Ballet training is expensive. Not only do classes have to be paid for, but all the numerous garments and accessories a dancer needs. Leotards, tights, warmers, slippers, hair accessories, stage makeup, dance bags, pointe shoes, padding, tape, lambs wool, bandages and, of course, costumes are a large part of the expenses.

In the world of ballet competitions, hundreds of classical tutus are custom-made for individual dancers. After the venue is over, the dancer has to decide what to do with her costume. She may decide to cling to it as a precious keepsake for the rest of her life. She may also decide to pass it down to another dancer or a younger sibling. A used tutu can also end up in the public marketplace.

Buying A Used Tutu The Smart Way

The safest way to sell or buy a used tutu is to do it within the confines of your school with fellow students. Ballet students find this a resourceful way to get a quality costume at a lower price. It works with dancers that are close in size. The benefit is that they don’t have to guess about the fit or aesthetics. They know exactly what they are buying in advance. They know the people they are dealing with; unlike doing business with a stranger online.

Used Tutus For Sale Online And Through Social Media Sites

Used tutus can be found online in many places. You find sellers on dance forums. Some have shops on Etsy that offer vintage or gently worn costumes.  Facebook is full of swap meet pages. It also contains groups dedicated to the buying and selling of dance costumes.  Sadly to say, if you want to buy a second-hand tutu online, it would be to your advantage that you don’t need it for something vital to your ballet career.

Buying a pretty used tutu just to have is one thing. Depending on it to pass the scrutiny of high standards on a professional stage is risky beyond measure. Ballet is and always will be an expensive career. You cannot cut corners on costuming and expect to maintain perfection of aesthetics. It is this cutting of corners that many unscrupulous sellers take advantage of.

Unethical Advertising Lures In Unsuspecting Buyers

Because the Internet is so full of beautiful tutu images, those that are not protected by copyright notices are fresh for the taking. In good ways, they are shared and enjoyed by honest people. However, tutu images are exploited by people who use them as advertising bait to get customers.Why? Because their own designs are not enough of a draw to attract a sustainable client base.

They refuse to invest money into creating sample garments of their own work. It costs them nothing to grab a picture online. Not only does the buyer become a victim of false advertising, upper echelon companies like Costume Creations, Benefis, Rosetti, Class Act, e.t.c. find their professional designs posted as garments that are easily made by home sewers and seamstresses.

3 Sneaky Ways That Tutu Sellers Try To Get Sales From Stolen Photos :

1. The Wing-It Method– Find a professional tutu design from a top company that doesn’t have a copyright statement on it. Study it, upload it to your webpage, then offer the costume for sale confident you can whip up the same exact tutu as soon as you get the order.
2. The False Front Door Method– Upload a fabulous tutu design that was created by a high-level professional; not you. Use this photo as a ” representative”  of your couture skills, whether or not you have those skills.
3. Recruiting Partners In Crime– Advertising to your potential customers that they can bring photos of tutus from other makers  that you can copy for them at a fraction of the cost.

Stolen tutu images are exploited by people who use them as advertising bait to get customers.

Read between the lines, dancers and customers. These practices are banking on the naiveté of eager buyers. People who try to sell tutus this way are lazy, lecherous and unbelievably dishonest.  Do you really want to do business with somebody like this just to save a bit of money? They are lying to you.

Remember, no reputable tutu maker is going to allow her work and designs to be exploited for profit by another business. Don’t take a photo to be copied at a cheaper price. If a tutu maker doesn’t have the artistic capability to birth a costume for you based on your variation needs, I would run, perhaps even Jeté away from that webpage.

The tutu maker that has been in business for decades will offer you a glimpse of her photo portfolio.

How To Protect Yourself From Buying A Bait & Switch Tutu

Let’s suppose we find a seller that has posted an exquisite photo of a peach Classical tutu for sale on her webpage, Facebook group, or online shop. It’s gorgeous and the price is so reasonable! Before you get too excited, slow yourself down and take a few measures to protect yourself and your money:

• Verify Source Through Google Images– Enter “professional peach Classical tutu” into Google Images. Chances are excellent that you can locate the original source of the image if it is published on a costume company website. Enter as many search terms as you can think of.
• Ask The Seller For A Proof Photo– Don’t believe the picture you see. Tell the seller you want a dated picture of them AND the tutu they are selling. In color and UP CLOSE.
• Request A Skype Session-If they had computer access to post a tutu photo on a sales page, then they should have no problem giving you a free Skype session. Why Skype? Because it allows you to see the front, back, sides, inner linings and seams for holes, stains and rips.
• Use PayPal– When it comes to buying anything online from an unknown seller, PayPal can offer you a lot of protection if something should go wrong.

Costume companies are increasingly vigilant about protecting their designs from fraudulent use online.

If a tutu seller makes excuses or refuses to let you examine her garment up close, don’t do business. Refuse to deal with anyone that says:

• My Grandma made this years ago and I am selling it for her, so I don’t have anymore pictures to show you.
• I’m selling this for a friend, but she’s on vacation. Otherwise I could borrow her computer/ camera.
• You will just have to take my word for it. You can always get your money back if you don’t like it.
• I’m offended that you want all of this extra proof. Nobody has ever questioned my honesty before.

An honest seller would work with you to make sure you are comfortable buying from them. If a seller becomes defensive; they are probably hiding something.

If you see a tutu online that makes your heart sing and calls out your name, you are in love with the work of its designer! Do everything in your power to locate that person or company and order directly from them; you will be glad you did.

 

If you are taking copyrighted designs and using them to trick buyers to profit yourself, you are perpetrating a  consumer scam. You are committing Internet Fraud. You are committing Postal Fraud. You will find yourself in Legal hot water with the customer, the police, the costume company and the photographer.