How to draw an irish dance dress
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Illustrator Vector EPS-Datei (beliebige Größe), hochauflösende JPEG-Vorschau (5417 x 5417 px) und transparentes PNG (5417 x 5417 px) enthalten. Jedes Element wird separat benannt, gruppiert und geschichtet. Sehr einfach zu bearbeiten.
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von 12How I made my own Irish dance Solo dress (on a budget)
This sewing project was a special one.
It connected two passions of mine: crafts and Irish Dance. It was also complex and long: I split it in two phases, the first one spanning from Winter to May 2019, the second one from Summer 2019 to the beginning of 2020.
After a few years competing at Irish dancing feiseanna, I decided I wanted to make me a proper Solo dress. If never heard about those kind of dresses, you have to know they are intricated, sparkling, decorated, complicated, and also expensive.
Since my husband and I love making things by ourselves, we planned and sewed it together.
Back in 2019 I didn’t have a sewing machine and my only experience with clothes making was my Medieval gown. As I said, Solo dresses are usually complicated, so we said to ourselves we needed a starting point to make things easier: a dress to modify. We started from a 50’s black dress with the perfect shape, but too long and lacking sleeves.
So the plan was: first round, adding sleeves; second round, taking care of the skirt, that needed to be shorter, fuller and less black; final step, decorating the whole dress. I had a basic idea of what I wanted to accomplish, but a few details changed along the way.
Click for the finished project detailed photos
Jump to section
The design and inspirationsThe making of the dressDecorating my Irish dance Solo dressLet’s sum up!
The design and inspirations
The basic sketch I draw as a template for the making of my own Irish dance Solo dress
Before diving into the making itself, let me explain how I conceived the basic idea and design for my own Irish dance solo dress.
I browsed loads of dresses for inspiration, then drew several ideas on basic templates. The one that came out as the winner, was a compromise between what I desidered and what I thought we could be able to accomplish.
I wanted the dress to be black and emerald green, following the main colors of the skirt we wore at my Irish dance school for beginner solo competitions and team competitions.
Without thinking about the decorations yet, I planned a little collar and skirt with two layers of fabric, the green one emerging from the black one through a series of triangles.
About the sleeves, I drew them in green, while the main body of the dress was black, because I thought finding the perfect matching fabric the exact same color and material would be a tough task. So I decided to make them different from the start.
And just for reference, here I show you the main inspirations I selected for my sketch. Also, a good example of what an Irish dance Solo dress is, for anyone not familiar with them.
I got inspiration for the collar design from a Prime Dress Designs creation. They use this kind of swan-neck collar a lot, and I loved its look.
From another of their dresses I picked the idea for the skirt. Well, that’s not a Solo dress, is a school dress, usually worn by members of a team.
This skirt has a first layer with cuts, from which it emerges a second layer with a different color. I love this, and I was imagining the effect while dancing.
Also, I found a white and red dress of which I loved the shape of the decorations. On the front there’s a sort of vertical flame decoration that slims the figure a lot. I was thinking about replicating it with embroidery. And a few crystals, since you can’t call Solo dress a dress that has no sparkles!
Some of the Solo dresses around are shinier than a star, but I wanted something more delicate.
Irish dance Solo dress by Prime Dress Designs
The school dress of Slattery School of Irish Dance made by Prime Dress Designs
Irish dance Solo dress by John Carey Design
The making of the dress
To make the sleeves, we first made a pattern with scrap fabric and tried it on the dress. When we did it to make my Medieval gown, it was a really useful step, better than working with paper patterns.
Well, this time we were not satisfied with the outcome.
Yes, we knew it would have been the hardest task, but after an evening trying and trying again we almost surrendered, thinking about hiring a proper tailor to make the sleeved for us.
I was beginning to think we wanted to make a project too hard for us, having made just one dress with a 6-months struggle.
Well, the morning after I woke up realising which mistake we were making: we placed the dress on the table and attached the sleeve with a 90° angle! So the following evening we gave it another try, attaching the sleeves with a 45ish° angle and… the sleeves came out perfect! When I saw the sleeves finished I was really thrilled!
We chose a not-so-easy sleeve design, also.
