What devices are used in ballet costumes? Ballerina costume. Buttocks, elastic as two melons

On March 12, 1839, the ballet tutu appeared. Maria Taglioni, who performed the role of La Sylphide in the production of the same name, appeared on the Paris stage in this outfit. The tutu, which is a fluffy multi-layered skirt, created a real sensation. Over time, this particular costume became traditional for ballerinas.

How ballerinas dressed before the appearance of the tutu.

A ballerina in the minds of any person is certainly represented in a tutu. This stage costume has become an integral part of classical ballet. However, this was not always the case. The modern image of a ballerina, before being finally formed, has undergone a lot of changes and has come a long way.

Many may be surprised, but until the second half of the 19th century, ballerinas performed on stage simply in elegant dresses, which differed little from those in which the spectators came. It was a dress with a corset, a little shorter than usual, rather bulky. Ballerinas always performed in heels. The share of ballerinas was made a little easier by the new fashion for antiquity. By the way, mythological subjects began to be used in ballet, for example, “Cupid and Psyche”. Ladies began to wear airy, translucent dresses with high waists. They were even slightly wetted so that the fabric would fit the body better. They wore tights under their dresses and sandals on their feet. But over time, the ballerinas’ technique became more complicated and lighter clothes for the stage were required. First, the primas abandoned corsets, then they shortened their skirts, and the dress itself began to fit like a second skin.

Who invented the pack?

Maria Taglione appeared in front of the audience for the first time in a ballet tutu on March 12, 1839. On this day there was the premiere of La Sylphide, in which the ballerina performed the main role of a fairy fairy. For such a role, an appropriate outfit was required. It was invented for his daughter by Filippo Taglioni. According to one version, the impetus for the creation of what later became classical ballet clothes was Maria’s awkward figure. To hide the flaws, Taglioni came up with a dress that gave the heroine’s entire appearance airiness and grace. The dress was created according to the sketches of Eugene Lamy. Then the skirt was made from tulle. True, in those days the ballet tutu was not at all as short as it is now. The next “transformation” of the pack happened a little later. But even such a modest attire was initially met with hostility by the ballet world. The tutu was especially not to the taste of ballerinas with not very beautiful legs. But the delight of spectators and art critics, who admired the airiness of the dancers, knew no bounds. The pack played a significant role in this. So this costume caught on, and then became a classic.

By the way, there is a legend about Maria Taglioni. When she crossed the border with Russia, customs officers asked if she was carrying jewelry. Then the ballerina lifted her skirt and showed her legs. Maria was the first to go on pointe shoes.

Maria Tiglioni in the ballet "Zephyr and Flora". This is what the first pack looked like, now it’s called “chopinka”

How the pack took root in Russia.

Tsarist Russia was distinguished by its conservatism and did not immediately accept the new product. This happened only half a century later. But it was in our country that the pack changed again. The innovator was the Bolshoi Theater prima Adeline Giuri in the early 1900s. The capricious person did not like the long skirt in which she had to pose for photographers. The ballerina simply took the scissors and cut off a decent piece of the hem. Since then, there has been a fashion for short packs.

How else has the pack changed?

Although from the beginning of the 20th century the ballet tutu acquired the shape and appearance that we know to this day, we have always experimented with it. In productions by, for example, Marius Petipa, the ballerina could change into costumes of different styles. In some scenes she appeared in an ordinary “civilian” dress, and for solo parts she put on a tutu to demonstrate all her skills and talent. Anna Pavlova performed in a long and wide skirt. In the 30s and 40s, the ballet tutu from the 19th century returned to the stage. Only now it was called differently - “shopenka”. And all because this is how Mikhail Fokine dressed the dancers in his Chopiniana. Other directors at the same time used a short and fluffy tutu. And since the 60s, it has simply turned into a flat circle. The pack is decorated with whatever they can: rhinestones, glass beads, feathers, precious stones.

What are packs made of?

