 How to Construct the Basque
What is a basque?
Technically a basque is defined as a woman's close fitting
garment. The Basque who live in the the French Pyraneese wore a garment known as a Basque which was a ladies dress which resembed a jacket worn with a short skirt. In Italian basta means tuck and in Old French it means baste. For tutu construction the "basque" will be known as the panty to which the tutu is attached though not all tutus are attached to a panty, some are attached directly to the bodice.
The first decision to be made in constructing a basque
is one of fabric. Lycra is the obvious choice. A dancer
will appreciate a strong girtle type fabric that fits closely.
This can be covered in material that matches the bodice.
It is important to note that when the bodice is separate
from the tutu that the upper part of the basque is visible
from the audience. This is a factor which must influence
the choice of fabric for the upper basque. It is perfectly
acceptable to use the bodice fabric alone for the upper
and lower basque.
Bias Cut Fabric
The basque should be cut on the bias. This diagonal cut
will allow the basque to breath and stretch even if it is
a fabric which is not a "stretchable" fabric. The fabric
of the basque if cut on the bias will appear slightly shaded
and different to the audience. When cutting the fabric turn
it diagonally so the grain runs diagonally rather than up
and down and then make your cut. A fabric has give when
pulled from side to side and cut diagonally than when cut
with the grain. Take a remnant and pull it from each side
with the grain and diagonally. You will notice the difference
in the give.
It is perfectly acceptable to chose a different shade for
the visible portion of the basque and this was often done
by Karinska to create a depth of texture. A different shade
for the basque was used in the 1996 Balanchine ballet, Brahms-Schoenberg
Quartet.
Ironing Fabric
Always iron your fabric, if it is a natural fabric before
cutting your piece. Be certain your steam iron is ready
to go withou gushing water. The water will stain silks.
Ironing can shrink delicate silks or even silk satins. It
is acceptable to iron a backing to a particularly beautiful
but loosely woven or light weight fabric to make a fabric
which has a beautiful sheen but is too flimsy for use. This
fabric should still be lined and an iron on backing is not
a substitute for a lining but it is an excellent means of
making a beautiful but unusuable fabric usable for a ballet
costume. However, note, that once you attach an iron
on interface you have lost all hope of the flexibility that
a bias cut fabric offers. So there's no point in using
bias cut side panels to a fabric that has been interfaced
with an iron-on interfacing.
Fitting the Basque
The basque is fitted from the waist to the hip bone whether it is a one piece or seamed basque.
Some dancers are hyperextend in their back or they buckle thier kneww. In these instances you might consider adjusting the back of the basque to be a tiny bit longer in the back so that you don't get that "duck" look.
The width of the tutu depends on the dancer's height.
A dancer 5'8" or taller then can wear a 15 or 16" tutu.
A dancer 5'5" to 5'7" the she should be in a 13" to 14" tutu.
A dancer 5'3" to 5'4' then is best in a 12" to 13" tutu.
A dancer the 4'10 to 5'2" tall (tiny) works best in a 11" to 12" tutu.
The 14" to 15" tutu is the average size as long as the dancer is tall enough and old enough though this is long for a partnered dance.
The tiny dancers will ask for longer tutus but they need to know that if it is too long for them it will throw their balance off and they will look like they are dancing in a space suit, so it is a balance.
A seamed basque (not a one piece basque) has seams in the front and seams in the back, a waist band, and a zipper, though in most instances a straight skirt
is not cut on the bias, the basque is. There will be an "upper portion" of the basque, that which is visible by the audience, and a "lower portion" of the basque which
is that to which the tutu is attached.
The lower part of the basque can be made of bodice fabric
or it can be made of lycra fabric to match the bodice and
it will not be seen by the audience. This is the portion
to which the remainder of the frills are attached. Girtle
material which has been acid dyed to match the fabric is
a popular choice with professional tutu designers.
