Final Photos-Finished Costume

Finished Costume:

Final Touches

Final Touches:

More Stringing done, Found the extra stringing hard as the outer strings where blocking the way to get into the middle and tie it properly.
Bias Binding around the plate and the net seam allowances, attached to the basque with back stitch.






Satin stitch around the edge of the net, right on the edge of the scallops:

Finished Bodice, Front and Back, including decoration:

Cut the motife in half for the placket so when it is done up, it looks as one.

Completed Bodice and Tutu attached. Showing how rigid the bodice is, that it stands up right.

Please note:

Please Note:

Bibliography differs to the bibliography in my file (due to the research pictures.) I have tried to keep the bibliogrpahies relevant to the blog/file.

Bibliography

Bibliography

Kassing, Gayle, 2007, History of dance: an interactive arts approach, United states Sheridan Books

Carter, A (2005) Music in 19th Century Dance and Dancers in music hall Ballet, Hampshire, Ashgate Publishing Limited

Clarke, M (1978) Ballet in Art, London, Balding

Cooper, B, (2002) Royal Opera House, London, Royal Opera House and Oberon Books ltd

Davis, J (1978) Royal Ballet History (Classics of the Royal Ballet) London Macdonald’s and Jane’s publishers

Greskovic, R, (1998) Ballet 101: a complete guide to learning and loving the ballet. New Jersey Limelight Editions (an imprint of Amadeus Press, LLC)

Grosser, J (1990) ABC Ballet, Canada, General Publishing Company ltd

Kassing, G, (2007) History of Dance An interactive Arts, Approach US Sheridan Books

Miggelow, V, L (2007) Reworking the Ballet: Counter Narratives and Alternative Bodies, Oxon, Routledge publishers

Strong, R, (1989) Designing for the Dancer, Great Britain, M& A Thomson Litho Ltd

Skoog, M, (2004) The Nutcracker (Programme), English National Ballet

Rebecca, (2005) http://www.classacttutu.com/ballet-costumes, Class Art Tutu, America, Thrive Marketing May 2010

David H. Koch Theatre (2002) http://www.becomearealballerina.com/ Become a real ballerina, New York, The George Balanchine Foundation, May 2010

Evaluation

Evaluation:

This unit has challenged me in all aspects of costume construction; it has developed my understanding of dancer wear costume construction. I have learnt a lot about my strengths and weaknesses which will enable me to improve my professional aspirations. It important to take extra time on certain areas, this would have improved the finished product.

I have found the workshops really useful; they have advanced my understanding of the technical side of dance wear construction. It has made me recognise why the construction techniques are changed and fundamental rules have broken to improve the flexibility in the dance wear. For example some of the seams are on the outside, and bodices not being lined.

I have enjoyed learning a completely new area of construction. I was apprehensive at first because I was throwing myself into the deep end. I am glad I took on this challenge as the new skills I have learnt will further my development in third year and provide me with an alternative way to flatter the movement of the body.

Good time management skills have really helped with this project. It has been really important to get each weeks workshop completed for following week’s workshop.

Sometimes I find myself setting “To do” lists and giving myself a few spare days in case of anything that may go wrong. This made me rush and sometimes make unnecessary mistakes. I need to trust my ability and not give myself such big le-ways. Extra organising and preparation will help my future progress, such as having one note book for each project. I have found myself jumping from one to another which has caused only problems and confusion on what is in which note book.
I find myself ploughing through my “To do” and not thinking about how steps may have side affects on my next construction. I.E I constructed and attached basic piping for hem and neck, but hadn’t been taught how this bodice was to be done for the client. As the costumes are going to be used next year, we are leaving the side seams for any future alterations. We needed to conceal the binding inside at the side seams.
In future I will make sure I know how the areas of the costume is needed to be constructed before I go ahead, and I ensure this doesn’t happen again by doing extra research from books, internet or tutor.

My research has broadened my knowledge of the various styles ballerina tutu and their origins and also history about classical ballet which will support my knowledge to achieve and further my professional aspirations.

I found the pleating hard to keep consistent, which is really important, I found as I was trying to put more of the net underneath the pleat it ended up looking as if the pleats where on top of each other looking gathered. I will practice on scrap net so I can fully grasp the technique for any future work in the professional environment.

