How to measure irish dance dress
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Measuring For Your Dress1. 2. Waist 3. Back Neck Bone to waist 4. Shoulder to Cuff 5. Finished Skirt Length 6. Shoulder to shoulder DOs and DON'TsDo: measure over whatever clothing the dancer would normally wear under her costume and ensure the dancer is standing properly when you are measuring her ie. that she is not looking down, slouching etc. My Friends' Solo DressesMore Examples of Solo DressesPlaces To Get a Solo Dress Used Dresses New Dresses |
A costume that is too long is both unattractive to look at and a hindrance to the dancer. Measure from the waist to wherever you wish the skirt to come above the knee. Mark this point and then have the dancer point her toe. Now check how far down the same measurement comes. This will be below your first mark. The dress should not shade the dancer's knee when she points. It is important that you are happy with the measurement when the dancer is both standing straight and pointing. Made to Measure — Doire Dress- Irish Dance Dresses by Shauna Shiels
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How to make an irish dance dress
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From the first consultation to the final reveal, Shauna and her team are amazing!— A Baker 2019 90,000 Use of the lexical material of the Irish dance in the production of the choreographic composition "Dragon Call"
The team go above and beyond to make every child’s fantasy a reality!
Moscow Region
State Autonomous Professional
Educational Institution of the Moscow Region
"Provincial College"
Graduation Qualification work
Use of the lexical material
Irish dance in the production of
choreographic compositions "CALL OF THE DRAGON"
Completed by:
student 4 courses
specialty 51.
02.01 Folk art
(by type)
Meshkova Ksenia Vladimirovna
Diploma supervisor:
A.N. Morozov
Serpukhov, 2020
Contents
Select the desired section and click on the icon
Introduction. Goals and objectives
graduation
qualifying work.
Chapter 1
Irish Folk Dance
Conclusion
Chapter 2
Choreographic
Call of the Dragon
List of sources and
literature
INTRODUCTION. GOALS AND OBJECTIVES
FINAL QUALIFICATION WORK
Each ethnic group and nation is distinguished
by the presence of its traditional and
recognizable dance, by looking
which you can immediately determine whether
or another state. Usually such dances
reflect the character and
temperament of the nationality.
The dance culture of Ireland
was not an exception, which is
one of the most recognizable among the
dances of the peoples of the world.
A certain liberty, originality lives in the dance of this people.
From
viewing Irish-style choreographic compositions literally
goosebumps. A person feels something ancient, inexplicable and timeless. It is this kind of wildness that distinguishes Irish
dances from any other kind of choreography. The synthesis of music and
choreography can easily immerse the viewer in a time when,
according to legend, dragons soared above the earth, and the world was ruled by
0003 dances in the world are growing rapidly, and Irish
dance shows are becoming more recognizable and
are gathering huge auditoriums.
Purpose of the research: creation of a choreographic
production based on the choreographic base of the Irish
dance.
Research object: Irish dance.
Subject of research: revealing the possibilities of
Irish dance and their demonstration in choreographic
Research objectives:
1. To analyze information from
literary and Internet sources on this
problem;
2. On the basis of the studied material
, formulate the plot-ideological basis of the
issue;
3.
On the basis of the lexical material
of the Irish dance, create a choreographic
production.
CHAPTER 1 IRISH FOLK
DANCE
Select the desired section and click on the icon
1.1 Features and
main features of
Irish dance
1.3 Irish folk music
1.2 History of Irish costume
Famous ensembles 1.40003 Irish dance
1.1 FEATURES AND MAIN
FEATURES OF IRISH DANCE
The main distinguishing feature of Irish dance is
the manner of performance. The entire emphasis in the dance is placed on the feet of
dancers. Most often, the top remains motionless:
occasionally the dancers throw their arms up, but, in most cases, they are either on the belt, or
extended along the body. The dances themselves are performed in
at a fairly fast pace, which looks beautiful, stylish and
spectacular. One of the required elements is
is a special side step.
This bewitching spectacle leaves no one indifferent
and amazes everyone who becomes
to infect
Irish dances, as well as for the same ballet,
a witness to this phenomenon.
Dance
spectators
there are
special shoes. Due to the fact that all
with its dynamics,
rhythm and accuracy.
attention is paid to virtuoso foot movements,
performers use two types of shoes. Soft shoes and
Hard shoes. Literally translated as soft and hard
shoes. The hard shoes are leather
boots with special heel and toe caps made of
special iron alloy to make all the
sounds that accompany the dance even more distinct and expressive
. Soft shoes are reminiscent of leather
1.2 HISTORY OF THE
IRISH COSTUME Many items of clothing were peeped from
sailors and foreign traders, but
Irish costume never adapted to
other countries, retaining its zest.