Waist Band
You do not want a waist band that rolls. Use interfacing
inside the band and for a bit of a give incorporate some
elastic. I use one inch of elastic applied to strong interfacing
on the side seams and then cover that with the upper basque
fabric. My waist band is typically one and a quarter inch
and fits snuggly against the strong interfacing I have chosen
for this purpose. This is not iron on interfacing. That
type interfacing simply does not come in a stiff enough
fabric.
I cut my interfacing in one continuous piece the width
of the dancers waist plus two inches. Then cut it 2.5 inches
wide. Take the waist band interfacing and cut it three inches
smaller than the dancer's waist. Sew the one inch of elastic
to each side of the interfacing which creates one long piece
of interfacing attached at each end to one inch of elastic
attached to one long piece of interfacing. Then cut the
interfacing at the back to create the seam.
The basque fabric should be serged on the two long ends.
Fold over the interfacing so that one fourth of an inch
is on the inside. Case the interfacing. The upper basque
can then be attached to the outside of the basque fabric
-- right sides together. The extra fabric can be trimmed.
See image below.
I use the seam binding the interfacing as the guide for
attaching the top of the basque and I 'stitch in the ditch'
from the interfacing side to attach the upper basque. These
creates a perfect seam.
If you choose to use elastic leave just a bit
of 'give' in the outer basque fabric. Dancers are accustomed
to lycra leotards. Providing this stretch and breathing
room is important.
If you do not have a surger press the edge of
the basque under and stitch it down. If the fabric is particularly
thick and this makes it too bulky just zigazg the edge.
See Leena's
Sewing Directions for additional waistband technique
and attachment of the upper portion on the basque.
The Plate
The plate of the tutu, if there is a plate, is attached
directly to the upper portion of the basque. If there is
no plate the top layer of the tutu is attached directly
to the upper portion of the basque. The remainder of the
tutu is attached to the "lower portion" of the basque.Leave
at least a half inch at the top of the lower basque and
at the bottom of the lower basque to attach them together.
Basque Side Seam
The side seam of the basque must hang in a plumb line.
The purpose of the indention at the top of the side seam
and of the darts is to create the proper shape of the basque
to correspond to the curves of the dancer's body. Darts
are lengthened or shortened - widened or narrowed to create
a proper fit. The dart should descend straight or also in
a plumb line to the floor.
Level Frills Begin with the Basque
The most important consideration in attaching the frills
or the plate to the basque it to have them level. It would
be devastating to have a tutu that dips in the front or
the back. The frills must be perfectly level. The best way
to create level frills is to make the basque, put it on
the dancer or the mannequin and draw a level line. The dancer
is the best choice, simply because not all dancers are built
the same way, particularly non-professional dancers. The
sway of the dancer's back and her size will impact the level
line.
Typically the plate or the first frill begins two and a half to four inches
from the dancer's waist, but certainly this will vary, depending on size of dancer.
Romantic tutus may begin at the dancer's waist and some have but
one frill while others may have as many as five. One of
Karinska's most famous romantic tutus used one row of twenty
yards of tulle net.
The dropped or diagonal waist employed by the use of the
basque with the bodice shaped in a "V" is used to enhance
the sleekness of the dancer's body. Where a "V" bodice is
used the basque is made with a yoke.
That is the position on the basque where the "V" of the bodice lays is a yoke
and the tulle of the tutu is carved around that "V" yoke.
The "V" yoke of the bodice should always by highly stretchable
to allow full movement by the dancer. It is an important
consideration in the making of the tutu to determine the
mechanics of attaching the frills to the basque and this
will be covered in the section on frills.
The Lining of the Basque
Because ballet is so beautiful and appears so effortless
it is easy to forget the incredible physical exertion required
of the dancers. Many of the exterior fabrics of the bodice
and the basque are exquisitely light. The interior lining
of the basque serves three purposes:
1. To anchor the basque to the body of the dancer and allow
a certain give and flexibility to the exterior;
2. To provide a layer to absorb the body's perspiration
which allows the dancer's body to breathe and protects the
more delicate fabric of the outer layer and visible basque;
and
3. To give a structure to the fabric of the out layer and
import a sense of strength of texture that the outer fabric
might not intrinsically have. This sense of the dynamic
of the fabric is perceived by the audience if only intuitively.