My first plan was to make a basic dress, then decorating it myself with hand-embroidery and appliques. But one day we were browsing our favourite fabric shop for materials and my husband came out with a lovely green lace.
The same emerald green I have on my dance school skirt! I fell so in love with it that I completely changed my original design to adapt it to that awesome fabric!
I decided to add black sleeves all covered in that green lace. Then, on the bodice and all the skirt, I wanted to add cut-out pieces of the lace, to form a regular pattern.
So, for the sleeves, we cut two layers, one on in black fabric and one in lace, pinned them together and machine sewed. The advantage was that we could use a light black fabric without having to look for the exact same one that made the main dress, since the lace is the part that stands out.
After attaching the finished sleeves, I picked up needle and thread and began hand sewing all the cuff borders, to fix the lace on the black fabric. It took me a lot of work, but this way I refinished the edges and gave strenght to the whole sleeve.
Next step: taking care of the skirt.
First, we made a green tulle underskirt to give volume and width. The beginning was quite complicated, with three layers of fabric to pin together for sewing. Fortunately I’ve a box full of pins!
Each layer was a little shifted down from the previous one, so the waist was thinner than the lower edge, volume increasing progressively.
Layer by layer, with the help of my sister-in-law, I was able to prepare all the pleated tulle layers for my husband, who machine sewed it to their green lining. The lining was paramount, since I have to wear tights and didn’t want them to get stuck to the tulle: I wanted a softer fabric between my legs and the underskirt.
Following that, we had to join the underskirt to the main dress.
The choice about how to join skirt and underskirt was not straightforward.
The first idea was to sew them together along the waist, but then I begun thinking about how to handle the full dress.
It would certainly be handier with two separated parts, especially when I need to wash it.
The question then was: can I secure the underskirt to the dress to make them strongly attached during the dances but easy to separate when needed? In short, the final answer was no. Nor popper buttons or velcro were a good option.
I thought about it a lot, I did researches, asked friends and grannies and, in the end, I dedided the best way to attach them together… was just sewing.
The main issue that made me think a lot about this was the idea of washing the tulle together with the rest of the dress. Well, in the end I decided to set the matter aside and went for the easiest way.
And I’m also happy with the final result because from the outside you don’t see the stitches: I was able to hide them thanks to a thin inner lining the dress has.
Well, the skirt was far from being finished! Next came the part I feared most: cutting!
The dress I chose as a base had a too long skirt for my purpose, so I had to cut.
What if I cut too much? What if the final result is not good on me or doesn’t adhere to the competition rules?
This is why I first secured the underskirt: to see the real final volume and make a precise cut. I checked the lenght twice, also with the help of my dance teacher and fellow dancers. Even when I made up my mind about the correct lenght, I still feared I could make a mistake and ruin the whole project without repair!
I let my husband do the cut (both of the dress and underskirt with its lining) and, after a lot of worries, we were both satisfied of the result. I even decided it was worth cutting another couple of centimeters, after the first cut. Yes, my husband was right this time: he wanted to cut more from the start!
And, after this cut, I wanted to make things more complicated by adding ten green triangles all around. Not a two-layered skirt with cuts on the top layer as first planned, but a wider one, with colored inserts.
An engineer husband can be useful in ways you can’t suspect! Well, I have to say mine is also the grandson of a seamstress, so he saw a lot about dressmaking in his youth.
We measured ten triangles in green fabric to be added to the black skirt, and all the planning of how to cut and sew was his. First, we made a prototype on scrap fabric, then used it as a pattern.
I carefully basted all of them and loved the outcome! For the machine sewing (mainly because the next dance competition was approaching), we asked my husband’s grandmother for help. She took no time to finish sewing those triangles to my skirt. She also refinished the lenght of the underskirt and lining and sewed the lining hem.
It began to resemble a basic Irish dance dress! But something important was still missing, and that meant my favourite part had come: the decorations!
Decorating my Irish dance Solo dress
When I began the decorations, I literally had to run to be able to wear the dress during the upcoming feis.
I wanted to add all the green decors to the bodice and skirt, just to dance at the competition with a dress that wasn’t totally black.
Seeing the dress in front of me at that stage, I changed my original mind about handembroidery. I wanted to go on with the same lace used on the sleeves. I love it so much that I thought it wasn’t worth spending endless time with another kind of hand decoration.
