There could hardly be a more iconic piece of dance costuming than the Tutu. It is an elegant yet robust piece of costuming generally used by female dancers in ballet productions and ballet training all over the world. Originating from the early theatre and evolving over time, to the flattering, tight fitting bodice with the perpendicular, layered skirt we know today. It is a design and construction feat of architectural genius that baffles unknowing costumiers; it mesmerizes audiences; it is blinding, intrusive and sometimes painful for the ballerina’s male partner; it is the envy of most young girls and most importantly, it makes a ballerina feel beautiful. And in ballet, “…given that the ballerina always comes first, the tutu is here to stay” (Hendrickson, 2015). It is said that great works of art are created when Apollonian and Dionysian concepts are interlaced causing tension (Nietzsche, 1872). The art of ballet and indeed tutu making must also involve these divergent values. It takes careful design and rational planning to construct a quality tutu but without emotion and raw instincts and the chaos that is ever present with any stage production the resulting creative work would be without life. The tutu, often worn by the most talented dancers and seen centre stage is an enviable piece of costuming to have the privilege to design and construct. It is under the most intense scrutiny from the choreographer, director and artist. This adds to the challenge of creating perfection in not only style and line but importantly, function. The name, Tutu, is believed to have been introduced by audience members in the cheaper, unenviable seats at the very front of the theatre looking up at the dancers bottoms. Tu-tu being the French children’s word meaning bottom (Looseleaf, 2015). This retrospect of the evolution of the tutu will unravel the history of the tutu as it has occurred over hundreds of years and lead us to the modern day tutu. The tutu evolution has matched the increases in the equality of women in the broader community and relaxation of fashion taboos. It has become central to the classical ballet performance and eventually provided the freedom to the female dancer to reveal, express and feature her virtuosity.
Early 18th century women’s costumes for dance were an elaborate imitation of the fashion of the day. Their court dresses with heavy structured bodices were restrictive in movement, while the wide hooped skirts, which sat just off the ground, made it difficult to portray graceful gestures. Interestingly, at this time male costumes allowed for complete freedom of movement (Hecht, 2005). This difference in standard reflected the cultural gender based norms of the day and as the role of women in the broader society evolved, so did the Tutu.
The Romanticism of the end of the 18th century/beginning of the 19th century would produce the first precursor to the classical tutu that is universally recognised as the epitome of classical ballet today (The Tutu, [n.d.]). Marie Taglioni premiered as Lead Sylph, in the ballet production of La Sylphide in 1832, wearing a long bell shaped ballet skirt which flowed to the lower calf (Beaumont, 1946, p. xxiii). It was made from gathered layers of a thin muslin fabric with an open weave which gave a voluminous look but was very light weight. This style allowed freedom of movement and gave an airy quality to the dancer as she appeared to glide across the stage. This look has become the standard for a romantic style tutu and is still used in ballets all over the world today when an ethereal look is required (Refer to Picture 1). Before electrical lighting was used as standard, theatres were initially lit with candles and in the interim gas lighting was used. This produced a “soft glowing illumination that enhanced the magic of the delicate sylphs” (Fonteyn, 1980, p.227). Although the French government had issued a decree that all costumes and sets be fireproofed, this treatment was not popular with ballerinas as the chemical treatment caused the romantic tutu’s to become dingy and reduced their airy quality. So important is the look, feel and movement of a ballerinas costume that many dancers chose to ignore the life saving regulation. In 1860 Emma Livry wrote to the Director of the Opera:
I insist, sir, on dancing at all first performances of the ballet in my ordinary ballet skirt, and I take upon myself all responsibility for anything that may occur. In the last scene I am willing to dance in a treated skirt, but I cannot wear skirts which will be ugly, or which will not become me. However, as I feel that the management is quite right to bring into force the proposed alterations, I will myself ask after a few performances, for a substitution to be made, provided that it will not spoil the effect of the costume, which is what I fear.
With best wishes, Emma Livry. (Fonteyn, 1980, p.231)
Emma died in 1863, at age 20, after suffering extensive burns during the final rehearsal of an Opera eight months earlier. As she prepared for her entrance she shook out the layers of her romantic tutu which caused a movement of air inviting the flame from the gas jet to envelop her.
Picture 1. Marie Taglioni in La Sylphide (Fonteyn, 1980, p.200)
By the end of the 19th century, ballerinas had started to shorten their tutu’s to show off their ever improving ballet technique and, as cultural norms allowed for the relaxation of more modest dress standards. Initially, tutus where shortened to the knee and then to mid-thigh. These shorter tutus had the inclusion of attached ruffled underpants made from cotton bobbinet. This style is now commonly called a bell tutu and it is certainly a recognisable descendant of the classical tutu known today (Refer to Picture 2). These tutus were used in famous ballets such as Swan Lake and Sleeping Beauty (The Tutu, [n.d.]).
