So I did a little surfing around the net, and found some information about them. If you're interested, please read on - if not, just scroll through and look at the pretty pictures!
If you said ‘tutu’ in Hawaii, you’d be talking about your Grandmother; in New Zealand it’s a poisonous plant, and Tutu de Feijão is a paste made of beans and manioc flour in Brazil!
A tutu is really a couture dress made for a ballet dancer. Within professional companies the Principal dancers will have bespoke (custom made) tutus, sometimes having input into the shape and fit, while others in the company will be fitted into existing handmade tutus – possible because of the clever way a tutu is made, with several rows of hooks and bars (which have to be chromed to prevent rusting). They are expensive - often costing thousands of dollars.
Most people think of a tutu as the whole dress, but strictly speaking it is just the net layers around the waist – the bodice is separate and both are made by specialists. A tutu begins life as 10 metres of net, in strips of varying stiffness. The softest layers will be placed close to the legs, the very stiff layers will go in the middle and the top layer will be somewhere between the two. It is based on a basque which fits the waist and hips, and knickers are attached in the final stages. The net layers have to be tied down, by hand, with loose stitching to ensure they all move together.
Around the world, the number of layers requested varies between companies. A tutu is usually made with 10-12 net layers; in Italy it is between 7-10 and Paris is always 13. A crinoline (steel) wire is used to make a firm hoop in one of the layers, which helps to retain the plate-like shape. The final layer, the top skirt, is the heaviest, with jewels and feathers, appliqué, and embellishments
You might be surprised to know that tutus are made almost exclusively by men, and that’s because it is hard, physical work. It’s also very repetitive. In this year of biodiversity, it seems appropriate to say that tutu makers are a critically endangered species. You can probably count on the fingers of both hands, how many professional tutu makers are currently working, and you’d have fingers to spare.
Once the tutu has been made, two fittings usually take place. The crucial measurements – the height of a dancer and the length of the back from neck to waist – can vary a great deal even in one ballet company. By this time the bodice, a grosgrain fabric backed onto a cotton drill, will have been fitted to the net layers, and it will be pinned, stitched, undone and re-stitched several times until it fits like a glove.
For her partner too, the tutu presents challenges. Most of the decoration will be placed on the top skirt but avoids the waistline, giving her partner a safe place to hold her so that his hands are not torn to shreds. He still has to watch out for his face though, as the stiff net layers can scratch the skin.
That said, there is nothing like a tutu to make a dancer feel like a ballerina. Along with pointe shoes, a tutu really is the unique tool of her trade.
As this photo of reknowned prima ballerina, Anna Pavlova, shows, the tutu hasn't changed much basically in over a century.
Bodice: The tutu bodice can use from 6 to 15 panels of fabric. Some of these pieces are cut on the bias (the diagonal) which gives fabric some stretch. The bodice is a separate piece of the costume attached at the waistline or high on the hip; sometimes it's put together just with elastic tabs to allow for movement.
The Basque: This 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 Skirt: Tutu skirts determine the shape of the tutu and generally define the style: Romantic, Classical or Bell.
Romantic Tutu: A three-quarter length, bell-haped skirt made of tulle. The hemline falls between the knee and the ankle. The romantic tutu is free flowing to emphasise lightness, to suit the ethereal quality of the romantic ballets such as Giselle or La Sylphide. It is said to have been invented, or at least popularized, by Marie Taglioni, first in 1832 in La Sylphide. There are two types of romantic tutus-one that starts at the waist and one with a dropped waist and basque called a romantic tutu with basque.
Classical Tutu (pancake): A very short, stiff skirt made with layers of netting that extends straight outwards (from the hips) in a flat pancake shape, and has a fitted bodice. The pancake style has more layers of net and usually uses a wire hoop and much hand tacking to keep the layers flat and stiff.
Classic Tutu (bell): A very short, stiff skirt with a slight bell shape, it is usually longer than a classical (pancake) tutu. It is made with layers of netting and has a fitted bodice; it extends outwards from the hips and does not use a wired hoop. These can be seen in the famous ballet paintings by Degas.
Balanchine/Karinska Tutu: also known as the "powder puff", it is a very short skirt with no hoops, and fewer layers of netting than the pancake or classical styles. The skirt is loosely tacked to give a softer, fuller appearance. This style was designed originally for the ballet version of Georges Bizet's Symphony in C.
Platter Tutu: A tutu with a flat top that sticks straight out from the ballerina waistline. It is very similar to the pancake tutu, though the top of the tutu is almost completely flat, where the pancake tutu is a bit fuller at the top.
The bell-shaped Romantic dress of the mid-1800s gave way to the tutu at the end of the 19th century. Connoisseurs of ballet, the Russians wanted to see the new technical feats and fancy footwork of their ballerinas. The new long, floppy, 16 layer tutus reached to the knee and allowed the female dancers much greater mobility in such technically demanding ballets as Swan Lake, The Sleeping Beauty and Paquita. The late George Balanchine's athletic choreography later led to the creation of the shorter "powder-puff" tutu that is worn in Symphony in C. These tutus allow the entire leg to be seen.
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(¸.•´ (¸.•´♥ Tristan ♥