I had patterns for the bodice provided for me so all bodices would be exactly the same, as it was for a client it was important. I had to show that I understood how I would have created a pattern; I really enjoyed drafting my bodice on the stand. Previous lessons had really helped me understand how to manipulate the fabric to my advantage-to get it as a “second skin.” I was really pleased with how my bodice patterns looked. I would have improved them by marking alternative markings in different colours to make it as clear as I could.

Working with a client and producing a group of costumes is difficult as it is so import to keep the costumes exactly the same. A group of 6 with alternative style of working and working in alternative areas, it was difficult to keep the costumes the same; it was important to have good communication skills.

My fitting went really well, I only had to change a few minor sections, for me, it was a conclusion that I had grasped the unit and understood the construction of a ballerina’s costume. I was pleased I adapted my patterns correctly.

I have really enjoyed this brief; it has been challenging and very rewarding. At times it was very difficult as it was an area I had never done before, but that’s to be expected. Working for a client was interesting, and showed what the profession would be like, and for that I have learnt a lot, design, shape, colours all have to be checked with the client. I have learnt a lot about how I work and the faults in what trips me up on creating a strong garment along the way. I will take everything I have learnt form this project into my final year and to help achieve my professional aspirations.

What would i change?

What Would I Change?

When i was trying to put the leg frill into the channel on the knickers i found it really hard to thread it through as i had sewn the leg frill on over the channel before i re-did it, there was stitching in the channel that prevented me from putting the elastic through; again this was due to my problem that i went on ahead and hadn't checked where to sew. i didn't know where to sew it i just thought i knew where it went.
To prevent this from happening i should have looked on the example that Dexter had provided us or spoke to someone that has done the ballet workshops before and knew where it went. I checked too late and then i was told that i had sewn partly over my channel.

To prevent bulk in the seam allowance in the piping i cut the bodices seam allowance down above the design line, on the CF and a SSF seam, i cut away the seam allowance too much and when i put the piping over the seams, it didn't reach to where i had cut it too, so therefore it looks messy, and I'm really not happy with it.
Next time to prevent this from happening again i will measure how much seam allowance i will have from my piping and i will cut to the length that i will be able to conceal it.

I overlocked my bodice and facing in black overlock, i thought the tones worked better than the white, i hadnt thought that the drill was white and it would look better. Also the facing would be better in white so it didn't show through the net. If i could i would overlock it in white as it would look better.
I also used grey thread on my piping as i thought it would work better than white, as the white stood out too much, the black was too dark so i went in the middle with the grey. I would do it in the gold that i have been sewing my fastenings on with and use a consistent thread colour throughout to improve my finishing standard.

Blog Tutorial 2

Blog Tutorial 2

My second tutorial was to reflect on my blog so far. I am pleased with my feedback. Graham and i discussed how my reflection pieces are looking; he was pleased with how i evaluate my errors and how i find solutions, this is a good point that i will focus on trying to keep up with as it is a mature reflection on my work.
I will include my bibliography when i have published all my posts and put in all of my information.
I will select some of the key points in my reflection posts to include in my evaluation, and further them more. Go more in depth with the solutions, as that is a key point to focus on.

Week 6

Workshop 5:
Discuss what needs to be handed in;
Armhole binding
CB's
Attaching bodice to basque
Finishing of the net, plate and bodice

This week is preparing us for hand in, making sure all the little bits are put together to finish the costume.
We have dicussed that we dont have to have the decoration done for the hand in date, it can be done after, which is a big relife. It was 12m + to be done that would have taken up alot of time. I am glad to be focusing on the standard of the finished cosutme rather than the decoration.
We decided as a group concealed binding would look better on the armhole than piping.

CB-The placket on the left side is used from the seam allowance that we cut when we cut the bodice. Unfortunately when i overlocked the seams i cut off a little more than i should. So i had to add additional fabric on the CB so i could make the placket an efficient time.
When i cut another bodice i will always leave the CB until i have finished them, i didnt need to overlock them at all. The Bars had to put put 1/2" down fromt he top and botom, and one on the waist. Then the rest to be distributed evenly, this is so where there is the most pessure there is a fastening. Waist most important as this is where most of the pressure is going to be.