In the 6th century, the attire looked quite simple, without
finesse - a linen shirt, a loose woolen cloak
with a large floor-length hood. Under the influence of
England, the national costume acquired
European features.
Thick jackets appeared,
elongated jackets. The Irish
skillfully combined the novelty with their sweaters and
were able to protect themselves forever from the chilling
cold.
large cloth berets were very popular. No man could
imagine himself without a spacious light shirt
without collar. Also, the Irish
liked a plain skirt - a kilt.
During the reigning power of the English
state, the garments of Ireland
slowly turned into a piercing green color.
It is this color that pops up in people's heads at
1.2 HISTORY OF THE IRISH COSTUME
girls became the most important decoration of the Northern country. Every self-respecting girl in
Ireland had a luxurious green dress in
floor. The style of clothing emphasized every natural
dignity of the figure.
Currently the traditional Irish
costume is used for dancing. This garment
is comfortable and does not restrict movement. The clothes of
people of the North Country are suitable for performing
dances in the style of step and keili.
Women's stage costumes
look much more frank today than their prototypes in
times of old Ireland. All this is due to the fact that
the length of the dresses was reduced several times,
exposing the long and embossed legs of the dancers.
Girls use rather narrow and tight
corsets. To complete the image of the performer
put on white stockings. A large number of decorative elements
and various inserts
also appeared.
1.3 IRISH FOLK MUSIC
Irish folk music rightfully occupies one of the first places in the list of
most ancient cultures on our planet. Traditional Irish
dance music includes reels (4/4 time signature),
jigs (6/8 time signature is the most common), and hornpipes.
The first singers and poets were called filids. In the Middle Ages, the musical and poetic traditions of the Filids were picked up by bards who traveled
Europe with their songs and ballads, accompanying themselves mainly on the harp.
These traditions were further developed by the blind
harpist Torla O'Carolan, the most famous and talented musician in
Ireland, who lived at the turn of the 17th-18th centuries. About 200 works of
were born thanks to him.
1.3 IRISH FOLK MUSIC
Towards the end of the 17th century, the harp
was replaced by the violin and bagpipes. The ancient
Celtic ballads are gradually pushed aside by
songs close to reality. People
themselves sang about their life, without resorting to the help of
bards. This is how Irish
folk began to emerge. Gradually, flutes,
banjos, boyrans come into use. Thanks to the sailors, an accordion and
guitar got to
"Emerald" Island. Under these tools with pleasure
danced a jig and reel.
Due to the rapid emigration of
Irish people to the USA, Irish folk music
became widely known throughout the world.
Interest in Celtic folk in the world of
flared up in the mid-60s of the last
century.
There were some musicians who
came up with the idea to play the good old Irish folk
, but in a
modern way. Thus, the music of
ancient Celts acquired a new look and
FAMOUS IRISH DANCE ENSEMBLES
Irish dance groups should not be attributed to
ensembles. In the world they are called
Irish show. In this case, the very name
speaks for itself.
The most famous Irish show is
Riverdance.
The dance show Riverdance was first performed by
during the intermission of the
Eurovision Song Contest on April 30, 1994. This
performance featured
Irish dance champions Jean Butler and Michael Flatley and the Anuna Celtic
choir, with music composed by
by Bill Whelan.
The Riverdance show features a large number of
dancers who perform a mixture of
Irish folk dances, tap dance, elements of
flamenco, Slavic accents. Show
unfolds to the accompaniment of a live
orchestra with the inclusion of Celtic and Negro
tunes, processed Irish music with
drums and bagpipes.
As a rule, two dancers
CHAPTER 2 CHOREOGRAPHIC
DRAGON CALL
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2.1 Topic, the ideological basis of
choreographic
production
2.2 Supporting work
2.3 Compositional plan
choreographic composition
“Dragon Call”
2.1 Topic, the ideological foundation
of choreographic production
The main idea of the number
about the Dragon, according to which the dragon, according to which a huge pangolin for a long time
rests on the bottom of the Atlantic Ocean near the famous
Irish cliffs of Moher and maintains peace and balance throughout
island. The myth says that every warrior in Ireland
wanted to prove his strength by slaying the dragon, but the surface of the ocean
remained unruffled. And only the old and wise
warrior knows that you need to wait patiently, because the powerful
Dragon appears only once a year at sunset in order to show his magnificence to all the people
and admire the beauty of Ireland
in the rays of the setting sun.