Ballet tutus are sewn from light translucent fabric - tulle. First, designers create a sketch. Of course, the features of each ballerina’s figure are taken into account, and therefore each dancer has her own dress sketch. The width of the tutu depends on the height of the ballerina. On average, its radius is 48 cm. Next, the seamstresses get down to business. This is painstaking work, because craftswomen need to lay the folds of the fabric in a certain way. One pack takes more than 11 meters of tulle. It takes about two weeks to produce one pack. With all the variety of models, there are strict sewing rules. For example, tutus are never sewn with zippers or buttons, which could come off during a performance. Only hooks are used as fasteners, but in a strict sequence, or rather, in a checkerboard pattern. And sometimes, if the production is particularly complex, the tutus are hand-sewn on the dancer before going on stage.

What kind of packs are there?

The pack has many names. So, if you hear the words “tunic” or “tutu” somewhere, know: they mean the same pack. Let's now figure out what types of packs there are.

The classic tutu is a pancake-shaped skirt. By the way, the soloists are directly involved in the creation of their costume. They can choose the shape of a tutu, which can be parallel to the floor or with a slightly lowered skirt.

I also sew a “chopinka”, a long skirt, from tulle. This skirt shape is very good for creating mythical characters or inanimate creatures. The advantage of this outfit is that it hides insufficiently toned knees and other imperfections, but draws attention to the feet.

Another type of dress that does not go out of ballet use is the tunic. His skirt is single-layered; it is often sewn from chiffon. In this dress the role of Juliet is performed.

Dress rehearsal of the ballet "Onegin" by John Cranko

Why are tutus needed during rehearsals?

For rehearsals of ballet performances, tutus are sewn separately. They are easier to put on and take off than those that ballerinas wear on stage. Thus, all parts of a stage costume can be sewn together, whereas for rehearsals a bodice is not needed, but only a skirt with panties is used. In addition, rehearsal tutus do not have so many layers. A tutu is absolutely necessary for rehearsal. After all, dancers must immediately see where the tutu will get in the way, where it can ride up or be touched by a partner. And the director will be able to shape the dance pattern.

Where is a ballet tutu used?

The tutu has become so firmly established that it is used not only on the ballet stage. True, outside of it, the tutu is used for comic performances by pop artists and even in the circus.

