Alternations: If you are not sure how to do an alteration, test your technique on clothes from a thrift shop.
Anklets: Princess Farhana recommends cutting the waistbands off flesh-colored panty hose, sew them to size, and glue on an assortment of rhinestones. On stage, all the audience will see is the glitter of the stones.
Straight dissection needle. These have a wooden handle, no eye, and are about 6" long with a fine, sharp 2" needle.
Basting tape: two long strips of basting tape on the back of templates will hold the templates to the fabric. Replace the waxy protective outer layer when done to preserve tackiness.
Bedlah from three paillette hip scarves at Kiyaana.com.
- A bedlah belt made in two pieces, with a closure on each side, will allow you to adjust the belt evenly on both sides if you change weight. It also makes the belt more attractive to a potential buyer.
- The Costume Goddess's page on making a belt pattern.
- Costume Goddess's page on altering belts.
Bedlah Bra construction: Bedlah bras do not look like lingerie from any angle. The straps and sides are usually removed and replaced with reinforced straps and sides that hold up to ornamentation and intense use.
Bedlah Pitfalls: Beaded bra and belt sets (bedlah) can be problematic, especially the cheaper items which are often heavily ornamented. Even if the cup size fits, you may need to adjust the back strap, the neck straps, or the belt closure. Items that have heavy ornamentation (beads, stones, sequins) on the other side of the hooks and eyes may be constructed in such a way that you must remove all the ornamentation from the outside and then replace it when you have moved the hooks.
- Research your vendor. Google is your friend. Some vendors will send whatever they have in stock, whether it is the right color or size, and then give you a hard time about returns.
- Choose a less-heavily ornamented outfit from a vendor who will allow you to exchange costume pieces that do not fit.
- Examine the costume pieces and evaluate the probability of moving the hooks and eyes without cutting into dozen of threads of ornamentation.
- Give yourself plenty of lead time for the swapping process.
- If you are deconstructing and ornamenting a bra top yourself, be sure to buy a bra base that fits. This means the right cup size, the right neck shape, and enough coverage on the sides. A bra that seems to fit under a shirt may not cover enough when on it's own.
- Halter bras, especially if heavily fringed, are not a good idea. Just ONE strap around the neck can pull your spine out of line and produce a permanent stoop, if you wear it often enough... sew your shoulder straps really close to each other at the center back (or to meet there, with a front-closing bra). This style is easier to put on, gives more support, better cleavage and the straps cannot fall off your shoulders." —Morocco.
Beladi Dress Instructions
- Using bias as ornament (Threads Magazine, issue 61, Oct/Nov 1995):
- Make your pattern:
- Simple shapes and soft curves will be easier to implement.
- Create a design template on stencil plastic, cutting it with a mat knife. If your design is a border, begin and end in the middle of a repeat.
- Make an alignment mark or two on the template.
- Verify that borders will match at ends.
- Mark your fabric:
- Apply wash-out liquid stabilizer to base fabric; saturate thoroughly and allow to dry flat. A hair dryer and a dry iron can speed the process.
- Position template and trace around (or within) the design with a sharp water-soluble chalk pencil or fabric marker. Be sure to mark alignment points as well.
- Lift template and verify transfer. If necessary, realign template with alignment points on fabric and complete transfer.
- Make the bias tubing:
- Fold bias strips in half, right sides together.
- Sew the desired width from the FOLDLINE, not the raw edge, and trim seam allowances to 1/8"
- You will NOT be turning these tubes.
- Using a bias bar, roll the seams to the center and press open.
- Anchor the tubing:
- A fabric glue stick is an alternative to basting and will wash out with the stabilizer.
- Patterns are created with a repeated under-and-over pattern.
- Begin tubes UNDER intersections. If in the middle of a pattern, butt and glue and then mark the ovepass tube to indicate where the pieces join.
- Borders are best worked by weaving an inch or two ahead of gluing or basting.
- Sew the tubing to the garment.
- Strive for invisibility.
- 60/2 machine embroidery thread in top and bobbin is recommended. Alternative: a fine invisible nylon as top thread and fine cotton in bobbin. Lightweight silk thread is another good optoin.
