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labricoleuseBallet bodice and tutu construction methods are one area of focus all of our grads are required to explore in their third year as part of their collection of thesis projects [1]. Sometimes these projects are underwritten by ballet companies as part of our Supported Research program; the company will provide the rendering and materials and receive the costumes in return. This year, unfortunately, ballet companies are quite strapped for cash and could not participate, so all the grads did theirs as conceptual projects instead.
I have some final photos of 2009 MFA graduate Jacki Blakeney Armit's rendition of a snowflake ballerina costume design from Tchaikovsky's Nutcracker Suite.
Tutu modeled by the lovely Flor de Liz Perez
in this and all subsequent photographs.
Back view
Oblique view
Detail view of bodice
Detail view of tutu plate
Jacki constructed the bodice and basque (the upper part of the tutu-panty) and then dyed them using an ombre technique, so the color gradually progressed from darkest at the ballerina's waist, growing lighter as it went up/down to white. The tulle layers of the tutu were also dyed progressively darker, so that they would match the color value and saturation level change of the bodice and basque. My only criticism is that the sparkle mesh of the upper bodice (which was not custom dyed, but was purchased as shown) needs a slight dip to blend better into the ballerina's skintone.
I wish i had a photograph of the original rendering from which this costume was constructed for comparison; that's something to make certain i remember to document next year.
[1] I believe the theory behind this is that since professional ballet companies make up a significant area of potential employment for our graduates, a comprehensive knowledge of production techniques for the creation of ballet costumes is a useful avenue of study, in terms of maximizing their future employability in the field. Even if a student's focus is, say, men's tailoring, it's better for one's overall career/resume to be able to work producing a new ballet in between tailoring jobs than to make up the downtimes doing office-temping or waiting tables.
I have some final photos of 2009 MFA graduate Jacki Blakeney Armit's rendition of a snowflake ballerina costume design from Tchaikovsky's Nutcracker Suite.
Tutu modeled by the lovely Flor de Liz Perez
in this and all subsequent photographs.
Back view
Oblique view
Detail view of bodice
Detail view of tutu plate
Jacki constructed the bodice and basque (the upper part of the tutu-panty) and then dyed them using an ombre technique, so the color gradually progressed from darkest at the ballerina's waist, growing lighter as it went up/down to white. The tulle layers of the tutu were also dyed progressively darker, so that they would match the color value and saturation level change of the bodice and basque. My only criticism is that the sparkle mesh of the upper bodice (which was not custom dyed, but was purchased as shown) needs a slight dip to blend better into the ballerina's skintone.
I wish i had a photograph of the original rendering from which this costume was constructed for comparison; that's something to make certain i remember to document next year.
[1] I believe the theory behind this is that since professional ballet companies make up a significant area of potential employment for our graduates, a comprehensive knowledge of production techniques for the creation of ballet costumes is a useful avenue of study, in terms of maximizing their future employability in the field. Even if a student's focus is, say, men's tailoring, it's better for one's overall career/resume to be able to work producing a new ballet in between tailoring jobs than to make up the downtimes doing office-temping or waiting tables.