We are concealing he net and the plate seam allowance with bias binding attach to the basque. this is to create a higher level of finishing and strength.

To secure the plate we need to string the plate through the coloured net to the tutu, not right at the end, its just on the design line above the hem. Joined at each point, so theres 8 strings that will attach the plate.

The bodice will be attached to the basque by swing catches, i have learned that this is done so the bodice and the tutu will stay in line and the waist at the bodice will sit just underneath the waistband on the basque, this is so the hem and the tutu will sit right.

Consistancy within the group

As we have been working for a client, it has been much more noticeable that we have to have such a strong consistency within the costumes. It has taught me that when producing a group of costumes it is so important to talk to each other at each process-mostly the design and the shaping. It has been testing as a few people prefer to work at home more than others, so the group is a bit separated.
Producing a group of costumes in the future would be best to make sure everyone is together and to communicate with each other.
This will help me in my future prospects as i will be aware of the mistakes i have made in within communication side throughout the group, and i will help to prevent this on happening to be able to produce to constant and strong costume that all look as one.

Re-Visited Work Load

After the fitting the group and Dexter spoke about how we felt about the work load we had facing us for the next week, we all had concerns and the amount of work we had. Dexter spoke to Adele and re visited the work load, and concluded we could leave the decoration till after hand in, and Dexter will be doing the decoration on the plates for us. I think this will really help, it has helped my frame of mind already, i feel like this is do-able with being able to continue with my blog, evaluations and construction.

Reflection

Reflection

As this unit is self directed i try and take my initiative, sometimes i need to just check before as i have found in a new area of construction i haven't known the "correct" method for ballet dance wear construction. I have found this hard to balance independent learning with taking a completely new skill on board. If i have been doing an area i had done before and knew the steps rather than the alternative techniques that needs to be taken, i think i would be able to make more decisions on my on behalf, and get it right-more than i have.

Through out construction i have noticed a big problem that causes me unnecessary issues. I am trying so hard to get everything done i go through my "To do" list and sometimes i assume that simple techniques will be the same.
I.E Piping on the bodice. I thought that the hem and neck line would be straight forward. As we are producing this for a client and the costume is being used next year, we are taking precautions if the bodice needs to be taken in/out. So extra piping had to be concealed in at the seam in case it was to be taken out. Then re-started at the side seam to the CB and finished normally.
I had seen piping and presumed that it was straight forward. I had to unpick the CB to the side seam and conceal some piping.

I have to stop plowing through the list without instruction to be a better maker. If i do not have instruction i need to do more research and find out from books or the Internet.

History on how "Classical Ballet" (how we know it now) came around.

George Balanchine developed one final category of tutu styles, known as the powderpuff tutu. It is similar to the Classic tutu, but does not have hooping, and contains fewer layers of tulle, making it softer and more flowing than the traditional Pancake tutu.

George Balanchine, born Georgi Melitonovitch Balanchivadze in St. Petersburg, Russia, is regarded as the foremost contemporary choreographer in the world of ballet. At the age of nine, he was accepted into the ballet section of St. Petersburg's rigorous Imperial Theater School, and, with other young students, was soon appearing on the stage of the famed Maryinsky Theater in such spectacles as The Sleeping Beauty (his favorite). He graduated with honors in 1921 and joined the corps de ballet of the Maryinsky, by then renamed the State Theater of Opera and Ballet.

In 1970, U.S.News and World Report attempted to summarize Balanchine's achievements: "The greatest choreographer of our time, George Balanchine is responsible for the successful fusion of modern concepts with older ideas of classical ballet. Balanchine received his training in Russia before coming to America in 1933. Here, the free-flowing U.S. dance forms stimulated him to develop new techniques in dance design and presentation, which have altered the thinking of the world of dance. Often working with modern music and the simplest of themes, he has created ballets that are celebrated for their imagination and originality. His company, the New York City Ballet, is the leading dance group of the United States and one of the great companies of the world. An essential part of the success of Balanchine's group has been the training of his dancers, which he has supervised since the founding of his School of American Ballet in 1934.