- Practice applique.
- A blind-hem stitch 1mm long and wide will be the most invisible.
- Do not stitch across intersections unless they cross abutted bias tubes. Stop, stitch to secure corner, then raise presser foot and needle and gently push forward until the unbroken thread crosses the intersection. Lover presser foot, secure corner, and continue. Trim crossing threads later.
- At intersections: jump across the abutted bias tubes as per above, but stitch down the ovepass tube.
- Remove stabilizer completely by running stabilized areas under warm running water. Spin dry in washing machine on spin cycle.
- Block applique pieces. A makeshift surface of foamcore covered with a clean towel will do. Place appliqued piece right side up, smooth and pin into place after checking dimensions against pattern pieces, and let dry at least 24 hours.
- Remove pins and press gently on the right side with a dry iron and press cloth.
- On the right side, clip and remove each thread that passes over an intersection.
- Underline the applique with a lightweight fusible tricot (Sofknit), an all-bias interfacing that fuses at low temperature. This underlining will protect the applique and maitain the shape, as well as adding weight and drape to the garment.
- Make a length of fabric into a giant bias tube and cut bias garment pieces as though they are on the straight grain. Threads Issue 107, June/July 2003 shows how to fold and stitch these giant tubes.
- An alternative to the giant bias tube; cut bias-item pattern along diagonal lines and tape cut pieces together so that the diagonal lines (the new seams) are on grain. Includes pattern for a basic shift. Threads, issue 37, 1991 Oct/Nov.
- Altering commercial pants patterns so that they can be cut bias. Instructions for pants without side seams, pants with side seams, and pants with side panels. Threads, Issue 116, Dec 2004/Jan 2005
- Master class on bias basting, pinning, draping and sewing. Threads, Issue 99, Feb/Mar 2002.
- Smooth, ripple-free bias binding of edges: Threads, Issue 51, Feb/March 1994.
- Making a Body Stocking from fishnet tights at BellyDanceStuff.com.
- In a 1986 edition of Middle Eastern Dancer magazine, Arras suggests the following substitutes: Glitter scarf, tied loosely and open in the front; Stretch nylon sewed into a tube and ornamented with sequins; Waterproof, powder-base makeup that will not smudge.
- SugarPetals in several strengths and sizes small to Queen+. They also sell leotards with a power-net insert covering the midriff.
- FlamencoDiva.com sells XXS to 3X.
- BellyStockings in the UK ships internationally with no extra charge for shipping! (2012)
Books: Sewing books that will not lay flat can be converted to spiral binding at a local copy center.
- Halter-style straps are much easier to make and fit than over-the-shoulder types BUT they will put pressure on the top of your spine. A hobbist who dances a couple of times a year may not be affected but those who dance regularly should be wary of these straps.
- A bra with an over-the-shoulder strap may not convert gracefully to a halter or criss-cross strap style; the cups are shaped and positioned to look good with the straps pulling over the shoulder, not towards the back of the neck. A convertible-style bra is a more flexible base.
Choosing Colors for Dance Costumes
Circle Skirt Sewing and Fan-fold Circle Skirt pattern
Costume Planning: or, What Has It Got in Its Closets?
Costume Care and Transport
Coutil: A strong, smooth fabric, similar to drill, which is used for costume pieces, such as corsets and ballet bodices, which must withstand stress without losing shape. It is made of cotton, so it is absorbent.
Cutting: Attaching the edges of a pattern to slippery fabric with invisible tape will hold the fabric and pattern together without sliding while you cut.
Darts and their Design Equivalents: Most dancers exist in three dimensions: height, width and depth. A costume design that accomodates your bosum and your fanny, your long-or-short legs, and your high-or-low waist is going to make you feel so much better on stage. A word to the wise: the tip of the dart - or the dart equivalent -- aims towards the fullest part of the bust (aka the point of the bust) but stops an inch or so short.
Dog Bed from old blankets.
- Draping: a great video of a Dior professional translating a design into a pattern.
- Inverse draping:another great video of a Dior professional translating a full size dress into a half-size pattern and then a half-size dress.