So I carefully cut out single pieces of green decorations to add where the dress was too black. I positioned them on the dress, took photos, reexamined them over and over with my husband, changed several times how much I wanted to add and where.
The first goal, just for the competition ahead, was to add a bit of green where it lacked color, then complete the decorations later, after the end of the competition season.
I handsewed all the green lace. And I was more than careful doing that! I strongly stitched every single twist and turn and curl, leaving no place unstitched.
The main goal was to make the dress and its decorations sturdy and strong to resist even the most daring dance.
Finally, in May 2019 I was able to wear my Irish dance Solo dress for the first time! It was comfortable, it behaved just like I imagined it. And it gave me a more “professional” look next to more traditional dresses than the class skirt and t-shirt I used to wear.
I had time just to sew the green lace to the bodice, I had to leave the skirt all black. Well, I have to say I was glad the work was not finished yet! I enjoyed a lot working on my dress.
It came out quite different from the dress I drew and planned. I renounced the swan collar because my basic dress had a straight neckline, and I did like it in the end. The lace was the main reason my dress came out as it is, and I’m glad I’ve found it at the fabric store.
After the end of the 2019 competition season, I had my plan to finish adding the green lace to the skirt and then adding sparkles.
They are so ubiquitous in Irish dance, I couldn’t go without.
About the skirt, I had metres and metres of stitching to make to attach the green lace all around. A seemingly endless work! But this is the part I longed for most, so I enjoyed each single step, being careful in all my hand stitching.
My lace had lovely triangular patterns that were perfect to cut-out and the right size to cover the fabric. I chose the triangles close to the lace edge, so I could use its own border to refinish the lower edge of my dress.
I had ten black triangles to cover, about a couple of metres wide in total at the edge, but in the end I decided I liked the skirt with alternate triangles, one black and one with lace. Nonetheless, every single piece of it needed to be strongly attached with resistant stitches, so the task was about three months long!
I stitched all along the edge of the lace, following each single leaf and flower.
I wanted the decoration to be as sturdy as possible.
Besides the long had-stitching, with my husband’s help and the suggestions from my Feis friend Alessia, who was going on with a similar dress project, I was browsing around for sparkles to add all around.
Thinking about sparkles, the new doubt was: should I glue them or sew them?
There’s a whole world behind it I never imagined! Glueing or sewing was just the first choice. I had no idea that such a huge world was behind crystals for dance dresses! With my Feis friend I learnt a lot about sizes, glue, brands, shapes, colors… I quickly felt dizzy!
In the end, I chose the sew on kind: a cabochon with four holes gave me the idea of being more stable.
I went for the classic white crystals, instead of the colored ones. I decided to buy one pack of the SS12 size (3mm), to begin. They were so many to stitch! But I had no fear of the job in hand: that was exactly what I was looking for, a new excuse for hand-stitching!
What I needed to do next, was planning where to place them.
Another long step was awaiting me, I didn’t know if as long as the lace part or even more.
My first idea was to sew them only on the lace, but my husband saidys that, on the sleeves, it would be better if I placed them all around, also on the black fabric.
I tried and I have to say my husband was right. I decided to cover all the sleeves with a uniform grid of sparkles, then sew more on the lace of the skirt. I drew a grid with each rhinestone 8cm apart from the next ones. That was just to begin: I told me that, if I found they were not enough, I could add more in the middle.
At first I thought the sewing would have been harder. The hardest part, mainly at the beginning, was keeping the two fabrics of my sleeve evenly together, to keep the sleeve smooth while adding one crystal after the other. I had to be careful placing each crystal in place and keeping where it was intended to stay.
Also, following a regular grid was not so easy: I had to consider the position of each rhinestone keeping watch of all the surrounding ones, were they already in place or not.
Well, as always, going on with practice makes you quicker and helps a lot finding the right way to complete your work.
After finishing the sleeves, I decided to move on to the skirt. I wanted to see the rhinestones all around the dress before deciding if the quantity was good.
I expected the sewing to be even quicker on the skirt, because I had just one layer of fabric and I didn’t have to plunge into a tight space as the sleeve is. Also, I chose not to stick to a regular grid.