Balanchine himself wrote, "We must first realize that dancing is an absolutely independent art, not merely a secondary accompanying one. I believe that it is one of the great arts. . . . The important thing in ballet is the movement itself. A ballet may contain a story, but the visual spectacle . . . is the essential element. The choreographer and the dancer must remember that they reach the audience through the eye. It's the illusion created which convinces the audience, much as it is with the work of a magician." Balanchine always preferred to call himself a craftsman rather than a creator, comparing himself to a cook or cabinetmaker (both hobbies of his), and he had a reputation throughout the dance world for the calm and collected way in which he worked with his dancers and colleagues.

Where did tutu come from?

Where did "Tutu" come from?

The origins of the term “tutu” are not as elegant, beautiful and romantic as the garment itself. In fact the term tutu seems to have stemmed from a vulgarity.
Legend has it that the term tutu originally came from a slang word used by commoners who attended ballet performances in the mid-1700s. Typically the rich elite would sit on the upper levels of the ballet theatres and look down on the performances, while the working-class, common folk would sit on the floors below the stage and look up at the dancers as they performed. Unfortunately ballerinas in the 18th century were not blessed with the new-fangled undergarments we now have today, which meant that often during performances the crowd sitting below the stage got more out of the performance than they bargained for.

Tutu was a name given to the area that was often seen by the commoners under the ballerinas’ skirts. So, in fact, the word tutu was intended as a slang word similar to “crotch." Though designers eventually figured out a way to eliminate this embarrassing costuming problem, the name tutu stuck.

Though the first tutu was merely a skirt cut just above the ankles to reveal a dancer’s feet, these skirts eventually migrated north.As ballet became more and more popular two types of tutu emerged: the long romantic version and the shorter, more provocative style (now often called the Classic tutu).

The first romantic tutu is often attributed to the famous virtuoso ballerina Marie Taglioni. In 1800s Taglioni became known as the first ballerina to dance “en pointe”.The tutus worn by Taglioni were often cut to below the knee to reveal the intricacies of her famous legwork. These romantic tutus were delicate, feminine and were made of material that allowed Taglioni to move about freely floating through the air and executing the precise movements that gave her cult status.

To this day the romantic tutu is still made to be long and flowing, giving the ballerina a weightless, ethereal appearance.As ballet continued to become more popular connoisseurs of the art form demanded to see more when it came to the intricate dance movements that dancers performed. Again the tutu shrank. The style of tutu commonly referred to as “classic” is a short, stiff skirt that juts out horizontally from a ballerina’s hipbones exposing her legs entirely. The classic tutu is often worn with a leotard, which hugs the dancers body.

Both romantic and classic tutus are designed to give ballerinas a light, airy look, making look as if they are floating when they move across the stage. Although the tutu has evolved significantly, tutus today still serve the same purpose as those designed two hundred years ago.

History of Tutu

History of the Ballerina Tutu


The ballerina tutu has been called one of the greatest costume inventions of all time. It is just that, a brilliant “invention”--unlike any garment otherwise known.
Anatomy of a Ballerina Tutu
A ballet tutu presents major construction challenges:
· The ballet tutu must be beautiful—yet durable.
· The ballet tutu must fit like a glove—yet allow a full range of freedom in movement.
So, some really brilliant costumers developed a way to piece together different elements to overcome both of these challenges.

Ballet Tutu Bodice
The ballet tutu bodice can use from 6 to 15 panels of fabric. Some of these pieces are cut on the bias which gives fabric some stretch. The ballet tutu bodice is a separate piece of the ballet costume attached at the waistline or high on the hip; sometimes it's put together just with elastic tabs to allow for movement.