Costume in ballet is one of the important components of the design of the performance, meeting the requirements of both specific ideological and figurative content and the specifics of choreographic art. The role of costume in ballet is more significant than in drama or opera, since ballet is devoid of verbal text and its entertainment side carries an increased burden. As in other types of theater, costume in ballet characterizes the characters and reveals their historical, social, national, and individual characteristics. At the same time, it must meet the requirements of danceability, that is, be light and comfortable for dancing, not hide, but reveal the structure of the body, not hinder movements, but help them and emphasize them. The requirements of figurative-characteristic concreteness and danceability often conflict with each other. Both excessive “everyday life” and schematic impoverishment of a ballet costume are extremes that can be justified in some cases only by the special content and genre of a particular work. The artist's skill in ballet lies in overcoming these contradictions and extremes, in achieving an organic unity of imagery and danceability.
The ballet costume, being the clothing of the characters, at the same time is an element of the holistic artistic solution of the performance, which puts forward the task of its coloristic coordination with the scenery, “fitting it in” into a single visual picture. Costume is the most “movable” element of the visual design of a ballet. Therefore, he can introduce a dynamic element into it, fill it with rhythms that correspond to the rhythms of the music. In this sense, the costume is like a connecting link in the synthesis of fine art and music in a ballet performance.
The costumes of the main characters are usually more individualized than those of the corps de ballet. The unification of the corps de ballet's costumes emphasizes its emotionality, rather than depicting it. meaning corresponds to the unity and generality of dance compositions. The difference in color and sometimes in the shape of costumes often reveals the contrast between different corps de ballet groups in mass dance or in polyphonically complex choreographic compositions (for example, in the procession scene in “The Legend of Love”, choreography by Yu. N. Grigorovich, art. S. B. Virsaladze). In those cases when the corps de ballet portrays a real multifaceted crowd, its costumes can also be individualized (for example, the crowd in the 1st act of Don Quixote, design by A. A. Gorsky, art by K. A. Korovin , 1900). The costumes of the main characters are usually consistent in cut and color with the costumes of the corps de ballet, combined with them according to the principle of unity or contrast, depending on the specific figurative content of the dance.
Costume in ballet has historically changed in connection with the evolution of the choreographic art itself. At the first stages of development, it was almost no different from the everyday clothes of the courtly aristocratic environment. In Baroque performances, the costume was especially lush and often heavy. During the period of classicism, a stylized antique tunic (chiton) appeared, and folk costumes began to penetrate into comedy ballets. Reformer of the ballet theater J. J. Nover in the end. 18th century made big changes to the costume by making it lighter, simplifying shoes and shortening women's dresses. However, a radical reform of the ballet costume, which led to the formation of its modern foundations, occurred in the art of romanticism (La Sylphide, 1832, Giselle after F. Taglioni, etc.). Instead of the everyday skirt, they began to use a long tunic (not to be confused with the antique tunic!), which became the predecessor of the tutu; high-heeled shoes were replaced by special ballet shoes, which made it possible to dance on pointe shoes. The contrast between the real and fantasy worlds was emphasized by the costumes. The generalized idealized nature of symphonic dance compositions was expressed in the unity of the corps de ballet costumes. In the performances of A. Saint-Leon and M. I. Petipa, the romantic tunic was transformed into a tutu, which later became increasingly shorter.
Russian artists made a significant contribution to the development of costume. 20th century For L. S. Bakst, the very idea of ​​the costume was born in connection with choreographic movement; in his sketches the costumes are presented in the sharp, often exaggerated movements of the dancers. K. A. Korovin's costumes are distinguished by their coloristic richness and picturesque unity with the scenery. The subtle sense of the era and individuality of the character, characteristic of A. N. Benois, was reflected in his costumes. The costumes of N.K. Roerich convey the elemental power and primitive exoticism of his characters. Artists of the “World of Art” often absolutized the colorful meaning of the costume and interpreted it as a purely picturesque spot in the overall picture, sometimes ignoring or even suppressing the dancer (for example, B. I. Anisfeld). But at the same time, they unusually enriched the artistic expressiveness and imagery of the ballet costume.
In Soviet ballet, the style of costumes created in the 1920s. F. F. Fedorovsky and A. Ya. Golovin, was partly close to the pictorial traditions of the “World of Art”. At the same time, representatives of free dance (followers of A. Duncan) revived the ancient tunic (tunic). In the experiments of K. Ya. Goleizovsky, the dancers performed their numbers in tights, “leotards,” which exposed the body, but the costume was reduced to a ballet uniform. The Drama Ballet Studio of N. S. Gremina cultivated the household costume. Features of constructivism were reflected in the sketches of A. A. Exter, in “Dances of the Machines” by N. M. Forreger, in the introduction of industrial uniforms into ballets about modernity (“Bolt” designed by T. G. Bruni, etc.). In the ballet drama of the 30-50s. artists strove for maximum historical, social, everyday specification of the costume, bringing it closer to dramatic costumes. theater ("Lost Illusions" by Asafiev, designed by V.V. Dmitriev, 1936, etc.). The creation of stage performances was of great importance during these years. options for people costumes, due to the widespread use of folk ensembles. dances, national ballet troupes and popular scenes in ballet performances ("Flames of Paris", 1932, and "Partisan Days" by Asafiev, 1937, designed by Dmitriev; "Heart of the Mountains", 1938, and "Laurencia", 1939, designed by S. B Virsaladze, etc.). In contrast to the trends in the everyday life of ballet costume, characteristic of this period, from the end. 50s Features of abstraction and schematism, monotony and monotony began to appear in ballets in ballets, especially in productions of plotless ballets in symphonic ballets. music.
An outstanding costume designer is S. B. Virsaladze. His works (especially in performances staged by Yu. N. Grigorovich) are characterized by an organic unity of figurative characterization and danceability. The artist never depletes the costume, does not turn it into a pure uniform and an abstract scheme. His costume always reflects the figurative features of the hero and at the same time is conceived in motion, created in unity with the concept and work of the choreographer. Virsaladze dresses not so much the characters as the dance. His costumes are distinguished by high, often refined taste. Their cut and color reveal and emphasize dance movements. The costumes in Virsaladze's performances are presented in a specific system that corresponds to the peculiarities of the choreography. They are correlated in color with the scenery, developing their pictorial theme, supplementing them with new colorful strokes, and dynamizing them in accordance with dance and music. Virsaladze’s works are characterized by a kind of “picturesque symphonism”, largely created by the ballet costume system.
Modern ballet theater is characterized by a variety of artistic costume designs. He implements the entire historical experience of costume development, subordinating it to the special artistic tasks of a particular performance.