And when Dragon
makes a huge circle, the old warrior smiles.
The action takes place in a classic
Irish pub somewhere in Dublin, in which
someone plays cards, someone gossips
, and someone managed to fight.
Its regulars come here to
relax and listen to
new stories and old legends of the Emerald Isle.
Finally, the five main storytellers
recall an old legend, in which
tells of an ancient
dragon that maintains peace and
balance throughout Ireland.
However, the people of
, raging because of the fights, are not going to listen to them. Then the
storytellers decide to draw attention to themselves with the help of their
regular listeners, who encourage the
others to listen to the ancient legend.
After making sure that they are being listened to carefully, the
five go to the center to begin their
exciting story. The crowd falls silent
and literally disperses to the sides, listening to
regulars.
Listening to the legend, people remember about
its origins. They realize what kind of blood
flows through their veins and who their ancestors were.
All visitors to the pub, forgetting about fights and
disputes, pick up the story, becoming
its direct participants.
All people begin to whirl in the whirlpool of
legends and ancient prophecies, imbued with the spirit of their
free country. They depict the same
dragon using sign language, intertwining
with each other in various drawings. Each of them
wants to show themselves and their idea of
legend and an ancient creature that so carefully guards their beloved lands. Visitors begin
waving their arms imitating the dragon and associating
themselves with it.
At the end of choreography
people gather together, awakening
the spirit of a huge lizard within themselves. They
responded to his call and
themselves turned into a proud and free
dragon, with which every Irishman
associates himself.
I was inspired to create this choreographic production by
watching one of the dance tracks of the
Irish dance show Riverdance, which I accidentally stumbled upon on the Internet.
It was at this moment that I had the idea to stage
a traditional Irish dance. Then I started looking for a story,
, which would become the main storyline of my dance.
I found the solution in the culture of the ancient Celts. In the process of work, I
plunged into the mythology and art of Ireland, imbued
with its traditions and customs. I have read many legends and
ancient legends of the "Emerald" Isle. The main idea of my
choreographic production is a synthesis of many myths that
have been passed down from generation to generation until now.
2.2 staging and rehearsal
WORK
Number of people in the production: 16.
Corps de ballet: 9 people;
Secondary characters: 2;
Soloists: 5.
Age of performers: 18-20 years old.
Form: mass with soloists.
Lexical material: the number is based on
Irish dance material.
CHARACTERISTICS
The entire
performance cast shows
IMAGES
different characters
CHOREOGRAPHIC
native Irish people who love to tell
different stories and legends in traditional pubs and taverns. The soloists of
appear before us as the main narrators of the legend,
, on which the entire choreographic composition is based. They
are a kind of "elite" who are respected and have
authority among the rest of the
pub regulars. Mass same from
happily supports each of their stories, turning
's story into a performance.
MUSICAL MATERIAL
Bill Whelan - "Real around the sun",
Boris Grebenshchikov "Aquarium" - "Glasses".
Timing: 6 minutes 26 seconds.
Time signature: 2/4.
The musical composition I have chosen
corresponds to the mood
of the choreographic
production, contributes
to a holistic perception of
stage images, also
provides a complete
immersion of the viewer in
the history and themes of the dance.
Bill Whelan, author of
composition "Real around the
sun"
Boris Grebenshchikov, author of
composition "Glasses"
Work on the choreographic composition
began with an explanation to the
performers of the features of their images. Each dancer
was presented with a personal and
individual image with character,
which must be carried through the entire
composition. The learning of choreographic material
was carried out gradually: from simple to
difficult, first counting at a slow pace
, gradually increasing the speed.
Each combination was rehearsed several times
to the music with an explanation
of all the subtleties of musical accents that the performers were supposed to get into
.
Particular emphasis was placed on the emotional component of the number
.
Separate work was carried out with
performers who dance in hard shoes
- stepovkas. Everything in order to work out
synchronism, clarity of movements
and beats that were later heard by
through the music throughout the
choreography.
2.3 COMPOSITION PLAN
OF THE CHOREOGRAPHIC
EXPOSITION
The action begins with a picture that
gradually comes to life, presenting us
with a classic Irish pub where
people are relaxing. After some time, the patrons of pub
decide to tell another legend, urging the rest of
to listen to it.
Timing: 0:00 – 0:48
Number of bars: 58
Nature of the music: Allegretto (lively)
The characters perform the classic
scene in a pub where everyone is minding their own business.