The Tutu Basque
The ballet tutu basque is the piece that sits from the waist to high on the hip. It can be continuous with the bodice or a separate, tight fitting fabric “band.”
The Tutu Skirt
The ballet tutu skirts determine the shape of the tutu and generally define the style: Romantic, Classical or Bell. These different tutu styles will be explained in the next section.
Ballet Tutu History and Styles

The Romantic Tutu Skirt
The first ballet tutu is credited as appearing in Paris in 1832 on Marie Taglioni in La Sylphide. Her tutu skirt (see right) was cut above the ankle to show her famous legwork. This first ballet tutu style was dubbed, "The Romantic Tutu”. This romantic style occurred during the “Romantic” period in ballet costume history.
Romantic Tutus are long, floating and ethereal. They are usually 3 – 5 layers of soft tulle.
There are 2 types of Romantic Tutu. In the first type of Romantic Tutu, the skirt begins at the waist. The second type of Romantic Tutu is a dropped waist version. The skirt begins at the high hip and is called a Romantic Tutu with Basque.



http://www.classacttutu.com/

The Classical Tutu Skirt
Historically, after the Romantic Tutu, came the Classical Tutu. The Classical Tutu was born from the viewers’ request to see more of the intricate movements that dancers were starting to perform. The Classical Tutu skirt jutted out horizontally from the dancer’s hips and showed more of the leg. This style of ballerina tutu was first worn by the Italian ballerina Virginia Zucci in the 1880s. This first Classical tutu ended just above the ballerina’s knees and looked more like the current Bell tutu skirt or even Romantic tutu skirt.
http://www.classacttutu.com/

As the years went by the Classical Tutu skirt shrank to show more and more of the feet and legs. Today, there are two main styles of what is known as the “Classical” Tutu: the very flat Pancake / Platter / Plate or Russian design-this ballet tutu skirt goes by many different names! and the softer Powderpuff or “Balanchine” style of Classical Tutu.
The tutu skirt ruffles on Classical Tutus are placed on knickers. The pancake style Classical Tutu has a wide, flat tutu skirt, is hooped, and is tightly tacked. It is made of stiff tutu netting.
Hooping is stiff petticoat wire inserted into a casing in one of the central ruffle rows. Hooping aids in keeping the tutu’s flat, stiff shape.
http://www.classacttutu.com/

Powderpuff Classical Tutu Skirt
The “Powderpuff” style of Classical Tutu has a softer look. It is not hooped, has a shorter skirt and is tacked more loosely. It can be made of softer tulle (like the romantics) or a combination of net and tulle.


Bell Tutu Skirt
Another ballet tutu fashion is the Bell Tutu. The Bell Tutu is named for its bell like shaping and is combines features of the Romantic and Classical tutu skirts. The Bell Tutu has shorter, more numerous tutu skirt layers than the Romantic and longer and less numerous tutu skirt layers than the Classical Tutu. The Bell has no hoop and is very loosely tacked. It can be made of softer tulle like the Romantic or net like the Classical or a combination of both. Like the Classical Tutu, it has ruffles that are stitched onto the knickers.
http://www.classacttutu.com/

Reflection of Fitting

Reflection on Fitting

I am really pleased how my fitting went, i didn't have to make any major alterations. A couple of seams on the bodice to make it more of a "second skin" and re align the plate.

The plate was the most obvious area that needed correcting. I had fitted it off the mannequin which had meant it wasn't straight down the CB and didn't match up (refer to "technical side of fitting photos to see.") I hadn't thought about putting it on the mannequin, because i had already drafted it on the mannequin with the calico pattern i thought it would line up. I have learnt that when a garment is always changing (tutu moving, squashing, stringing, bending) when putting a plate onto a temperamental garment its more effective to take all precautions. Plus when it is on the mannequin it is in the shape of the body and it will sit on the body differently to off the mannequin. I will be taking this away with me in my future constructing skills and in year three. By taking the "longer" route will benefit how well the garment fits to the body. In dance wear it is more obvious than some other costume areas.

At the fitting, to me, it is a visual conclusion on how well i have grabbed this new area of construction over all i am really pleased how it fits and how it looks. To be thrown into the deep end in a completely new area of construction, i did wonder at times how it was supposed to look (as i had no idea) but as it has gone on i have learnt how the tutu layers, knickers, waistband and basque are meant to look together. I can relate the bodice to costumes i have done before-but with more panels.

Over the past weeks i have learnt a lot about myself and my strenghts and faults. I thought my organisation skills were really good. I do still think i am good at time management, but little areas that let me down which results some areas of my organisation to be really messy. Such as having two note books, referring back and forth is messy and confusion i could do without.