Picture 2. [Bell Tutus in paintings] (Degas, [n.d.])
When ballet entered the 20th century even more tarlatan layers, up to sixteen, were added to the shortened tutu and wire hooping was encased within the rows which were hand tacked together. This gave the tutu the gravity defying silhouette it is now famous for (Refer to Picture 3). With the tutu now fully exposing the legs of the dancer it also fully exposed the virtuosity now being achieved (Looseleaf, 2015).
Picture 3. [Platter Tutu] (Danceinforma, 2013)
New York City Ballet’s Artistic Director/Choreographer George Balanchine, together with NYCB’s Costumier Barbara Karinska, would together make another change to tutu history in 1948. With the introduction of new fabric choices, tarlatan was replaced with silk, nylon or rayon net or tulle. This also reflects the evolution of fabric technology over time as new materials became available to the fashion industry. New York City Ballet’s large corps de ballet filled the stage and the edges of the dancer’s tutus would collide due to lack of the personal space required by the large, stiff, hooped tutus. Balanchine found it undesirable that the stiff, hooped tutus would continue to dip and bob after the dancer had ceased to move. This added un-choreographed movement which was not always musically appropriate (Bentley, 1995, p.102). Karinska decided that with the new fabrics available being stiffer and more self supporting, the wire hooping was not required if the layers of the tutu were shortened. This introduced a new style of tutu which later became known as the Powder Puff or the Karinska/Balanchine tutu. It consists of fewer layers of net, as few as six or seven, which are shorter than the stiff platter tutu’s. These layers are still tacked together but not as firmly as the stiff, platter style (Refer to Picture 4).
Picture 4. Karinska Tutu 1949 (Bentley, 1995, p. 103)
Designers and Choreographers, particularly in contemporary ballet, now achieve costumes that are still recognisable as a tutu due to the iconic silhouette but are breaking all rules of traditional materials and construction techniques. For the Australian Ballet’s production of Divergence, tutus were created from air-conditioning filter mesh which was sent to an automotive spray painter to paint black. The mesh was then cartridge pleated, Elizabethan style. The bodices of these tutus were made from vacuum formed polyurethane foam (The Tutu, [n.d.]), (Refer to Picture 5).
Picture 5. [Australian Ballet Divergence Tutu] (The Tutu, [n.d.])
The evolution of the tutu mirrors the evolution of modern western society. Changes in perception of the women’s appearance and improvements in technology and products have allowed this iconic piece to evolve and improve into the modern day item that is desired by every ballerina. Yet despite its evolution in form, its function remains true to its heritage. The tutu will always enhance and support the character of the dancer and allow her to display her technique, facility and strengths. The tutu is important historically as it has survived hundreds of years of evolution. Ballet as an art form has a proven longevity and the tutu remains central to the world of ballet to this day, and will well into the future.
References:
Baeumont, C.W. (1946). Ballet Design: Past and Present. London: The Studio, Ltd.
Bentley, T. (1995). Costumes by Karinska. New York: Harry N. Abrams, Inc.
Danceinforma, (2013). [Platter Tutu] Retrieved from http://www.danceinforma.com/magazine/wp-content/uploads/2013/10/Imperial-Russian-Ballet-Australia-326×235.jpg
Degas, E. [n.d.] [Bell Tutus in Painting] Retrieved from http://24.media.tumblr.com/904a80d4f0a63f7258169b42a76e303a/tumblr_mvchifSJ4P1rdf1x2o1_500.png
Fonteyn, M. (1980). The Magic of Dance. Great Britain: Fountain Productions Ltd.
Hecht, T. (2005). Ballet Costume. A-Z of Fashion. Retrieved from http://www.bergfashionlibrary.com/view/bazf/bazf00051.xml
Hendrickson, A. (2015). Terrible Tulle. Retrieved from Dance Magazine.com: http://www.dancemagazine.com/issues/April-2013/Terrible-Tulle
Looseleaf, V. (2015). The Story of the Tutu. Retrieved from Dance Magazine.com: http://www.dancemagazine.com/issues/October-2007/The-Story-of-the-Tutu
Nietzsche, F. (1872). The Birth of Tragedy. Germany: Verlag Von E. W. Fritzsch.
The Tutu, [n.d.] Retrieved from The Australian Ballet.com.au: https://www.australianballet.com.au/education/about_ballet/the_tutu
Tutu Couture and Stagewear 