The traditional costume of a ballerina is a skirt of a special cut - a tutu. Over time, when the development of ballet moved from one era to another, ideas about ballet outfits also changed. Ballet skirts were recognized not only to emphasize the dancer’s figure, but also to create her image and make her performance easier. Women's skirts had a wide variety of shapes and were decorated in unique ways. The tutu is a flat, thin tulle skirt set horizontally at the dancer’s waist. Which, as if rising from a gust of wind, froze in different forms - “plates”, “bells” and many others. Historically, changes in ballet costume have naturally gone towards minimizing forms. The tutu originated from women's below-the-knee, empire-style skirts called "bells." And the “bell,” in turn, is a shortened version of the romantic tunic - a long skirt to the toes. These delicate costumes belong to the world of ghosts, jeeps, spirits in “La Sylphide”, “Giselle”, “Serenade”, and since the beginning of the twentieth century, since the time of “Chopiniana”, a transparent tunic in ballet colloquialism has been called “Chopin’s”. At Covent Garden, the corps de ballet of swans in Swan Lake still wear silver elongated tutus; they can hardly be called tutus, but they are very reminiscent of those depicted in surviving engravings. Unlike the white tutus accepted in our tradition, “floating” as if on the surface of a lake. Swan tutus, as well as a headdress made of feathers (in ballet slang, “earphones”), were invented by the same Ponomarev, noted by the English press, from whose works one can study the era of the late 19th century and whose costume sketches for a large number of productions have been preserved in the St. Petersburg Theater Library. If in the time of Anna Pavlova the tutus were long and fluffy, then they became shorter and even shorter, and later longer but thinner. In this transformation, it is not difficult to trace the ballet fashion of each era, which, in turn, reflected “high fashion.” The beginning of the century is a modern, hedonistic and sophisticated style, which is why the tutus are richly decorated with real feathers or precious stones. Pavlova's costumes were modeled by fashion trendsetter Lev Bakst; he also sewed her casual clothes. The experience of the Russian-European avant-garde passed by our ballet (but by no means theatrical) fashion - only in Diaghilev’s enterprise were examples of constructivism (people-skyscrapers in Picasso’s “Parade”) and Suprematism (the monochrome of Natalia Goncharova’s ritual clothing in “Les Noces” found in costumes) ), Chanel fashion influence (in sports beach suits from The Blue Express). And yet, sometimes the art of ballet costume reached constructivist heights (the most striking example is “Bolt” by Tatiana Bruni, but the sad fate of the production severely decided the fate of the artistic design).

The utilitarian simplified packs of the early Soviet years looked quite ascetic - the airy wavy line should not have evoked bourgeois associations. The 50s and 60s - the years of the “new wave” in European art coincided with the first foreign tours of our decorated theaters and brought fashion for a universal mini: ballerinas in narrow tutus appeared in ballet palaces and dreams. In the 70s and 80s their width increased, but they somehow became discolored by lack of style - as if a reflection of the years of dull calm, at the same time “stagnation” and “underground”, official art. There are cases when costumes “ruined” a ballet, and, conversely, high-quality choreography will never be deterred by laconic clothing. Thus, in the middle of the 20th century, leotards and tights came into ballet fashion - not just universal rehearsal clothes for dancers, but the signature stage costume of the Balanchine school. The black leotard became synonymous with his “black” ballets (“Agon”, “Four Temperaments”, “Symphony in Three Movements”); Balanchine also had flat tutus of unimaginable contours under the gastronomic name “plates”, echoing the curves of the wide-brimmed hats in the “Symphony of the Far West”. After the tour of the Balanchine troupe of the New York City Ballet, they began to look at ballet with different eyes in the USSR, they even began to dress differently for class: before that, women practiced in tunics made of gauze, and men in whatever they had to. More precisely, the first step in this direction was taken by the visits to Moscow of the Royal Ballet and the Paris Opera in the late 1950s. By this time, Yuri Grigorovich’s “Stone Flower” had just bloomed in Leningrad: no traditional costumes - Simon Virsaladze pulled the Mistress of the Copper Mountain into a spotted jumpsuit. Then there was “The Legend of Love”, after which the fashion for tight-fitting ballet leotards, like a second skin, was established for a long time.

