Black and red often conjures up Spanish tutus but there is so much more to these colours than just Spanish. A dramatic all black tutu is included in the mix here too … dark Odette.
The points on this plate end with floating jewels for extra drama.
Dramatic detail on bodice front does suggest a Spanish flair for this tutu. But with a change of choreography or music the dancer could portray any strong character.
The skirt is black on top but grades down to red.
This lovely little cherry red tutu is decorated with silver venise lace that has been overdyed to match the bodice and plate. A bit of glitter tulle in the top of the skirt adds sparkle.
The white bobbin thread has taken up the dye leaving the silver top thread to sparkle through in the lace.
The next tutu is all black, black net, black bodice and black trim.
The trim needs textural elements so that it can be seen. In this case I’ve used black pearls and sequins and some large smokey grey rhinestones.
The last tutu, although being in typical Spanish colours was pared back and made a bit stronger and “spikier” than a Spanish tutu might be.
I used 2 types of appliques but drew them together by using the same stones on each.
And here is the tutu on the lovely Tara at the 2017 Sydney Eisteddfod.
Here we have a tiny Aurora, a Shades (Var.1) and a pretty white tutu with a pale pink blush.
I love the vibrant colours in tap and jazz costumes. Here are three costumes I made for Eloise and Tarli.
Tarli will wear this costume with long black gloves, fishnet tights and a bobbed black wig. Can’t wait to see the photos!
The black appliques have been blinged up with purple and red stones.
This bright green and gold tap costume was great fun to make.
I used 2 different laces, one green on a black background and the other warm gold and copper. Lots of green rhinestones added sparkle.
The triple layer skirt was hand dyed into 3 different green shades.
This beautiful burgundy costume is for slow tap. The long split skirt shows the dancer’s legline.
The costume has cosmic mesh sleeves and skirt for some subtle bling and a richly embellished collar. The underskirt is black to enhance the burgundy.
And here is the lovely Eloise on stage.
Photo by WinkiPoP Media
Photo by WinkiPoP Media
Here are three ready-to-wear costumes and one commissioned costume I have made recently.
The nude mesh on the upper bodice gives a lovely effect of the lacy appliques floating on the dancer’s skin. The cosmic mesh skirt adds a little bit of sparkle.
Rhinestones on the nude mesh add to the ethereal effect of the floating appliques.
Here is a little pink costumes in a similar style with a soft flowing skirt. The deep V front is backed with powernet for coverage. The mesh used for the upper bodice and skirt has holographic dots for extra sparkle.
The pretty pink appliques have been made with a graded thread so there is a lovely palette of random pinks across the costume.
And another in a similar style with a cream bodice and double skirt in white mesh.
This lovely little costumes has an ombre skirt and a ruched bodice. I added a little bit of French lace for some subtle bling.
And 2 pictures of Eloise in action.
Photo by WinkiPoP Media
In 2018 I have resolved to make a few more RTW tutus to test new design ideas on the ballet community. This one was a classical colour combination but with a new lace type that my fellow tutu-maker Danielle Legge brought to my attention. It’s a net based trim that has tiny sequins adhered to it in beautiful baroque-style patterns, just perfect for a tutu.
I’ve added apricot, topaz and jonquil rhinestones to enhance the pattern and break up the cream background a bit.
The long points are arranged to give a star effect over the ivory and champagne skirt.
Most of my RTW tutus are sold very quickly after they are released for sale. I sell them on my FB page and Tutus Off the Rack and a few other FB ballet costume platforms.
One of my clients asked me to make a championship tutu for her daughter with just a few colours a no-go and the brief … lovely, layered, textured and romantic.
Here’s my interpretation of her brief …
I used a combination of 2 different laces on the bodice and a range of blue rhinestones.
The main applique was white with light gold cording. To bring a textural effect I used bright gold venise lace and some topaz horse-eye navettes.
I used the same applique on the plate with a few touches of venise lace. Between each of these appliques I placed a diamond of blue net edged with soft gold lace with a venise lace applique in the centre.
You can see the effect of the three different gold colours is quite loves and provides depth to the design. Here is picture of both parts of the late together.
I was very happy with the design and the overall effect. I think It has attracted the most likes of any of my posts on FB.
This is one of my most requested colour schemes/variations. Lilac comes in quite a few shades and this one was on the deeper end of the spectrum with the addition of a ruched corselet bodice.
The top if the bodice is ruched with hand-dyed stretch mesh made to look like a little chemise above a corset. Rather than applying the applique in the usual V-shape I have inverted it and take it around to the back of the tutu bodice.
It can be a little difficult to sew a non-stretch trim around the underbust with enough latitude for the dancer to squeeze it past her hips but I put a little bit of slack in the sewing and used a number of pieces rather than one continuous piece all the way around.
The plate is made of matching lycra with a soft lilac lace and silver venise lace spilling onto the skirt. I’ve added rhinestones in purple, lilac and light magenta to give a bit of sparkle.
The silver venise lace was a feature of the skirt but I wanted to mute it a little with lots of rhinestones.
soft lilac and silver
The plate was really quite sweet and delicate. This lace had no bling so I had a lot of fun making it sparkle.
The back featured a central motif as well as the underbust decoration that was carried all the way around.