Dyeing Silk with Acid Dyes: Acid dyes do a great job and CLEAN UP beautifully: they won't stain your stove, pots, floor or anything that is not made of wool, silk or nylon.
- The fabric next to the feed dogs will feed a bit faster than the fabric on top, which is a fast way to ease two fabrics together.
- Waist elastic: The elastic used in stretchable waistbands needs to be of high quality, strong enough to hold the skirt up, and replacable. This applies to all skirts, not just the large tiered ones. I had to replace the elastic on a purchased narrow skirt after the dancer had worn it twice because the elastic was of terrible quality. After I took it off, I swear it looked like second-hand panty elastic that had been recyled. Yuck!
- Zill elastic: your audience will notice sloppy zill elastic: pinned, tied, or just plain tired. Photos are especially bad at showcasing sloppy zill elastic. Experiment with a few techniques, choose the one you like, and stick to it.
Embroidery designs: Tracing the design onto organza, then pinning the organza to the wrong side of the fabric and outlining the pattern with small running stitches through both layers stabilizes the surface fabric and creates a clean design to follow.
Fabric: Stiffen drapy, washable fabric in a solution of gelatin and water. 1 t gelatin in a pint of water, let sit for 30 minutes. Then add a quart of water to the gelatine mix and soak the fabric for an hour. Roll the fabric up in a towel, squeeze excess liquid out, and allow to air dry.
Fabrics that are prone to wrinkling will retain wrinkles after being squeezed in your hand for five seconds. Wrinkling can be reduced with a light cotton or silk underlining.
Fabric Pre-shrinking: Treat yourself to a long, happy relationship with your new costume piece and take a little time to pre-shrink. The US Extension Service states that 3% shrinkage will cause a garment to shrink ONE SIZE. Some fabrics will shrink up to 10%! If YOU do the preshrinking, then you have the option of washing it or dry cleaning it!
Facings and Bindings: Neck and armhole edges need to be constructed to hold up to the extra wear and tear those areas receive. Folding the edge over and stitching it down, or finishing it with a serged seam and nothing else, is asking for premature aging of the costume. Facings and bindings provide a strong stable edge.
Fitting a costume: A costume that does not fit properly will not provide the effortless projection of beauty and delight that you were dreaming of. How much of a reduction in value will depend on the costume's problems and the dancer's body type. A folkloric dress cut from an old sheet in a T-shaped pattern will look okay on a youthful, small-bosomed figure after the hip scarf and some necklaces are added. The same garment on a matronly figure will emphasize every figure fault and may make the dancer wish she'd never volunteered to get on stage. In both instances the costume design will deny the dancers the advantage of looking and feeling their best. The solution: invest a little more time and effort in choosing your design.
Gathering: A strip of twill tape the length makes a reliable guide for gathering. A pull tab added to both ends of the fabric to be gathered, with the gathering threads starting on the tab, is helpful for identifying and controlling gathering threads.
Shushanna's web site has a clear description on how to make your own ghawazee coat pattern. Not for the beginner seamstress. If I were in a hurry, I would go to the second-hand or consignment store (or have folks raid their closets buy something they like on sale) for WOVEN (not stretch) princess or A-line dresses that fit each dancer. This removes the time-consuming problem of fitting the coat.
- If you standardize on the trim and the cut and the type of colors (don't have one earth tone and 7 jewel tones) then the different fabrics will still seem coordinated.
- Mark the neckline and arm shape with a washable pen (if you make the coat sleeveless you will save additional time);
- cut the edges to suit;
- reinforce the neck and arm holes with narrow twill or grosgrain;
- then bind all edges with bias binding OR fold to outside and cover raw ends with ribbon;
- add fasterner -- ties or zipper, hook and eyes, loop and button, or loop and knot.
Combination glue AND sewing is best for keeping gems put. If you can get gems with sewing holes in them, that is the best. Remember to protect your table with heavy board or glass while gluing: paper will end up glued to the back.
When glueing sequins, technique is more important than type of glue. Using tweezers, pick up the sequin, dab it on the glue, and apply to surface. Make sure that the glue oozes up through the hole, creating a little glue bead. This is what will hold your sequin to your fabric." — Rebecca writing in Jareeda.
This to That Glue advice generator.