Here the plan was to give each triangle with lace its own touch of sparkle. Then, to refinish the look, I planned to sew sparkles also on the bodice.
Well, as soon as I saw the triangles completed with just 10 crystals each, I thought it better to redouble them. First of all, though, I wanted to refinish the front, so I could have a glimpse of the final look of all the dress.
I knew for certain, at this stage, that I needed to add more crystals everywhere to achieve the effect I was looking for.
At the end of the crystal sewing on the bodice, I was ready to start over, adding more sparlkes everywhere on my dress.
When I began the sewing, I thought the crystals I planned to use were enough, but the more I went on, the more I saw I needed more. Not too much, though, I have always been careful not to overdo. Paying attention not to exaggerate was better than repenting at the end of a long work.
Let's sum up!
And… after a very long sewing process, my Irish dance Solo dress was finally completed!
Wearing it during the 2019 Busto Feis competition was incredible. I was stunned thinking I was wearing it finished, after a long work that, from start to finish, lasted for a year and a half. Also, I felt at ease among the other dancers, with their colorful and shiny dresses.
That day, after the competition, I decided I didn’t want to add anything else to my dress: for now, I am totally satisfied with the result.
Well, I have to say I’m also sorry the project has finished. It’s been funny and rewarding!
Almost three years after, I sometimes wonder what I would do differently if I had to start over now. I gained more experience with the sewing machine, so I suppose I would go without a basic dress to modify, but I would start from scratch, with just fabric and floss. About the outcome, I would change nothing!
A choice that could be different now? Maybe the main color but… that’s a story for another time!
And you? What do you think about it? Let’s discuss together!
Traditional Irish dance dress ch1
How we sew school iri-tradition. ch1.
I'll tell you straight away, my mother and I have no sewing education, all we have is a few years of sewing various role-playing outfits. So - we sew by trial and error, orienting along the way.
So, after the Eastern European fashion, the need for school dresses crept up on us.
She crept up and began to inevitably pursue, because Ksenya switched to primer and dancing in a "childish" form is already undignified. Before that, Sasha partially came out of the beginners, but he is a boy, it’s easier for him. nine0005 We decided to sew this dress (thanks to Marina Sidorovich for the drawing and consultations)
There were no problems with the choice of color, our preferences were formed even in the adult "childish" form, when we went to the first fashion - green with red, close to the usual children's fashion form , we have such skirts for beginner adults, a green skirt with a red piping along the hem.
The colors were chosen, a sketch was roughly developed - a green dress with red wedges, along the sleeves and hem, except for the central wedge, curls. After much torment, they finally chose the fabric, settled on velvet - it looks good, it does not deteriorate from external influences like satin. There was a variant with fine wool, but it is simply impossible to find the wool of the desired green color, and you have to think about the next generations too =).
nine0005 There were problems with finding fabric, because, as it turned out, we generally had problems with green fabrics. I had to go to Minsk in search, just the class was very successful. Cotton-based velvet is hard to find, and even more so green. We found only stretch, a little lighter than we would like and only in one place, but it was still impossible to pull with the search for fabric - the deadlines were running out, and after all, it was still tailoring .. Therefore, my sick fantasy gave birth to a stretch-velvet variant, glued with doubler on a thin calico base so as not to overcarry, the stretch stretches in general in all directions. In terms of fabric consumption, they were guided by a public opinion poll of dancers who sewed themselves. True, all the same, only two pieces were available, two and three meters with a width of one and a half meters. Therefore, we decided to sew two dresses at the same time and together (and not each one for himself, as they were going to).
nine0005 The pattern was made on the basis of the basic model from the book "Encyclopedia of a Young Family", 1987 (p. 525). (In general, we did a lot of this pattern, and an empire dress, and a crinoline, and everyday clothes). Good book
This is how the pattern looks like up to the waist
Since we were not sure if there was enough money for all ideas, we first made all the details on paper (except for the raincoat. I only remembered about it later). Here is the layout for one dress for the base color (valances in a different color), ten parts in total - bodice, two parts of the back (because there is a zipper on the back), two sleeves, a front center wedge, two side front wedges and two back wedges (it turned out that the rear wedges were wrong, but in fact they are larger than the front central one). nine0005
later, however, it turned out that stretch velvet needs to be cut in a straight line and only in one direction, so the layout has changed a bit.