It has also taught me that i shouldn't be too worried about taking on a new challenge, as i have learnt so much that i can take away with me in my 3rd year and industry years, not just about dance construction, about construction that i can use in other costumes. Alternative way of thinking that will make the garment fit better.

I have set myself time schedules that sometimes may be pushing myself, i like to have at least 2 days "fall back" in case something goes wrong i have scheduled time in for areas that might have gone wrong. I find myself rushing sometimes, which makes me make silly mistakes, when i do have enough time to take my time. I think that will come with confidence, its getting there, this unit has taught me a lot.

Fitting Technical Side

Fitting

Overall the fitting went really well, i was really pleased with how my costume fit my dancer. I asked my dancer to get changed behind a curtain and to put the tutu on, and i would do the bodice up. Unfortunately as the tutu and bodice looked securely attacked, she pulled it up by the bodice so the swing catches all ripped and the bodice came off the tutu. This effected the sit of the bodice in relation to the tutu. I took the bodice off, re pinned the CF to the CF of the basque so they sat properly.

The knickers and the basque fit really well which i was really pleased about. The bodice fit well, but to make it more like a "second skin" i took a few of the seams in



When i put the plate on i didn't attach it when it was on a mannequin, this was a mistake, i thought as i had drafted it already, if i lined the CB and CF up it would automatically sit right. This wasn't the case. The CBs hadn't fallen right in relation the the circumference and the placement of the plate around the waist.
I will be taking the plate off and re placing it on the stand. Hopefully that will help with how it sit.



I took in either sides about half an inch at the front:


I also took the back in about 2 8ths of an inch either side, up the diagonal safety pin:


The shoulder straps looked fine but I re marked the seams. I asked her to raise her arms, and the shoulder straps felt tight she said, so i slightly make it looser by 1 8th of an inch both shoulder.
Arm hole i made slightly wider by 1 8th of an inch on the back. The front i left.
Both pictures after alterations:

Notes

Note Books:

I have been taking notes down in two different note books. This hasn't helped my planning and organisation. I will make sure i will have a fresh note book for any future projects in year three and in the industry.
I needed to find some notes i had taken in the beginning, i couldn't find my note book as i hadn't used it in a while, so i had it took time up that wasn't necessary.

Week 4-5

Workshop 4:
Preparing for the fitting
Re-Do Bodice
Plate draping+cut

We spoke about preparing for the fitting which was good, as then i knew where i stood in what i needed to do before the fitting and after.

We all decided to do extra work this week to help us for next week, the week before hand in. Which i think is a really good idea. We can chose to do it or not, but i thought i would use my time effectively.

I have had 2 weeks to drape the plate, cut and mark the design lines in. I enjoyed learning how to drape the plate, as it has to go on top of the tutu it has to be draped as a whole, you cant just do half and expect it will be the same as each part of the tutu lays differently because of the pleats and how it falls on the body.

We put all of out bodices on the stand. The fabric has ripples in places that didn't look professional enough to give to the client, so we took the bodices apart and put stayflex in between the two layers which helped give structure.
This has taught me that if i notice something like the fabric manipulating whilst i am working with it, i need to make a decision before it gets too far past the point of return. Luckily i was ok to take out the tacking and seams and make that change.


We all did the plate individually, and marked on the design lines. But once they where all done, it was noticed that the design lines all varied slightly. As we are doing it for a company we need them to look identical, and make sure the client is happy with them all looking as if they are a group of costumes.

Draping the plate in calico first to get the pattern, we could also draw the design on the pattern too which helped. Once i was happy with the draping of the calico, i took it off and used the template to cut out my net and top fabric. I attached my net where i have zig zag stitched the basque to the net. I used a back stitch so it would be secure, and if everything fits ok, i wont have to take it back off. I attached the plate the same way, but not as secure so i can take it off for the fitting easily.

Notes:

Make decisions through out the construction, before it could get to the point of no-return and it may just have to stay looking un-professional or start again, which would be a waist of money and time.

Not ideally happy with the colour of the net, i would have liked it darker. I tried everything i could. As we are producing a group of costumes i couldn't spray mine. If i was doing it individually i would have sprayed mine to get the right colour that was the colour of my fabric.