BASIC MOVEMENTS
Performers stand in a chaotic order, symbolizing the arrangement of tables in a pub.
Different actions take place at each table. This is followed by a small
combination, which is different for each group of people. Then all the people
continue with a small acting sketch, where they show the usual
visitors to the pub. Gradually two minor heroes separate from
of the central table, which decided to tell the rest of the ancient legend, and
draw the attention of other people to the middle, where the soloists stand.
EXPOSITION DRAWINGS
SET
Slowly five regular
pub patrons walk into the center,
telling an old legend…
Running time: 0:49 – 2:50
Number of bars: 56 bars
Nature of music: Andante (smoothly),
towards the end moves to Moderato
(moderately)
5 soloists imitate movements
dragon wings, showing its greatness
BASIC MOVEMENTS
The dancers standing in the center slowly move to the middle
, lining up in a wedge, and at the same time turn their backs
. Then they slowly make amplitude swings
with their arms, combining them with turns, bends of the body and
head movements facing the viewer. To finish,
performers turn their backs. Next, the dancers take turns
to start swinging their arms, crossing their hands, turning their arms
back, thus symbolizing the dragon.
“Far, far away, beyond the cliffs of Moher, at the bottom of the Atlantic Ocean lies
an old dragon. No one knows how old he is and how long he rests at a depth of
.
But over time, his eyes do not grow dim, his mind does not grow cloudy, the grip of the claws does not weaken and the armor does not become thinner. He lies,
keeping peace and balance in all of Ireland. Every spring there are 90,003 brave warriors who come to the ocean shore to fight 90,003 dragons and prove their valor and courage to everyone. But how loud it is not
challenges the dragon to a duel, no matter how he swings his sword and
does not rattle his armor - the surface of the ocean remains unperturbed. And the warrior leaves,
telling everyone about his courage and cowardice of the dragon. Far, far away, on the
Cliffs of Moher there is a ledge washed by the Atlantic Ocean. And for 90,003 years, an old warrior has been sitting on this ledge. His leather
armor has long decayed, his sword has grown into stone, and rust has eaten away his battle ax. He is waiting ... And
only once a year, at sunset, does the water boil on the surface of the ocean, and from
the great Dragon rises from the bottom to show itself to all of Ireland and
to admire its beauty in the rays of the setting sun.
And then the old warrior
smiles…»
STRING DRAWINGS
DEVELOPMENT OF ACTION
Gradually all the visitors of the pub are imbued with
history, picking up and setting the right mood for
. They dance the traditional
Irish dance, without which
no holiday is complete. With their movements and
drawings, they symbolize a kind of
rite of summoning a dragon, which
should wake up in each of them.
Timing: 2:51 – 5:44
Number of bars: 204 bars
Nature of the music: Moderato (moderate),
Allegretto (live), Vivace (live)
People dancing a traditional dance,
symbolizing the ritual
stage begins a huge mix of common dance combinations.
Gradually the music speeds up, bringing the viewer to a climax. All combinations
alternate with movements in patterns characteristic of Irish dances
incremental step. Also, this drama stage includes
solo parts. Each of them has a basic movement that
emphasizes: turns, jumps, flique-flaque.
There is a solo part, in which
performers demonstrate the technique of Irish step in special hard shoes
with metal heels. The male party completes the action. Further
men return to the corners through the loop with a side step and wave their hand,
DRAWINGS OF THE DEVELOPMENT OF ACTION
CLIMINATION
The story is rapidly approaching the
finale. The performers gather all
together to finally tell
the legend. The movements of the hands more and more of
symbolize the wings of the dragon, into which
gradually turns inside every
of them. People literally run in a
rapid whirlpool, showing the viewer
the freedom-loving nature of every
Irish.
Visitors imitate the dragon
Timing: 5:45 – 6:15
Number of bars: 32 bars
The nature of the music: Vivace (live), Presto
(quick)
All the performers come out of two corners with the usual prominade step, making
overlapping steps. Having formed a cross, they make 3 flique-flaques in a diagonal of
and unfold after the last inflow.
With a full foot step
, the dancers gather in two columns. In these columns, they make a clear
combo with flique-flaque, toe strikes, jumps and stomps. Next
performers move into a wedge with flique-flaque and raise one arm in
side and then lowering it. By the reception of the canon, the dancers one after another make
stomp, sharply turning their heads towards each other. This is repeated twice. Then
they make a tour de force jump, landing in the III position.