3M Spray Mount Adhesive: glues together thin layers of cardboard, photographs, foam core, even light fabrics, firmly and evenly. Usually superior to rubber or contact cements, white glue, or tape. Various formulations.
606 Spray and Fix: spray-on fusible web; you make any fabric fusible by spraying its underside, allowing it to dry, and then cut into shape and iron it to permanently adhere it. Recommended by Threads Magazine,
Aleene's Jewel It: good for applications that require some flexibility in the jeweled area. Squeeze some onto a small piece of foil and use a toothpick or tweezers to apply it. Handwashing is a possibility, depending on the ornament.
Aleene's Original Tacky Glue: recommended by Jasel for attaching any size applique, seqin, bead, rhinestone, pailette, shell, fringe. Dries clear. Can be removed without leaving marks on the cloth. Upside: easy to clean up. Downside: not washable or dry cleanable.
Aleene's Platinum Bond is considered the industry standard in the jewelry world. Some claim they can glue stones to metal with it and it was tough as nails. Good for applications that do NOT require flexibility in the jewelled area.
- Temporary sprays: these hold for hours or days (depending on environment) and then disappear. Hold layers together during quilting or when making faux chenille, secure a stabilizer to an embroidery project, position appliques or lace on a garment while trying it on, spray masked-off seam allowances of velvet together for shift-free sewing, hold buttons for machine stitching. Sulky KK2000 Spray Adhesive, Dritz Spray Adhesive, June Tailor's Quilt Basting Spray, Sullivan's Quilt Basting, 505 Spray and Fix. Recommended by Threads Magazine, April 2002.
- Repositionable sprays: the item with the sprayed surface can be positioned, removed and repositioned without losing tackiness or leaving a residue. Hold stencils, preview applique placement. 404 Spray and Fix is designed to be repositionable almost indefinately. 202 Spray and Fix makes items permanently repositionable yet not tacky when stored between uses. It does not evaporate, holds until removed and is reactivated by ironing it. Also: Dritz Spray Adhesive, June Tailor's Quilt Basting Spray, Sullivan's Quilt Basting, and 505 Spray and Fix. Recommended by Threads Magazine, April 2002. Loctite General Performance Lightweight Bonding Adhesive: a permanent repositionable spray recommended by Threads Magazine, Feb 2013.
Bo-Nash 007 Bonding Agent: spackle for cloth. Great for moth holes or 3-way tears or cuts. Chop up a tiny amoung from a seam allowance, mix the fuzz with the Bonding powder, and press between two nonstick ironing sheets. Washable, dry-cleanable, and can be sew through. Recommended by Threads Magazine, April 2002.
E6000: not just for pottery! Recommended by Nancy Fetzek-Guzel. "I worked for several years for a professional costumer. We made skating dresses for skate teams who competed all of the country. We also made the cheer costumes for many of the pro fottball teams. Believe me, NOBODY sews rhinestones on any more. First of all, it is too slow. Secondly, the settings for the stones turn green from body oils and perspiration. The glue we used was E6000."
Epoxy: Very durable for sequins if applied properly (see above).
Hot Glue: Great for glueing rhinestones and gems onto fabric. Too hot for most sequins; they may melt. Attach faux flowers to headpieces. A line of hot glue on the back side of a shoulder strap will give it traction to keep it in place.
It Stays!: water-soluble, roll-on adhesive that holds socks and shoulder straps in place. However, it is water soluable, which means that sweat and body oils will inactivate it. Therefore, it's mileage may vary by dancer and by the dance.
Jewel and Glitter Glue: recommended by Princess Farhana for rhinestones and crystals. No smell and is washable and dry cleanable.
Mighty Mend It: recommended by Threads Magazine for repair of pockets, hems and seams, and fro applying fringe and lace.
Mighty Gem It: recommended by Threads Magazine for applying crystals, rhinestones and sequins to fabrics.
Mod Podge:Sealer, glue and finish. Cover cardboard or wood boxes with fabric using it. Clean up with water while wet; once dry, it is permanent.
