I think it's because embroidery floss is thicker than cotton/poly thread so the chance for it to break in the middle of stitching is smaller also embroidery floss doesn't tangle too much and easier to unravel if it does happens :) just my opinion though
It's in Part 6. Match the centre lines front and rear, she's sewing the boning in to close the bodice first, then sewing that line into the ditch of the top layer of the skirt. You'd normally finish the raw edges inside in bias, but because these are corps skirts and the bodices are fitted to the dancer, I suspect she's leaving it as is.
If you have questions about the process, you should contact Irene Mack-Shafer, at the University of Akron costume shop. Her email address is: ijacops@uakron.edu
You'll spot in the quilting section, it's third layer down, about 5cm/2" in. They've used approximately 15mm widths of the same tulle to form a boning case on top of each panel, and threaded it through.
I like the hoop to be invisible. The best tutu skirt design to me would be the one you can see in the Oregon costume shop tutorial. I wouldn´t use that kind of hoop. There is one for bras that is narrower and so soft but resilient. Looks as there isn´t any hooping at all like Balanchine powder puff tutu and doesn´t get is in the way of mens ....... when doing pas de deux.
I'm wondering if you have an advise on where I went wrong with my tutu construction. When I kick my leg up past the tutu height, the tutu flips upwards and does not go back without me pushing the tutu back down. Any advise on how to fix this or what might have caused this?
+TMoore1202 I'm just a video producer, but I happen to know the costume designer, and here is her reply: This sounds like the hooping is either pushed too tightly against the casing or not tightly enough. The tutu skirt is all about radius: first, the skirting must be full enough that it maintains an easy halo about the body at the outside perimeter; second, the hooping must be located at the correct radius to support the skirt; third, the circumference of the hoop must be proportionate to the radius so that there is not extra skirting distance from the body to the hoop nor a warped circle due to a hoop circumference with a larger radius than its radius from the body. That’s a little mathy, but I hope you follow and can make adjustments to correct the problem. Hope this helps.
Originally, basket cane, but for about the last 40 years, normal light polyester boning, 5-6mm rigilene/flexicurve. You can even get it fabric-covered, to facilitate dyeing, although modern Rit dyes, particularly the pro range, have no troubles with just the plastic. You might study modern Reenactment versions of crinoline and skirt hooping.
@@anarosareyes6269 Probably the flexicurve she uses in Part 6 in the 5mm size. Steel can cut through, guys can drop gals if their hands are sliced. A softer elliptical beading boning has recently appeared, too. Plastic can be dyed.
In a true classical tutu the tulle is pre-pleated in its entirety, you don't "spread it out nicely" and let it fall however around the hoop. It takes about 9 hours to pleat 60-70 yards of tulle for a professional tutu and it's also done on a sewing machine. The tulle in this video is not pleated at all.
