Re: Tutu
Anahí Keoshia
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For anyone wondering whether this is me making up cute names, I can assure you that Pancake Tutu is actually the proper technical term for the currently most popular tutu shape. And just like pancakes, they come in varying thicknesses. The tutu is usually made with around 10 layers of stiff tulle, so the amount of layers and the gathering technique used to fit it to the knickers will determine its final shape and fluffiness.
At this point I want to point out that the standard way of adding colour to a tutu is to spray it. It is possible to create gradient effects and give it more visual depth. Leather spray is the best choice for this as it is highly adhesive. That is not to say this is an ideal solution, most of my peers have sprayed their tutus and albeit it is beautiful some of the spray came off as a powder and got onto my bodice. Not so nice!
We had a basic 5-piece ballet bodice pattern in the studio that came pretty close to what I needed. I deepened the plunge neckline and took of 2cm on each side of the centre back. The minx net panel was draped on the stand. Luckily it fit almost perfectly at the first fitting, I took a out a small bit in the underbust area of the side front piece and moved the top edge further upwards. The point in the front was removed for aesthetic reasons.
A lot of work goes into finishing off the inside of a ballet bodice. Usually the edges would be finished with piping but Niamh and I wanted a plain and flat bodice so I faced all edges with bias tape. To ensure a perfect fit without wrinkling ballet bodices are always boned with spiral boning. This boning can follow curves but it still very strong. It is encased in petersham boning channels that are herringbone stitched to the seam allowances by hand. This is advantageous because it makes it easy to just remove the channel for alterations and sew it on again. The minx net was also sewn to the bodice with a herringbone stitch.
The original design included a sculptural draped element made out of iridescent PVC and iridescent foil that was discarded as both me and the course leader had doubts about feasibility and quality of the outcome. The second idea idea was to cut glass-like mosaic pieces out of PVC and spread them on bodice and tutu focussing on the waist area.
I draped a little cape with some white chiffon from the scrap bin so no extra cost on that, yay! As you can see everything is closed with hooks and eyes as that is the most durable option. A placket in the centre back of the bodice ensures that there are no awkward gaps.
This gorgeous tutu was on display in 2016 at The Denver Art Museum where it formed part of the exhibition: Rhythm & Roots, Dance in American Art. This costume is very similar to that held at the MOL but has blue stones in the headdress and on the bodice. Why and when the gems changed from green to blue or vice versa is curious. I understand that the central gem was meant to symbolise the soul of the swan. Later, ballerinas began to wear a red gem in the centre of the bodice supposedly to symbolise the fatal wound inflicted on the swan.
The Paget-Fredericks Dance Collection contains roughly 2,000 original drawings, paintings, photographs and pieces of memorabilia, the majority of which date from ca. 1913 to ca. 1945. You can view the finding aid for the entire collection here.
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