Meanwhile, tutus still occupy the place of the queen in the state of classical ballet. Until recently, there were structural differences in their cut in Moscow and St. Petersburg: at the level of skirt shapes, outlines, number of flounces and styling. It is important that the packs of swans in St. Petersburg-Leningrad from time immemorial differed from the Nereids in The Sleeping Beauty or the shadows in La Bayadère.

But, as time shows, it is not only fashion that is changing, because costumes of different cuts began to return to Bolshoi performances. And the tutus in the shape of open buds in “The Corsair,” the theater’s last major premiere, referencing imperial times, say as much about the theater as they do about the whole country.

From its creation until the mid-19th century, ballet dance was performed in high-heeled shoes and long skirts. In such an outfit it was difficult to perform a number of elements, especially since the ballet was constantly being improved and acquired new positions and movements. At this time, pointe shoes, known throughout the ballet world, appeared. Pointe shoes are a special type of shoe that is secured to the foot with tapes, and the toe is reinforced with a rigid block. The word pointe shoe comes from the French "tip". French ballerinas could boast that they knew how to stand on their fingertips and perform complex elements. To facilitate such a dance, pointe shoes began to be used, which secured the leg and allowed the ballerina to maintain balance. However, in order to start practicing on pointe shoes, you had to train for a long time. After all, these ballet shoes, just as they make the work of a professional dancer easier, can also harm an inexperienced performer.

In ballet schools, girls were taught classical dance elements for several years before they were allowed to wear pointe shoes. Dancing skills and body flexibility contributed to the ballerina's mastery of movement on pointe shoes. Despite all the professionalism of the ballerina, before performing on pointe shoes or taking a class, it is necessary to warm up your feet and shoes well. If a ballerina neglects this rule, her dance may result in serious injury. In order to dance on pointe shoes, you need to work significantly on strengthening your toes.

Modern pointe shoes are made of satin material; most often, pointe shoes are ordered from a master for a specific ballerina. This is necessary so that they securely fasten the foot. In the toe of the ballet shoe, compacted material is placed, and ribbons intercept the foot at the ankle. ballet model collection design

Dance on pointe shoes is distinguished by its special grace and virtuosity of performance.

It is rightly considered the highest level of choreographic art, where dance turns into a musical stage performance. This type of art arose in the 15th-16th centuries, much later than dance. Initially, it was a courtly aristocratic art. Dance is the main means of expression in ballet, but the dramatic basis, scenography, and the work of costume and lighting designers are of no small importance.

Classical ballet is a narrative dance, where dancers always tell a story through dance. Classic multi-act ballet is traditionally dedicated to myths, fairy tales, and historical themes. Genre productions can be heroic, comic, folklore.

The origin of the name is either the Latin ballo - “dancing”, or the French balleto, which has the same meaning.

Ballet refers to both a dance performance and a type of theatrical and musical art in which expressive artistic images are created with the help of plasticity and choreography.

The theatricalization of dance began in Italy in the 15th century, when dance masters began to create court and ballroom dances based on folk dances.

First ballet

The first ballet production, which combined dance, music, pantomime and speech, was staged in France at the court of Catherine de Medici at the end of the 16th century. It was called “Circe and the Nymphs” and was staged by Baltazarini di Belgioioso, a wonderful choreographer and violinist who arrived from Italy with his orchestra of violinists.

