Tinkerbell Bell Tutu

I have just finished my YAGP tutus from the year with lots of Bluebirds and Paquitas. Now it’s time for another character tutu: Peter Pan the Ballet.

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initial sketch

We decided to go with a clear bright Kelly green and to emulate Tinkerbell’s fairy skirt the plate will be 3 rows of petals is increasingly paler shades of green over a green skirt. The first thing I did was dye some of the net and trims. One day I will wear gloves when I do this.

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fairy hands

The top layer of the skirt will be soft tulle so I dyed it a soft green. I also took the opportunity to dye same trim for the plate.

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selection of dyed trim

I tested a few different trims them selected about 6 types that worked well. I didn’t use them all but they have been stashed away for another day. And here is some soft tulle blowing gracefully in the wind.

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hand dyed tulle

To give the skirt the soft bell shape half of the net needs to be fairly soft so I alternated my usual stiff Italian net with American diamond hole net. To give a lovely light top the uppermost top 2 layers are tulle and glitter tulle.

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clippings from the feathered net

Below you can see the difference between American diamond hole net (left) and Italian stiff net. You can see the Italian net has a hexagonal shaped hole and thicker filaments. The diamond hole net is lovely to handle, pleats well and comes in a broad range of colours but I’ve found I need to increase the amount of net in a skirt and or hoop it to keep the shape I want. However, I think it is perfect in bell tutus when alternated with stiffer net.

I used the same number of layers as I do for a classical skirt but added 5cm to the overall skirt length as the angle of the skirt makes the diameter look smaller. I also tacked it more loosely than usual using 25mm tags.

net

diamond hole net and stiff ballet net

The best pattern I have ever found for stretch tutus is Dani Legge’s. It’s reliable, has a perfect fit and it completely adaptable. There are a few imitations of it around but Dani’s tried and true pattern has been delivering the goods for over 20 years. I recommend you have a look at her FB page and website:

Tutus by Dani

Tutus by Dani – Facebook

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cutting the pattern pieces

In this picture you can see on the left that I had added a seam allowance to centre front instead of cutting it on the fold. I like the look of a centre seam and it helps in keeping decorations evenly centred. A basting stitch is the alternative.

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flat lined bodice pieces

I flatline all my pattern pieces with the overlocker (serger) before I sew them together. I generally use a lightweight swimwear lining as it gives the opacity I want without the reduction in stretch that flatlining with lycra will give. The beauty of the stretch pattern is that it will grow with the dancers for up to 2 seasons. However, for older dancers who would like a firmer fit, flatlining with lycra or powernet is a very good option.

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applying elastic

For a snug fit around the top of the bodice I attach elastic with a zigzag stitch (4.5 x 3.0), fold over and zigzag a second time. This tutu just has a sweetheart neckline with no insert, so I started the elastic at one side of the neckline where I had unpicked the centre seam a little. If there had been no centre seam I would have just clipped the centre for a flatter finish.

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first zigzag folded over at centre front

You can still see the faint green tinge on my fingernails! I leave the elastic long so that it is easier to pin the front down flat and then zigzag over it for the second time. As you can see the elastic has pulled the fabric in a little so when I zigzag for the second time I stretch out the elastic so that the  fabric is in its relaxed state as it is sewn. Once it’s sewn down I trim the elastic.

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centre front

All of my green rhinestones came out for this job. I don’t get to use green very often. Apart from Esmeralda there aren’t too many green tutus called for.

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bling time

Here’s a sneak peek at the beaded design. I start with a basic design, photograph it in case the studio cat decides to jump onto the table,  then start applying and tweaking as I go. These will all be hand-sewn.

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initial design

After the beads are all sewn onto the bodice and the easltic straps have been sewn on I start to attach the net. Below you can see the basting line where the first layer is attached. The basting stitches are removed as they will restrict the stretch of the tutu.

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placement for first layer of net

Subsequent layers are sewn on under this, spacing them very closely over the hip flexor and more widely at the front and derriere so that the audience doesn’t see too much of the panties.

tacking (2)

ready for tacking

This tutu has 9 layers. I usually tack in 4 rounds 9 ,8, 7 + 7, 6, 5 + 5, 4, 3 + 3, 2, 1 to give a a fairly flat tutu shape but as this needs a softer more drooping skirt I tacked in 3 rounds with wider spacing and 25mm tags.

tagging gun

Tagging gun and green tags

I used green tags throughout except for the top round where I used very fine translucent tags so they wouldn’t show on the top of the skirt. They are slightly visible on the underside but at audience level they can’t be seen.

tacking

tags on lowest round of tacking

Once the skirt was attached to the bodice it was time to work on the plate

bell skirt

soft bell shaped skirt

You can see the lovely soft bell shape of the skirt. The softer net doesn’t push upwards as strongly as the Italian net so with a bit of steaming it was quite easy to get this lovely shape.