Easy Construction for the Basque
Using a heavy duty lycra panty is always one option for
a basque. Rarely will the lycra match the bodice and in
that case the lycra panty can simply be used for the lower
basque. Acid dye is does not always produce precise matching
results, but it is an option. However, with black or white
tutus lycra panties are easy to use. When evaluating the
size to purchase consider two factors.
1. The crotch of the lycra panty may be cut open for easy
attachment of the frills and will have to be resewn together
after the frills are attached. This simple step will make
attaching the frills immensely easier and is worth the inconvenience
later of resewing the crotch.
2. If the lycra panty will have an opening in the rear
there will have to be sufficient fabric to accommodate this
requirement.
At least one size larger than the dancer is recommended
for these reasons.
With the lycra panty for the lower basque it then becoms
simple to use the bodice fabric for the upper basquewith
the lycra panty as the lining, which fits close to the dancer
and makes them feel secure. If the tutu is a yoked tutu
then the upper basque is visible from the audience. Accommodations
in size of panty chosen will have to be made to allow sufficient
overlap and excess for the rear closure required for entry
into the tutu.
Frills on the Basque Leg (No! Please No!)
Many books call for frills on the leg of the basque. I
find this to be dated in appearance for most tutus. However,
there may be some character roles in which this is an asset.
Elastic on the Basque Leg - Good Idea
If the lower basque is made from non-give fabric serge the edge.
Take one quarter inch elastic and fold it into the edge
with the greatest stretch on the back rear of the leg opening.
No doubt your dancer will be using 'firm grip' but this
will help. Just a bit of an ease. Use the elastic all the
way around the leg but give just a touch or additional ease
at the rear.
Paula Drake's Tips on Basque TIPS FROM THE MASTER FOR THE PRO or WOULD BE PRO
I use 3 measurements for the basque:
- Waist to hip
- Waist
- High hip which is the measurement at the hip bone.
- The tutu plate should extend from the hip bone. If it is too long they look like they have a diaper on.
Then I will take a piece of paper and draw a rectangle the size of the waist measurement down the length of the waist to hip measurement. Cut that out.
Tape one end to an edge.
Then I cut slices in the paper until the bottom is the length of the high hip measurement.
Tape all of this on top of another piece of paper, make sure that tou have a nice, gentle curve at the top, and bottom.
Draw around this, add a 3/8ths of an inch seam allowance to the bottom edge and 3" to the end. You will need the 3" on the left side of the basque.
I will leave some on the right side until I get the basque made.
Then fold in half and cut out, both fashion fabric and lining.
Iron the pieces together, pin, and then serge all edges.
I ALWAYS quilt the basque.
I draw a line down the center front, and then angle by ruler and draw 1 to 1 1/2 "lines on the back with a pencil. Then sew over the lines, add cording, and the elastic.
The quilting helps the basque last longer, gives a finished look, and if the dancer has a partner it keeps the materials together........Is this as clear as mud?????
Seams and Closure of the Basque
The size and the shape of the dancer will dictate the number of waist darts in front and back and the curve of the pattern on the outside seams if you do not use the one-piece method.
Typically there is a slight curve inward as the front of the basque meets the rear of the basque. Two darts placed roughly four inches from the sides serve the front and two darts placed directly over the centero f the rear serve the back portion of the tutu, however, some dancers may require four rear seams. The purpose of
the dart is to fit the basque to the curves of the body and to taper the waist to the hip.
Closure is made typically with hooks placed on the inside of a bound placket which lines the rear opening of the basque. A placket is made by taking a strip of fabric that is 1 1/2 inch side and ironing a crease in it. It is sewn to the right side of the basque opening down one side and up the other. Folded over and then sewn by hand to the inside of the basque, creating a finished placket. However, professional basque closers can be purchased.