It was a production with an ancient plot, which marked the beginning of the development of French court ballet. Interludes, pastorals, masquerades and dance divertissements quickly became the highlight of court festivities.

The main canons of ballet, compiled by Pierre Beauchamp

Every dance has certain rules at its core, and dance turned into ballet when choreographer Pierre Beauchamp described the canons of a noble dance manner.

Beauchamp divided the dancer's movements into groups - jumps, squats, various body positions and rotations. This type of dance art was based on the principle of eversion of the legs, thanks to which the body could move in different directions. The above movements were performed based on three arm positions and five leg positions.

Development of ballet

From this moment the development of ballet began, which became an independent art in the 18th century.

The development of ballet schools begins throughout Europe, reaching Russia, where the Russian Imperial Ballet was founded in 1738 in St. Petersburg.

The early dancers had a hard time - they wore very complex costumes, and heavy skirts made their movements difficult. But gradually the costume changed - the ballet shoes lost their heels, the ballerinas’ clothes became light and airy.

Choreographers taught dancers to express emotions with gestures and facial expressions; mythological plots were replaced by stories about distant countries, love stories and fairy tales. In this form, classical ballet has survived to this day as one of the beautiful forms of dance art.

The grace of ballet art always touches the soul of both adults and children. Girls are ready to spend hours looking at the most beautiful outfits with cute tutu skirts and tops embroidered with beads or rhinestones. And if a child doesn’t do ballet, but dreams of trying on a similar outfit, why not please your little daughter and turn her into a ballerina at the New Year’s party? Moreover, creating such an image is not at all difficult or expensive.

A ballerina costume is suitable not only for New Year's celebrations. You can easily wear it to a birthday party or just to play. Therefore, you should not put off creating it and think that now is not the right time. The description below will make it easy to understand the sequence of work, which will definitely result in a delightful ballerina costume.

Image details

In order not to forget a single detail, you should immediately determine which elements of the image must be present in the suit. It is best to take a photograph as an example or sketch out the desired outfit yourself. A ballerina costume must also have a beautiful top or a tight-fitting long-sleeve T-shirt. You can take ready-made golf with a throat. You will also need socks. Pointe shoes can easily replace shoes or slippers, onto which you can attach pieces of satin ribbons that will need to be wrapped around your shins. If a T-shirt with thin straps is used for the top, white gloves will perfectly complement the suit. You can weave artificial flowers into long hair, and for a short haircut, hairpins or a headband with a beautiful decoration are suitable.

Suit color

A children's ballerina costume can be made in absolutely any color. A key detail like a tutu will make the look instantly recognizable, whether it's in white or black or any other shade of the rainbow. Here it is better to consult with a little fashionista and give her the opportunity to participate in creating her image.

Making a skirt

The main question when creating is how to sew a tutu. It is this item of clothing that causes difficulties in most cases. However, the process of creating a tutu skirt is complex only at first glance. There are several options for creating this item, one of which does not require sewing skills at all. To work, you will need a thick elastic band that fits the child’s waist and three meters of tulle, cut into strips 10-15 cm wide and 60 or 80 cm long, depending on what kind of skirt you need. The whole process involves tying strips of fabric with an elastic band in a loop close to each other. It is very important that the tulle is well ironed, because the finished product is quite difficult to put in order if the fabric is wrinkled.

It is also worth considering the option of how to sew a tutu using a sewing machine. Everything here is also quite simple. Three strips of tulle with a width equal to the length of the skirt + 3 cm, and a length of 4.5-6 meters, are folded along the sections, a stitch is laid at a distance of 1 cm from the edge, then the back seam of the skirt is sewn up and a drawstring is made along the top for the elastic, tucking the stitched edge of the fabric inside. Afterwards, all that remains is to thread a strong elastic band into the drawstring. That's it, the pack is ready!