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8 pointed plate

Tinkerbell’s iconic costume has a little petalled skirt. I decided on 8 petals to give a fine look that could still be discerned well from the audience. To grade the colours I overlaid the lycra with green net and tulle.

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petals for rows 2 and 3

Because the skirt has a soft slope to it I needed to construct the plate on the skirt so that it would sit nicely.

sloping plate

petals pinned together

Handsewing? Not today sweetheart. If it can go under the presser foot it does. Dance costumes may look like haute couture from a distance but they are robust functional pieces of “active-wear”, even if they are fairies!

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putting the plate together

Now it looks a bit lumpy underneath but it much easier to put it together this way and trim afterwards than try to perfect all the individual pieces. My plates are generally elliptic rather than circular so that makes for calculating some odd angles.

underside

underside of plate

A little bit of careful trimming gives a flatter underside. Invest in a pair of applique scissors. They are perfect for this type of job.

underside trimmed

trimmed underside

The next stage was to apply some rhinestones to the plate for a little more definition and sparkle. I let the glue cure overnight and then attached the skirt.

The inner edge of the plate is clipped to about 1cm to fit around the top of the skirt and it hand-stitched onto the net with a curved upholstery needle as close to the bodice as possible. The outer edge of the plate is loosely tacked to the skirt so that it sits securely and doesn’t flap around.

And there we have it; a Tinkerbell tutu! Many thanks for Rebecca and Leah for asking me to make this. It was a perfect way to end the year

bodice detail

bodice detail

When too many rhinestones are never enough. These are mostly acrylic stones but what they lack in sparkle they make up for in texture. They look like droplets of dew on the bodice.

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plate detail

Up close the colours in the skirt are quite clear. At a distance they will blend more and the glitter tulle will sparkle beautifully. The underskirt is made up of alternating rows kelly green and forest green.

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completed tutu

if you compare this picture with the one above without the plate you can see how important a plate is to a tutu and how it defines it. As you can see the addition of the plate has made a real difference to this tutu.

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Tinkerbell in the garden

And finally, I can’t resist a picture of Tinkerbell in the garden nestled int the bougainvillea.

Spanish Jacket

Black,red and gold are instantly recognised as stage-Spanish and although there are lots of other colours that can speak Spanish these 3 are always great to work with. For this young man’s jacket I’ve chosen black velveteen, light gold and yellow gold braid, red sequins and rhinestones.

spanish style jacket

do you speak Spanish?

The decoration for this jacket will be detailed stripes following the contours the panel pieces.

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chalked in designs

And then the application of three types of trim.

back braid

back braid

And also decoration on the front and back of the sleeves.

sleeves

sleeves

Undershirts are usually cropped and elasticated. It keeps them from riding up. Longer shirts would just become  untucked, This one is silk crepe de chine.

chemise

chemise

The epaulets were great fun to make. There were just concentric loops of braid on an ellipse. I’d actually run out of red sequins at this stage so I dug through my box of trims and found these sequinned swirls and added some rhinestones for good measure.

 

epaulet

epaulet

The details on the jacket are basically just lines but they do speak very loudly … and in Spanish! The little tassel is a touch of matador!

back

back detail

Initially the front of the jacket between the lines was undecorated but it needed a little something. These gold embroidered appliques were a perfect balance.

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front detail

And the final picture with lots of red rhinestones sewn on for extra richness – Ole!

front

Ole

 

 

 

 

 

 

 

 

 

 

Prince Albrecht from Giselle

I love making tutus but it’s wonderful to be asked to make other costumes too. Here is the starting point for a boy’s classical ballet costume from Giselle. My client wanted burgundy and I had a choice between plain bengaline or this … not a hard decision!

Prince Albrecht

embroidered taffeta and ornate buttons

Like a tutu bodice I line boys’ tunics with a good stable cotton fabric. I cut out the pattern pieces in drill and then overlock those pieces to the top fabric.

cutting out

cutting drill lining

I decided to try hook and eye tape for this tunic. I hadn’t used it before so after a bit of googling I launched in. There was a bit of mental geometry in working out how to apply it but I now have a great new technique to use.

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hook tape

 

The tape was folded back so that the tape was hidden behind the lap. I also put a #3 hook and bar at the top and bottom of the back closure and I folded the fabric back on itself to make a facing behind the eyes.

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hook and bar closure

To keep the vest anchored at the waist I put in an elastic waistband that is held in place with loops on the seam allowances.

internal waist belt

internal waist belt

I had the option to sew in sleeves and a faux chemise but I decided to make a little shirt on a crop top to be worn underneath the vest.  The shirt can then be separately washed and could be worn with other t. Being cropped there is no concern about the shirt coming untucked.

braid

braid and buttons

The ensemble was finished with a pair of knee length tights.

final

Prince Albrecht