The lining can be turned under with the exterior fabric and sewn into the seam and then gross grain ribbon can be applied to finish the rough edge.
Making the Basque
The top of the Basque fits precisely at the dancer's waist and descends from there, roughly two and a half to four inches, depending, of course on the size of the dancer. The top of the Basque will be seen by the audience and must always match the fabric of the bodice. However, if the top of the basque will fit
inside a one piece tutu, use they lycra of your choice to compliment the fabric.
The visible Basque should be made of precisely the same
fabric as the bodice. When the dancer lifts her arms the
Basque is visible to the audience. Even if your bodice has
petals descending over the Basque at times it will be visible.
A waist band is attached to the Basque with study hooks
for closing.
Use two on the waist band -- in case one comes undone the
second will be there.
Dart the upper external fabric of theBasque if it is not
lycra in two front locations and two rear locations just
as you would a nice skirt or slacks, from the waist down
for a perfect fit, that is until your dancer grows. You
may want to add additional darts to accomodate a growing
dancer such as four in the front and four in the back.
You can close the basque with hooks or with a zipper. Hooks
are the preferred closure method or you can use professional
basque closers.
It is best NOT TO USE A ZIPPER but if you use a zipper
insert in the back so that will go no lower than your frills.
If you sew you know you can cut a zipper to fit. For cutting
the zipper do not use your good scissors. This will harm
your good scissors.
When making the darts if you are sewing for a young girl
do not cut the darts, you may want to let them out next
year!
Eventually, you will attach the plate overlay to the Basque,
and the panties to the Basque; if you sew already you realize
that a half inch is taken to attach the Basque to the waist
band and at least a half inch is taken to attach the Basque
to the panty and frills, and yet possibly another half inch
or MORE if you include an overlay or plate on the Basque
with the frills underneath. The point here is make you Basque
much longer than you anticipate that you will need. You
can always make it shorter but you cannot make it longer.
Do not despair if you find at the end of tutu construction
that the stride is too short. This closing should be below
the plate and will be unseen. You can add basque fabric
to let this out if the child grows or if you make a mistake.
See Leena's
Sewing Directions for additional instructions. This
technique is similar to the construction of a straight skirt.
Attaching the Lower Basque to the Upper Basque
However, do not attach the Basque just yet, wait until
the frills are attached to the panty and only then fit the
Basque to the frills on the panties, for perfect length.
Remember a perfect fit is what a non-Lycra custom tutu is
all about. So with the Lawson and Revitt technique, you
have a waist band and a Basque, both of fabric which match
the bodice, the overlay, possibly or net or silk, and the
frills are attached to the lower Basque or the panty, which
can be Lycra Include in your measurements one half inch
to attach the waist band to the Basque, one half inch to
attach the plate to the top of the Basque and one half inch
below the plate to attach the panty with the frills to the
Basque
Remember when you are attaching the frills to the panty
to leave the one half inch above the first frill to attach
the panty to the Basque. If you do not have a plate or an
overlay and your top layer is gathered net, this will be
attached to the Basque rather than the plate or the overlay.
Bias Cut Fabric
The basque should be cut on the bias. This diagonal cut will allow the basque to breath and stretch even if it is a fabric which is not a "stretchable" fabric. The fabric of the basque if cut on the bias will appear slightly shaded and different to the audience. When cutting the fabric turn it diagonally so the grain runs diagonally rather than up and down and then make your cut. A fabric has give when pulled from side to side and cut diagonally than when cut with the grain. Take a remnant and pull it from each side with the grain and diagonally. You will notice the difference in the give.
It is perfectly acceptable to chose a different shade for the visible portion of the basque and this was often done by Karinska to create a depth of texture. A different shade for the basque was used in the 1996 Balanchine ballet, Brahms-Schoenberg Quartet.