But not critical, because the layout for two fit on a piece of 3x1.5 m (excluding the raincoat) + a little from a piece of 2x1.5.
The bodice, the back and all the wedges were glued with a thin dublerin on a calico base. As a result, the fabric has not lost its flexibility, but has ceased to stretch in all directions. I procreated at the maximum temperature of the iron from the side of the dublerin, if you do not grab the edges of the velvet, then it's normal. Therefore, it is best to glue all the details first, and then just cut them out, because. when cutting, velvet dust is formed, which instantly melts and contaminates the soleplate of the iron. nine0005 After sewing up such a "sandwich", the extracts turned out to be quite plump, but they look normal on the body. As long as everything is on point.
Let's see the front wedge. Choosing a pattern for the front wedge was almost the most difficult. As a result, we settled on the version that I drew a year ago, a simple, unpretentious pattern with a cord.
We have a lot of decorativeness on the sleeves and hem, so we decided not to overload the front with a complex pattern. Because the pattern is plaited with a cord, then two important operations are necessary - making a template and tattooing the pattern. nine0005 Making templates.
First, draw a sketch of the drawing. We have it symmetrical, so there is no need to draw all the details.
The procedure for creating templates: draw a sketch - redraw it on tracing paper - glue tracing paper on cardboard - cut it out.
The resulting templates are
Tags: green, irish dance, irish dance dress, traditional irish dress, school dance dress
Why Irish dancing is dancing for brains?
The performance of an orchestra of bagpipes and drums from the EU countries at the Amur Waves International Military Music Festival of Brass Bands aroused great interest in everything Irish. IA "Khabarovsk Territory Today" talks about traditional Irish dances.
"Dance of the Wonderful People" is a rarity for Khabarovsk. There are only two schools in the whole region that can teach traditional Irish dance. Light jumps, gliding steps, swift throws and leg sweeps, combined with a calm body, make a mesmerizing impression. The head of the school of Irish dance Irish Wind (Irish wind) helped to understand the intricacies of the choreography Anastasia Merkurieva .
Crazy Dancing
The history of the Irish national dance reflects the events that took place with Ireland itself, starting from the 20th century BC, and ending with the 20th century of our era - the migration of peoples and the invasion of conquerors, the change of religions. Every culture that the Irish came into contact with contributed to their dance tradition. Initially, the dance had a ritual meaning: it was performed, praising the sacred trees and the sun.
Coming from the mainland to Ireland, the Celts brought with them religious dances, some elements of which have survived to this day. nine0003
Due to the oppression of the culture of Ireland, which began in the 18th century, national dances were performed for a long time only under the cloak of strict secrecy. They were sharply condemned by the Christian church as "insane" and "bringing misfortune." Some historians even believe that the characteristic motionless position of the hands on the belt appeared in Irish dance just after the church declared the movements of the hands obscene.
There are few schools of this choreographic direction in the Far East. For example, there are only two of them in Khabarovsk, and one each in Vladivostok and Yuzhno-Sakhalinsk. Irish Wind Anastasia Merkurieva created in 2008. Then she decided to change her dance direction and leave modern dance. At first, folk dances were in priority, but an accident led precisely to the “dance of the wondrous people”.
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“I have been dancing since childhood. And by chance I saw Irish for the first time and my impression was - “Oh! I want to go there! And to this day I really like it. An unusual combination of pride and mischief, dignity and temperament. I like that Irish dance is a combination of ballet and tap. Even if there is no music, you can put on your shoes and make your own music,” Anastasia said.
The main composition of the "Irish Wind" is not numerous, it consists of about 20 people. They are part of the Ceilidh school and belong to the largest Irish dance commission, An Coimisiun le Rinci Gaelacha. Dancers perform not only on various stages of Khabarovsk, but also go to all-Russian and world championships, winning medals. nine0003
Dance by the rules
To establish uniform rules for the performance of dances, competitions and refereeing, the Irish Dance Commission was founded in 1929. So, the dance technique has changed significantly. Schools were able to use large halls and a wide stage.
