You must be logged in to see all the images, see the full sized versions of them with their comments, & user comments, or post your own images. Go to our main forum to find out how.

Thanks for shopping at Betty's

More Stores: *Betty's Sissy Ballet & Danceware Store* *Betty's Sissy Shapeware, Girdle, & Corset Store*

Don't forget to buy something for yourself or that special sissy this holiday season at these great prices. Buy it here or through these links & support Betty's at no extra cost to you. All sissies should look pretty & shapely.

The largest of these child tutus & leotards will stretch to fit you if you are about 5 1/2 feet tall or under, & also under 150lbs... likewise with all size 16 dresses (but they don't stretch). Some of this danceware, is also available in adult sizes if you click & check on them. Beware some of these are just the leotard, & the tutu is extra, others are just the tutu or skirt, & the leotard is extra. So read the details carefully so you know what you're ordering.





There has been,

Hits to Betty's Pubs since September 30, 2004

sissy stories betty pearl bettypearl betty's pub bettys pub 5.3 dresses dressed dressing frilly pink stories lace ruffles lacey ruffled frillies rhumba panties rumba bubble pants bubble outfits bubble outfit jumper romper frock jumpers rompers frocks bubbles diaper diapers diapered diapering plastic panties rubber pants rubber panties dummy dummies pacifier pacifiers bottle tights leotard leotards bonnet bonnets ribbon ribbons bow bows girdle bra girdles bras corset corsets corsetry stirrup pants peter pan collar leggings flower girl little girl baby girl girl's maid maids ankets stockings bloomer bloomers petticoat petticoats petticoated petticoating slip slips puffed sleeves smock smocked gloves pansy heels mary jane shoes

Design Scene: The Making Of A Tutu From tulle to feathers, a ballerina's classic costume is equal parts sweat, labor and magic�and every young girl�s dream to wear. The tutu is a complex work of art. A stiff tulle skirt and elaborate bodice require weeks of engineering. And, of course, they come in several shapes and sizes. Traditional tutus jut out horizontally from a ballerina�s hip bones, exposing the legs, while romantic tutus are longer, falling over the hips to above the knees. Both have tulle underneath and a bodice that extends into the top layer of the skirt. A resident cutter and tutu specialist with the National Ballet of Canada, who constructed the tutu for Artistic Director James Kudelka�s recent Firebird production, says a traditional tutu without fancy decoration or elaborate trim, takes about three weeks to complete. It usually has 16 layers of tulle and a width of 15 inches from the waist to the tip of the top skirt layer. Each layer gradually increases in circumference from the bottom to the top, and the back of the skirt extends out a bit longer than the front. Attached to a brief, the skirt includes wire in casing to maintain its horizontal shape. The bodice, which often has darts and boning, can be detached from the brief for cleaning and adjustments. Dancers wear their bodices quite tight, fastened by a long line of hooks and eyes. The professionally made tutu looks ethereal on stage, though it�s actually very strong and corset-like to withstand repetitive stretching, lifting and turning. These labor-intensive costumes can cost between $1,000 and $3,000, usually lasting from 20 to 30 years. A talented costume designer and an accomplished wardrobe staff contribute immensely to the overall success of a production. The title tutu for Firebird�co-produced by the National Ballet of Canada, American Ballet Theatre in New York City and the Houston Ballet�is an example of an elaborate design. It�s extremely intricate. It is made of 18 layers of material in various shades of red with a gold pattern. The Firebird skirt varied from the traditional shape with a dip in the front and a raised portion in the back to simulate tail feathers. The thicker tulle could not accommodate wiring, so the dip in the front and the incline in the back were achieved with incredibly tight stitching between the layers of tulle. The fabric artistry and engineering behind this costume are astounding. After a lot of experimentation and several fittings, Loquasto was pleased with its shape and appearance. Last but not least, fabric feathers were handmade and attached to the skirt. These tricks of the trade helped make the costume look like second skin onstage, no matter which dancer it was originally constructed for. Making a tutu, especially an original, is a long and physically demanding process of trial and error, but without it, the ballet just wouldn�t be the same.