Ironing Fabric
Always iron your fabric, if it is a natural fabric before cutting your piece. Be certain your steam iron is ready to go withou gushing water. The water will stain silks. Ironing can shrink delicate silks or even silk satins. It is acceptable to iron a backing to a particularly beautiful but loosely woven or light weight fabric to make a fabric which has a beautiful sheen but is too flimsy for use. This fabric should still be lined and an iron on backing is not a substitute for a lining but it is an excellent means of making a beautiful but unusuable fabric usable for a ballet costume. However, note, that once you attach an iron on interface you have lost all hope of the flexibility that a bias cut fabric offers. So there's no point in using bias cut side panels to a fabric that has been interfaced with an iron-on interfacing.
Fitting the Basque
The basque is fitted as any straight skirt is fitted. It has seams in the front and seams in the back, a waist band, and a zipper, though in most instances a straight skirt is not cut on the bias, the basque is. There will be an "upper portion" of the basque, that which is visible by the audience, and a "lower portion" of the basque which is that to which the tutu is attached.
The lower part of the basque can be made of bodice fabric or it can be made of lycra fabric to match the bodice and it will not be seen by the audience. This is the portion to which the remainder of the frills are attached. Girtle material which has been acid dyed to match the fabric is a popular choice with professional tutu designers.
Waist Band
You do not want a waist band that rolls. Use interfacing inside the band and for a bit of a give incorporate some elastic. I use one inch of elastic applied to strong interfacing on the side seams and then cover that with the upper basque fabric. My waist band is typically one and a quarter inch and fits snuggly against the strong interfacing I have chosen for this purpose. This is not iron on interfacing. That type interfacing simply does not come in a stiff enough fabric.
I cut my interfacing in one continuous piece the width of the dancers waist plus two inches. Then cut it 2.5 inches wide. Take the waist band interfacing and cut it three inches smaller than the dancer's waist. Sew the one inch of elastic to each side of the interfacing which creates one long piece of interfacing attached at each end to one inch of elastic attached to one long piece of interfacing. Then cut the interfacing at the back to create the seam.
The basque fabric should be serged on the two long ends. Fold over the interfacing so that one fourth of an inch is on the inside. Case the interfacing. The upper basque can then be attached to the outside of the basque fabric -- right sides together. The extra fabric can be trimmed. See image below.
I use the seam binding the interfacing as the guide for attaching the top of the basque and I 'stitch in the ditch' from the interfacing side to attach the upper basque. These creates a perfect seam.
If you choose to use elastic leave just a bit of 'give' in the outer basque fabric. Dancers are accustomed to lycra leotards. Providing this stretch and breathing room is important.
If you do not have a surger press the edge of the basque under and stitch it down. If the fabric is particularly thick and this makes it too bulky just zigazg the edge.
See Leena's Sewing Directions for additional waistband technique and attachment of the upper portion on the basque.
The Plate
The plate of the tutu, if there is a plate, is attached directly to the upper portion of the basque. If there is no plate the top layer of the tutu is attached directly to the upper portion of the basque. The remainder of the tutu is attached to the "lower portion" of the basque.Leave at least a half inch at the top of the lower basque and at the bottom of the lower basque to attach them together.
Basque Side Seam
The side seam of the basque must hang in a plumb line. The purpose of the indention at the top of the side seam and of the darts is to create the proper shape of the basque to correspond to the curves of the dancer's body. Darts are lengthened or shortened - widened or narrowed to create a proper fit. The dart should descend straight or also in a plumb line to the floor.
Level Frills Begin with the Basque
The most important consideration in attaching the frills or the plate to the basque it to have them level. It would be devastating to have a tutu that dips in the front or the back. The frills must be perfectly level. The best way to create level frills is to make the basque, put it on the dancer or the mannequin and draw a level line. The dancer is the best choice, simply because not all dancers are built the same way, particularly non-professional dancers. The sway of the dancer's back and her size will impact the level line.
Typically the plate or the first frill begins four inches from the dancer's waist, but certainly this will vary. Romantic tutus may begin at the dancer's waist and some have but one frill while others may have as many as five. One of Karinska's most famous romantic tutus used one row of twenty yards of tulle net.