The dancers were no longer limited in space and movement, which led to many new steps and jumps, including passages all over the stage. The rule was finally fixed to keep hands strictly along the body. nine0003
Three main types of Irish dance: solo, ceili and set. Solo mainly acts as a spectacle prepared by masters, or as a competitive form. It requires professionalism and many years of experience. Kaylie is a long dance in a line and in a circle. Kaylee is characterized by jumping and hands tightly pressed to the body - “hands at the seams”.
Set dances appeared a little later after the Irish soldiers who participated in the wars with Napoleon brought with them quadrille “from the mainland” - four pairs opposite each other, forming a square. A quadrille with an increased tempo and actually Irish movements became known as a set. Sets consist of figures - movements performed in a certain sequence. There are no jumps in the set that are typical for step dances, but due to the many varieties of steps, it looks very diverse.
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Initially, Irish dances were performed only by men. When the step appeared, women were not trusted with it either. Now everything is mixed up. It is important that a dancer of any level can take part in the championships, be it a beginner amateur or a high-class professional.
As for the musical accompaniment, according to Anastasia Merkurieva, this dance can be performed not only to Irish music, but also to modern music.
“Figure dancing helps develop team spirit. There are no clear distinctions in staged dances, you can invent anything you like. Everyone finds his own. In sports, in competitions, it is important to observe lines, figures, the position of each dancer in space relative to the other partner. Irish dancing is brain dancing. First you need to think a lot, and then do it with your feet. Kind of math. Because it is necessary that the final figure turned out to be even, ”the interlocutor noted. nine0003
Rhinestone tie and curly wig
The usual men's clothing for dancing at the beginning of the 20th century was breeches or trousers, a wide belt, high stockings, and a shirt.
The pants took root and became a truly national clothing in popularity. The wide belt of dancers was transformed into a trophy - special award belts were the pride of male dancers. Until the end of the last century, when men still danced in kilts, a common item of men's and women's dance wardrobe was a shawl or "cloak" (brath). Previously, it was a functional element of clothing, a rectangular piece of fabric, which was fastened on both or on one shoulder with a brooch. In the last century, male dancers wore a cloak attached to their jackets, but now this fashion is a thing of the past along with kilts. nine0003
Now at the competitions, dark trousers, a colored shirt and a vest have become standard clothing for men, some wear a tie. Fashion for bright and shiny outfits has reached men's wardrobes only in recent years. Shiny vests and dazzling ties in rhinestones are not at all a sign of bad taste, but a tribute to the need to stand out from the crowd.
Women's dresses were first decorated with a modest pattern around the neck, shawls were embroidered in the corners.
Capes with hoods came into fashion for a short time, but over time, in dance costumes, they were shortened and began to be fastened only on one shoulder in a masculine manner. A short jacket was worn over a dress with a pleated skirt. Then they went out of fashion, and were replaced by overhead collars and cuffs on dresses. nine0003
Patterns on dresses appeared in the 20s of the XX century, but their painting cannot be compared with what can be seen now. The traditional colors were green, saffron and white. They tried to avoid red, as reminiscent of the red caftans of the British. Now all the preferences of the beginning of the last century are forgotten and there are no restrictions in the palette.
However, the Irish Dancing Commission has a separate division that enforces the rules regarding costumes. Specialists make sure that dances are demonstrated in the best possible way at competitions. For example, girls dance not only in brightly embroidered dresses, but also in rather modest ones, beginners dance in school dresses and skirts, more advanced dancers order solo dresses in rhinestones and beads.
An important point is always a long sleeve and closed collarbones, and the skirt should not be shorter than the distance of the palm from the knee. nine0003
The dancer's hair must be strongly curled. This is a long-standing tradition that all dancers unquestioningly observe. Since the performers of Irish dances are deprived of the opportunity to express their emotions (the movement of the hands is prohibited, the head and body are motionless), it is believed that the curls soaring up allow at least a little to enliven the dance and add coquetry. Dancers at lower levels have the choice of wearing a wig or curling their hair.
Irish dancers wear white socks under their shoes, and this is not at all accidental, because the fine work of the feet, movements that can be missed if the foot is in black, are much more distinguishable. nine0003
The school of Irish dance Irish Wind together with Anastasia Merkuryeva became participants in the international festival of military brass bands in Khabarovsk.