Stitch Witchery: works great for hems, larger appliques, or reinforcing fraying material. Use between two pieces of fabric as stiffening. It is sold in rolls (fast hemming) and sheets (cut to shape. Downside: can be difficult or impossible to remove an attached item.
Yellow glue: this is widely used in woodworking. It withstands moisture (it even comes in outside formulations); it requires only brief clamping (one hour maximum); it becomes sticky quickly.
Grain: Straighten fabric grain while pre-shrinking by trimming / ripping crosswise grain at each end of the fabric and then baste the ends together. Wash and dry. If very off grain, try basting the selvage together as well.
Guidelines for Dancing at Public Events
Harem Pants and Pantaloons
Hems: Good hems balance the entire look of the costume, enhance the way the costume moves when dancing, flatter the dancerīs figure, hold up during repeated cleanings, and keep the garment from fraying and catching in a toe or heel.
Making a hem:
- The skirt should not be too long, or too short... it should be in the Goldilocks zone. If you will be doing a lot of footwork, then a hem that is longer than the top of your foot will both hide your feet and trip you as well.
- Unless the design calls for an uneven hem, then the hem should be equal distance all around. Even a very full skirt cannot hide a hem job that did not account for the dancer's butt or stomach; the uneven distance from the floor will be very apparent. This means: circle skirts need to be hung for at least a week before hemming or the bias will stretch and you'll have to redo your job. Tiered skirts, normally sold as a certain length long, will have to be adjusted at the bottom or - much easier - at the top. Then, mark the back of your skirt so you know which way to put it on!
- If there is nothing you can do about a problem hem before showtime, tuck it up!
Stablizing curved rolled hems: reduce bias stretching on curved rolled hems by staystitching the curve within the hem allowance before rolling the hem.
- Three ways to a narrow hem: serge first, then turn; make a banroll 'fan' to control the fold on a straight hem, then remove the Banroll; use wash-away stabilizer to control the fold on a curved hem, then remove the stabilizer.
- Traditional hems have a bias strip in the fold for softness.
Hooks, Eyes and Bars:
- These need to be strong enough for the job, of good quality (no soft metal that bends under stress), sewn on strongly, and! the costume ornaments should not interfere with the dancer's ability to change into and out of the costume pieces quickly!
- Light and heavyweight wire hooks are designed to close with a thread bar. Often used at non-stress points on a dress; at the top of a zipper, for instance.
- Light and heavyweight wire hooks are designed to close with a wire eye; the heavier ones are used in ballet costumes.
- Medium and heavyweight shaped metal hooks are designed to close with a metal bar: the medium weight styles are commonly used to close skirt and pant waistbands. The heavyweight styles are designed to hold heavy costume pieces in place.
- Richard the Thread sells a complete variety of hooks, eyes and bars for costumes.
Fusible interfacing: lay on top of a cotton muslin press cloth and cover with barely damp cotton press cloth. Press until cloth is dry.
On lace designs, garments are laid out so that they can be appliqued at seam lines to make the seams invisible.
Linings, Interlinings and Underlinings: for those who do not sew, it is hard to believe that what the audience sees is NOT the most important part of the costume. The most important part of the costume is the underneath part that supports and protects the fancy outside. The top yoke lining of a tiered skirt will support the weight of the rest of the skirt. Ditto for pantaloon yokes and cuffs. The closely-woven lining of a tie belt will keep it looking good and from stretching while you dance, ditto for the lining of a vest or halter top.
One way to reconstitute a stretched neckline is to pleat it into shape using a reinforced facing as a base. Very very narrow pleats, starting at center front, shoulder seams, and center back, with additions as necessary; stitch from neckline to tip.
Ironing iron-on patches to the back of self-fabric patches makes them twice as strong with no puckering. Trim away seam allowances from the iron-on patches before fusing to keep edges from being too bulky.
Panels of Ribbon and Yarn
Pants and Pantaloons
Pattern Index: Costumes from Geometric Shapes
Keep track of pattern inventory by taking pictures of the front and back of each pattern and storing the pix where you can access them electronically while you roam.
- Contractor paper is 28 inches wide, thicker than plain brown paper, and cost pennies a foot when bought in rolls at the hardware store.
- Examination paper (medical exam papers) is often used for patterns.