The dropped or diagonal waist employed by the use of the basque with the bodice shaped in a "V" is used to enhance the sleekness of the dancer's body. Where a "V" bodice is used the basque is made with a yoke. That is the position on the basque where the "V" of the bodice lays is a yoke and the tulle of the tutu is carved around that "V" yoke. The "V" yoke of the bodice should always by highly stretchable to allow full movement by the dancer. It is an important consideration in the making of the tutu to determine the mechanics of attaching the frills to the basque and this will be covered in the section on frills.
The Lining of the Basque
Because ballet is so beautiful and appears so effortless it is easy to forget the incredible physical exertion required of the dancers. Many of the exterior fabrics of the bodice and the basque are exquisitely light. The interior lining of the basque serves three purposes:
- To anchor the basque to the body of the dancer and allow a certain give and flexibility to the exterior;
- To provide a layer to absorb the body's perspiration which allows the dancer's body to breathe and protects the more delicate fabric of the outer layer and visible basque; and
- To give a structure to the fabric of the out layer and import a sense of strength of texture that the outer fabric might not intrinsically have. This sense of the dynamic of the fabric is perceived by the audience if only intuitively.
Easy Construction for the Basque
Using a heavy duty lycra panty is always one option for a basque. Rarely will the lycra match the bodice and in that case the lycra panty can simply be used for the lower basque. Acid dye is does not always produce precise matching results, but it is an option. However, with black or white tutus lycra panties are easy to use. When evaluating the size to purchase consider two factors.
1. The crotch of the lycra panty may be cut open for easy attachment of the frills and will have to be resewn together after the frills are attached. This simple step will make attaching the frills immensely easier and is worth the inconvenience later of resewing the crotch.
2. If the lycra panty will have an opening in the rear there will have to be sufficient fabric to accommodate this requirement.
At least one size larger than the dancer is recommended for these reasons.
With the lycra panty for the lower basque it then becoms simple to use the bodice fabric for the upper basquewith the lycra panty as the lining, which fits close to the dancer and makes them feel secure. If the tutu is a yoked tutu then the upper basque is visible from the audience. Accommodations in size of panty chosen will have to be made to allow sufficient overlap and excess for the rear closure required for entry into the tutu.
Using Bobbinette or PowerNet for the Panty
Durable and Professional
For a durable professional tutu use this method.
Cotton Bobbinette
- Cotton Bobbinette comes only in 38 to 41" and stretches over time
- You can quilt it or use a double layer
- It is expensive at $21.00 a yard so if you are using a double or triple layer the panty costs are double or triple
- If you quilt it to make you might as well use Powernet
Powernet
- Powernet is 45" wide, and the med weight is $12.00 a yard while the heavy weight is $14.00 a yard
- Powernet adds strength and stability to the panty.
Putting the Panty Together
- Cut the panty with a center seam
- After all of the pieces are cutout serge all of the edges
- Then sew the front seam leaving a little room in the crouch area to add leg casing
- Press open the seam and zig zag on either side of the seam edges
- Decide if you want the seam to go on the inside next to the dancer or turn it to the outside so that the bulk of the seam is on the outside
- This is a matter of choice
- Cut two leg casings from the power net on the bias and serge the edges
- Then sew the first seam to the outside edge
- Press
- Top stitch as close to the leg line as to can get (leave room to add elastic)
- Turn the casing to the inside and sew the last seam of the leg casing in to the inside of the leg
- Remember to leave room to add the elastic
Cotton dyes more truly than nylon Powernet.
Russians use a heavy net. Even on the black bases they used white net, quilt it, put a black lined material on top, and add the rear ruffles. There is NO stretch.
Frills on the Basque Leg (No! Please No!)
Many books call for frills on the leg of the basque. I find this to be dated in appearance for most tutus. However, there may be some character roles in which this is an asset.
