In the early 1800s, costumers and choreographers invented the first tutu. The original tutu may have been designed for a talented French ballerina, Marie Camargo. Her tutu was a long skirt that stopped above her ankle, so that the patrons could see her footwork. This tutu style soon came to be called the romantic tutu. It is still used today, with three-quarter length skirts that fall below the dancer's knee but above her ankle.
Unlike the romantic tutu, classic style tutus may have an above the knee skirt or the skirt portion may simply surround the dancer's hips, jutting outwards, without draping. The shorter classic tutu may also have a wire hoop or wire spokes that help shape the layers of fabric into a bell or plate. Powder puff tutus, created by George Balanchine's costume designer, Karinska, for the New York City Ballet are similar to classic bell-shape tutus. However, they do not have hoops or wires. Tutus can be attached to the bodice of a dancer's leotard or they may wrap around the dancer's waist and tie with ribbons or lace.
Ballet tutus were once made of muslin fabric. They were initially made of up to 16 layers of fabric. Now they are commonly made of tulle, a very thin, mesh-like fabric. The romantic tutu generally uses only one or two layers of fabric, in order to produce an airy, floating effect. For the classic tutu, multiple layers of tulle fabric are sewn together to achieve the desired shape or drape effect. Student tutus may have less fabric, and they are usually attached to the bodice of a dance leotard. The skirt and bodice are often embellished with embroidery, sequins, lace or other soft, airy fabrics.
The style and type of tutu that ballerinas wear will add to or detract from the audience's enjoyment of the technical and creative aspects of a ballet performance. A ballet company's choice of costume is usually closely linked to the story, music and choreography of the dances included in the production.
Professional ballet companies may spend thousands of dollars for each ballerina's costume. Therefore, the designers must put a great deal of thought into planning the tutus that the company uses. In addition to adding an element of elegance to the performance, tutus must be comfortable enough for the ballerinas to execute their movements. They must also be durable enough to last through many seasons, and sometimes several performers.