- Medical tape (paper tape) holds pattern paper together and can be ironed.
- Flip chart paper, 34 x 27 with one-inch squares, assists with stripe and plaid alignments, foldline positioning, and length or width adjustments.
- If no qualified sharpener works locally, send them to an expert. ShimplySharper.com in Wisconsin is recommended. Cutting aluminum foil really does not work and can damage the sheers.
Pockets: if you can incorporate pockets into your costume, do so. If not, pockets in your coverup will be helpful
- Cotton canvas or duck in a plain weave (not a twill). The density causes heat to be evenly distributed and diffuses the heat as it penetrates; therefore excellent for sensitive fabrics with a low melting point, such as nylon, leather, coated fabrics, synthetics.
- Cotton Muslin provides strength and firm support. Poly blends not suitable. High heat tolerance but can emboss delicate fabrics.
- Cotton Flannel: the napped, brushed surface protects brushed and hairy fabrics from turning flat or shiny. Use with wool flannel, camel hair, couble or pinwale corduroy. Light pressure or steam-and-finger-press seams.
- Cotton Shirting: long-stpale, plain weave, Swiss or Italian best. Use when heavy steam is required; shirting can be misted or dampened, and its construction and high heat tolerance protects fashion fabric from changes.
- Silk Organza: good for general pressing because of high melting point. Sheerness adds control. Fine texture prevents embossing.
- Worsted wool (wool fabric of high-twist fibers) for tailoring wool garments. Flat, strong, holds moisture, keeps fabric from becoming shiny.
- Light color press cloths prevent color transfer. Half-yard of fabric makes two press cloths. Wash press cloth fabric three times to remove all sizing and hem it. If you have to hem with a turned edge, be sure never to press on the turned edge or it will emboss the fashion fabric. A loop allows hanging at the ironing station.
- To press seams open and flat on natural fiber fabrics (wool, cotton, linen), use an eyedropper to place drops of water or starch down the center of a finger-pressed seam and press with the tip of an iron. Clap the seam, if necessary, and let it cool a bit before moving on.
- To avoid seam allowance show-through, place the folded edge of a folded dry press cloth under the seam allowance and up against the seam. Press the seam. Turn the garment to the right side, keeping the press cloth in the seam. Place the seam over a seam stick, under another press cloth, and press.
- Get rid of seam-allowance show-through after pressing by damping the seam allowance on the wrong side, then place a damp (NOT wet) press cloth under the seam allowance and steam under the seam allowance to remove show through.
- Get rid of a sharp crease in wool or cotton by steaming the crease open to loosen fibers. Then lay a damp press cloth dampened with a solution of 3 parts water and 1 part white venegar over the crease on the wrong side. Steam through press cloth. Flip fabric, and steam right side flat.
- Get rid of sine on wool by steaming shiny area through a damp terry washcloth. Hover the iron and burst the steam. Then brush the fabric with the washcloth to lift the fibers. If the shine remains, dampen the washcloth with 3-parts water 1-part white vinegar and repeat steaming and brushing.
Make the seams of sheer clothing invisible by binding with flesh-colored chiffon.
- The seam must be appropriate for the fabric and for the performance. Example: the narrow serged seams that are so popular in ready-to-wear may cause a tiered skirt of Indian gauze to fray and pull apart under the stress of the skirt weight, twirling and tucking motions, and cleaning. If you own one of these skirts, be sure to reinforce the seams with extra lines of stitching.
Problem fabrics that do not move smoothly over the machine plate or which get stuck in the machine foot (batting, bulky or loose-weave fabrics, faux fur, or Velcro) will sew smoothly with the help of strips of plastic grocery bags (above or below). The plastic helps the fabric slide smoothly, and a tug easily removes the plastic after the seam is complete.— Betty Bolden, Reuse Plastic Bags fo Smooth Sewing, Threads Magazine, Web.
Foot control: Add silicone sealant to the bottom of the foot control, let it dry for 24 hours, and the silicone will provide enough traction to prevent the control from skidding on slippery floors.
Shoes for Performance
Shrink Tips will fasten the ends of lacing or other frayable tubes.