Creating a top

If there is no suitable T-shirt in the child’s wardrobe, it can be sewn from knitted fabric. To do this, you will need a strip of fabric with a width equal to the measurement from the shoulder and just below the waist, and a length that measures the child’s waist. The fabric is folded in half, the neckline and armholes are drawn, the excess is cut off, and then the shoulder and side seams are processed. If you use supplex for work, then the sections can simply be left open. They will not crumble or go arrows. In the case of cotton fabric, you can treat them with elastic band. As you can see from the description, sewing a top for a ballerina costume with your own hands is not very difficult; the whole process will take no more than 20 minutes.

Making gloves

It is best to sew gloves from either supplex or oil. Cotton will not work for this purpose. Of course, a ballerina costume in which the top and gloves are made from the same material will look more harmonious. However, it is not necessary to use an identical canvas. In addition, gloves can be sewn from knitted guipure, which will look very gentle and romantic.

So, to sew gloves, you need to cut a strip of fabric equal to the desired length and the width of the child’s wrist + 1 cm. An elastic band should be sewn along one edge of the strip (the top of the glove). Afterwards, the workpiece is folded along long sections and a small corner is cut off at the bottom of the glove to make an overlap on the hand. A loop of satin ribbon for the finger is sewn onto the lap. And last but not least, close the seam of the glove.

Decorative elements

A ballerina costume for a girl must be decorated with various flowers, stones, rhinestones or sequins. It is these elements that will add chic and shine to the created image. The ballerina costume can not be embroidered with rain. At the same time, make the outfit itself in green, as if the ballerina is playing the role of a Christmas tree, or leave the image snow-white, associating it with soft fluffy snowflakes.

The ideal option for creating a tutu is tulle. But it has many varieties. There are canvases with a shiny coating, with small looped polka dots and even with a pattern. It is also differentiated by its hardness. Too dense tulle holds its shape well and can be used as one of the layers of an embroidered tutu for a more voluminous shape.

One cannot also ignore such material as organza lace. Quite often it is embroidered with sequins and looks very unusual. It can be combined with hard and soft tulle and make an original skirt. However, with such a rich decor of the tutu, the top should be left matte and monochromatic. A ballerina costume for the New Year can be made from fine snowflake tulle in combination with a calm top. Or make a pack of strips of material, and glue pieces of tinsel on top.

A ballerina costume for a girl can be themed. What prevents, for example, from making a character from “Swan Lake”? A beautiful tutu with glued swan down and a correspondingly designed headband - and the outfit of a charming swan is ready.

Options for creating a pack

Of course, tulle is very easy to work with, but there are other worthy materials that are worth paying attention to. The “Ballerina” carnival costume will look great with a tutu made of chiffon or the organza already mentioned above. The cut and sewing technique of such a skirt are somewhat different and require some skills.

To create such a product, you will need a template for a sun skirt, thin regelin for finishing the hem and an elastic band at the waist. The amount of fabric is calculated based on the number of layers of the skirt. To make the product look beautiful, there must be at least three layers.

The creation process consists of cutting out three or more circles from the main fabric according to a template, decorating the waistline with an elastic band, connecting all the layers together, and then processing them along the outer edge with regelin and bias tape, stretching the fabric to form waves. This original skirt is good for combination with a satin top, organza flowers, stones and rhinestones.

Additional accessories

Quite often, for ballerina costumes, small skirts are sewn for the arms, which are worn on the forearm. And I must say, such elements look quite interesting. To sew such an accessory, you will need a strip of the main fabric from which the tutu is made, approximately 50 cm long and no more than 7 cm wide. It is sewn along a smaller cut, one edge is processed into a turn-up or with bias tape, and on the second a drawstring is made for an elastic band.

To make the image more realistic, you cannot do without pointe shoes or their imitation. We have already mentioned shoes or slippers and satin ribbons, but the problem is that if the child moves a lot, the entire harness around the leg will simply fall down. Therefore, you can use a little trick: take knee socks, put them on the child’s leg, wrap the ribbon around it and tie it with a beautiful bow, and then carefully baste the ribbon to the socks with small stitches. With such a secure fit, you can dance for hours on end.

Another interesting accessory that ballerinas usually wear is a flower on their wrist. You can choose the appropriate size of rose or lily in a wedding salon, even with swan's down and beaded pendants, and sew it on a regular white hair tie. You can decorate your hair with a similar flower.