Elastic on the Basque Leg - Good Idea
If the lower basque is made from non-give fabric serge the edge. Take one quarter inch elastic and fold it into the edge with the greatest stretch on the back rear of the leg opening. No doubt your dancer will be using 'firm grip' but this will help. Just a bit of an ease. Use the elastic all the way around the leg but give just a touch or additional ease at the rear.
Seams and Closure of the Basque
The size and the shape of the dancer will dictate the number of waist darts in front and back and the curve of the pattern on the outside seams. Typically there is a slight curve inward as the front of the basque meets the rear of the basque. Two darts placed roughly four inches from the sides serve the front and two darts placed directly over the center of the rear serve the back portion of the tutu, however, some dancers may require four rear seams. The purpose of the dart is to fit the basque to the curves of the body and to taper the waist to the hip.
Closure is made typically with hooks placed on the inside of a bound placket which lines the rear opening of the basque. A placket is made by taking a strip of fabric that is 1 1/2 inch side and ironing a crease in it. It is sewn to the right side of the basque opening down one side and up the other. Folded over and then sewn by hand to the inside of the basque, creating a finished placket. However, professional basque closers can be purchased.
The lining can be turned under with the exterior fabric and sewn into the seam and then gross grain ribbon can be applied to finish the rough edge.
Making the Basque
The top of the Basque fits precisely at the dancer's waist and descends from there, roughly five inches, depending, of course on the size of the dancer. The top of the Basque will be seen by the audience and must always match the fabric of the bodice. However, if the top of the basque will fit inside a one piece tutu, use they lycra of your choice to compliment the fabric.
The visible Basque should be made of precisely the same fabric as the bodice. When the dancer lifts her arms the Basque is visible to the audience. Even if your bodice has petals descending over the Basque at times it will be visible. A waist band is attached to the Basque with study hooks for closing.
Use two on the waist band -- in case one comes undone the second will be there.
If you are not using the one piece patten: dart the upper external fabric of theBasque if it is not lycra in two front locations and two rear locations just as you would a nice skirt or slacks, from the waist down for a perfect fit, that is until your dancer grows. You may want to add additional darts to accomodate a growing dancer such as four in the front and four in the back.
You can close the basque with hooks or with a zipper. Hooks are the preferred closure method or you can use professional basque closers.
It is best NOT TO USE A ZIPPER but if you use a zipper insert in the back so that will go no lower than your frills. If you sew you know you can cut a zipper to fit. For cutting the zipper do not use your good scissors. This will harm your good scissors.
When making the darts if you are sewing for a young girl do not cut the darts, you may want to let them out next year!
Eventually, you will attach the plate overlay to the Basque, and the panties to the Basque; if you sew already you realize that a half inch is taken to attach the Basque to the waist band and at least a half inch is taken to attach the Basque to the panty and frills, and yet possibly another half inch or MORE if you include an overlay or plate on the Basque with the frills underneath. The point here is make you Basque much longer than you anticipate that you will need. You can always make it shorter but you cannot make it longer.
Do not despair if you find at the end of tutu construction that the stride is too short. This closing should be below the plate and will be unseen. You can add basque fabric to let this out if the child grows or if you make a mistake.
See Leena's Sewing Directions for additional instructions. This technique is similar to the construction of a straight skirt.
Attaching the Lower Basque to the Upper Basque
However, do not attach the Basque just yet, wait until the frills are attached to the panty and only then fit the Basque to the frills on the panties, for perfect length. Remember a perfect fit is what a non-Lycra custom tutu is all about. So with the Lawson and Revitt technique, you have a waist band and a Basque, both of fabric which match the bodice, the overlay, possibly or net or silk, and the frills are attached to the lower Basque or the panty, which can be Lycra Include in your measurements one half inch to attach the waist band to the Basque, one half inch to attach the plate to the top of the Basque and one half inch below the plate to attach the panty with the frills to the Basque
Remember when you are attaching the frills to the panty to leave the one half inch above the first frill to attach the panty to the Basque. If you do not have a plate or an overlay and your top layer is gathered net, this will be attached to the Basque rather than the plate or the overlay.
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