Shrugs for Dance or Streetwear
Sleeves: The smoothest fitted seam will avoid catching the bodice shoulder and side seam allowances in the seam attaching the sleeve to the body.
Sewing machine feet:
- Flat-felling foot: makes even narrow felled seams. Threads, Dec / Jan 2017.
- Rolled-hem foot: makes even narrow hems. Threads, Dec / Jan 2017.
- Dupioni: Similar to shantung: plain weave with irregular yarns in the weft. Dupioni is the coarser, slightly looser weave with larger slubs.
- Shantung: Similar to dupioni: plain weave with irregular yarns in the weft. Shantung is smoother and more tightly woven with finer slubs.
- Tussah: silk woven from the light tan cocoons of wild silk moths.
A bath towel draped under the machine and over your lap will provide a supportive non-slip surface.
- 3M Post-it Labeling and & Cover-up Tape: will not shrivel when ironed and repositions easily. Useful for adjusting and repairing tissue patterns.
- Pattern Fix-It Tape (aka Micropore) will not shrivel when ironed and repositions easily. Useful for adjusting and repairing tissue patterns.
- Wash-A-Way Wonder tape is a 1/4" wide temporary double-sided transparent basting tape which holds fabrics together for sewing, won't gum up the needle, and disappears after washing.
- Wonder Tape, Super Sticky Tape, Terrifically Tacky Tape: the tape that bonds laminated surfaces in place will permanently hold any beads pressed into its surface as well, if you have buttons or shoes or whatever that need to be covered with beads.
- Make Your Own Tassels at Farfesha.com.
- Please make your own. Don't buy the ones that are designed to go on the bottom of cafe curtains or to be used as tie-backs on drapes.
- If you make tassels by winding them on cardboard, make sure the cardboard is 1-inch longer than the tassel length you want to end up with.
Tassel Belt Making
Technique index: Tools, Technique, and Tips for Costume and Garment Construction.
Gray thread can often substitute for a colored thread when sewing seams. A small assortment of gray threads in various degrees of intensity, light to dark, will provide substitutes that can be used with no detriment to the appearance of the garment.
Cotton: the highest grade is extra-long-staple, Egyptian-grown cotton. Cotton threads that do no list the staple length are probably lower-grade, short-staple cotton.
Polyester thread has strength, stretch, colorfastness, and resistance to UV rays, rot, mildew and chemicals. Multi-filament polyester is smooth, lint-free. and stronger than spun poly. Spun poly is generally a lower quality and fuzzy.
No. 8 pearl cotton works well for French tacks, thread chains, and attaching snaps and buttons.
Upholstery thread: Nylon is recommended over poly because it is resistant toabrasion, weather, ultraviolet light, will not rot in wet conditions, and withstands dry cleaning better. Threads Dec 2016 Jan 2017.
- Buttons and buttonholdes, darn pocket rips and tears, thread chains and jean hems.
- Coats & Clark Extra Strong Upholstery Thread is recommended.
- For machine sewing, use a size 110/18 needed and a longer stitch. Use it in both upper and bobbin.
- Running a home machine with upholstery thread for long periods risks throwing off timing. Keep sessions to 30 minutes and sew slowly.
Ties for belts and skirts. The goal: make two flat ties neatly and quickly.
Tribal Lace Cuff Tutorial at www.Hagalla.de.
Troupe Costume Design.
- Stablize a tuck by stitching from the top to the end, and then diagonally up towards the tuck fold.
Underlining. Firm, crisp, lightweight, and stable fabric, such as silk organza, for underlinings.
Vests for Dancers
Yokes: Yokes add fit, strength and style.
Zill Elastic: Fastest, Fast, and Professionally Elegant ways to put new elastic in your zills.
Zippers: zippers are popular but they are problematic in a dance costume. If they are located in an area that is commonly under stress, sooner or later they are going to pull apart. However, if your costume has one, make sure that the top of the zipper is reforced with a hook and eye or tie or some other device that takes the stress off the top of the zipper... or someday it WILL open up while you are dancing. .
Tailors shop in 2000, depicted by French artist Villemard in 1910. Don't you just wish!
Almashriq: Costumes of the Levant (Syria and Lebanon).
Antique Pattern Library: Large collection of books and pamphlets on needlework of many kinds. All of them are in the public domain, which means that these items are a century or more old. However, if you have any skill with needlework, you may find that some of these older crafts have modern-day applications for costumers. Warning: downloads of scanned documents can be very slow.
Berednsohn, Roy. Let's Stick Together. Popular Mechanics Magazine, May 1998. Web.
Cafferty, Jeanie. Glue! Glue! Glue! A Great Costuming Tool. Jareeba Magazine, 2008. Print.
Dawn Davina Brown: Hints and Tips for the Belly Dance Costumer. This free downloadable document is oriented towards dancers who are purchasing and maintaining costumes rather than costumers, but all costumers should know the details in this book. She covers Cabaret and Tribal costuming and practice wear, with illustrations of common costume pieces and discussions on how to mix, match and maintain them. Keep in mind that this very informative document was written in 2002 and that some costume trends have changed since then; turbans, for instance, are no longer de rigueur for tribal costumes.
Maura Enright, Evolution of a dance costumer, BabaYagaMusic.com, 2010, Web.
Fetzek-Guzel, Nancy. To Dress or Not to Dress. Jareeda Magazine, 2006. Print.
Folkwear Patterns: Folkwear Tribal Dancer pattern #144. Carolena Nericcio worked with Folkwear to produce diagrams and patterns for pantaloons, choli, hip scarf, hip belt, fluffy skirt and tribal bra that involve the least possible sewing skill and fuss. Most of the pieces are based on rectangles with minimum fitting... but with that many layers, it doesn't really matter. I enjoyed using the pattern just for the sense of history.
Jacque Goldsmith, Make a Press-Cloth Wardrobe, Threads Magazine, April/May 2011.
Indiana University: Tilke Costume Patterns and Designs: Ethnic clothing design traced back centuries.
Jasel, Cheating - it's not just for tests anymore!. Jareeda 2005. Print.
Morocco, Ask Aunt Rocky. RDI Publications, 2011. Print.
Neukam, Judith. Get Up to Date on Sewing Adhesives. Threads Magazine, April 2002. Print.
Princess Farhana, Princess Farhana. Hareeda Magazine 2005.
Sewing.org: Sewing.org has a fabulous collection of how-to guides on all aspects of basic sewing skills.
- Free Croquis (body outline) to download from Threads Magazine web site.
- Letters to Editor, several issues. Print.
Bond Fabrics Securely, Threads Magazine, Dec 2009. Print.
VintageSewing.info: VintageSewing.Info: online library of sewing books in the public domain.
Vogue Sewing Book: MED / BD dancers are constantly scolding 'fusion' dancers about the need to know the basics of what they are trying to fuse. I feel the same way about costumers. Put down that hot-glue gun and do not pick it up again until you have read a basic sewing book and learned about linings, underlinings, seam finishes and hems. Hint: clothing is three-dimensional, the design in your head is two-dimensional. Time to evolve! Any decent sewing book, new or used, will do. I cut my teeth on the Vogue sewing book.
Attaching hooks and eyes: Pictures from Utah State University Extension Service.
Attaching hooks and eyes: Diagrams from YesterdaysThimble.com.
Lock stitch for hooks, eyes and snaps from Threads Magazine.
Underlining dance costume pieces.
Standards of Quality from SewingProfessionals.org.
My grandmother's spools of thread and my mother's spools of thread live in their own drawer in my treadle machine.
— American Thread Giant size 50, 25 cents.
— Coats & Clark's Mercerized Sewing thread, 325 yards.
— Conso, Glaced Finish, 500 yards.
— Talon Mercurized, 125 yards, 15 cents.
Out of respect, I have started incorporating these threads into sewing tasks where color or quality doesn't matter (basting, gathering); as each wooden spool empties, I put the spool away.
Oh, and here is one I bought myself: silk buttonhole twist, 10 yards, 35 cents.
I bought this in Macy's in NYC when I was a teenager and Macy's still had an entire floor devoted to Domestics.
Young, in the summer in NYC, walking home to my apartment with my newly purchased treasures, heart light as a feather: anything seemed possible.