BASIC MOVEMENTS
CLIMINATION DRAWINGS
DECOUNCING
The Irish gather in two huge
circles, leading the viewer to the denouement. As a result,
performers abruptly stop in
picture, frozen in a proud pose,
symbolizing the complete transformation
each of them into a dragon. They invoked
his spirit with their dance, telling each
spectator their favorite legend.
Timing: 6:16 – 6:26
Number of bars: 8 bars
Nature of the music: Presto (fast), Vivace
(lively)
Final pose.
People "turned into"
dragons
BASIC MOVEMENTS
With a swift promenading step, the dancers make two circles, raising and
lowering their arms, depicting wings. Next, they make a 180° turn, moving their
leg through the coup de pied, then turn in steps again in the direction of
circles, take two sliding steps with a slight jump, and on the last beat
make a jump, bending one leg at the knee, and extending the other and raising it
by 90°. After that, the performers quickly form an outer and
inner circle, alternating the usual sliding step with a prominade step. At the end of
, all the dancers stand in a proud pose, and the men lift one girl into a riding support
. The same one opens its arms to the sides, symbolizing the complete transformation
0003 Costumes of choreographic
production
Female
costume
Male
Costume
Folling for
Dragon Call
Conclusion
The development and
Irish dance development was analyzed, and
Practical work was carried out on the use of lexical material
Irish dance in the choreographic production "The Call of the
Dragon".
The emergence of an ideological concept, as well as images of
characters, was based on and inspired by the ancient
Irish legends and tales. In particular, legends
about dragons. The plot of the issue was created independently.
The experience and knowledge gained in the process of setting the number
will certainly be useful in my future profession. In the future, I plan to definitely put this number
on the pupils of my team, because it is a very cheerful and
incendiary dance style that will appeal to
LIST OF SOURCES AND
LITERATURE
1. Baglay V.E. "Ethnic choreography of the peoples of the world" - Rostov
on / D: Phoenix, 2017.
2. Baryshnikova T. "ABC of choreography". M.: Rolf 2012.
3. Belaya N.V., "Irish dance for beginners", M., Lan,
Planet of music, 2012.
4. Bocharov A., Lopunov A., Shiryaev A. "Basics of the characteristic dance”,
M.L., Art, 2013.
5. Vashkevich N.N. "History of choreography of all centuries and peoples" St.
Petersburg: Lan: Planet of Music, 2017.
6. Zhabrovets M. V. "Stage embodiment of small dramaturgy:
methodological guide" / M. V. Zhabrovets. - Tyumen: RIC TGAKI,
2008.
7. Zakharov R. "Conversations about dance", M., 2011.
8. Inozemtseva G.V. "Folk dance", M., Znanie, 2010.
9. Irish sagas. 2008.
10. Bondarenko GV The mythology of the space of ancient Ireland. -
M.: Languages of Slavic Culture, 2003.
11.Ustimenko Yu. Get to know: Ireland. - M.: Thought, 2016.
INTERNET SOURCES
13. https://ru.wikipedia.org/wiki/Irish_dances
14. https://www.vikids.ru/articles/irlandskie-tantsy-istoriyavozniknoveniya-chto -eto
15. https://var-veka.ru/blog/irlandskie-tancy.html
16. https://ru.wikipedia.org/wiki/Culture_Ireland
17. https://fb.ru/article/457830 /irlandiya-kultura-traditsiiobyichai
18. https://ru.wikipedia.org/wiki/Music_of Ireland
19. https://fashionapp.ru/nacionalnyekostyumy/irlandskie.html
20.
http://litra.pro/tanci -s-drakonami-mifi-i-legendi/konvejdinna-dzh/read/3
Thank you for your attention!
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The history of folk clothes of the Slavs has about two millennia.
Original female
a shirt made of coarse linen was considered everyday attire. Then they began to use
better natural fabrics. Russian women have always tried to decorate their
clothes with rich embroidery or woven braid. Even such a simple shirt in the hands of a skilled craftswoman
turned into a beautiful, solid thing. The elegance of Russian beauties was
known all over the world. In modern everyday life, such clothing is no longer used,
but it is widely in demand in folk dance and music groups.
The classic idea of how a dancer of Russian folk dances should look like:
a long, floor-length sundress, a snow-white embroidered shirt, a kokoshnik or a scarf. But this image does not
display all possible types of folk clothes that can be used in folk art
. Asya's blue stage dress is made of cotton fabric in
Old Slavic style and is one long (to the floor) shirt dress with
long raglan sleeves. Sleeves are made of mixed fabric with a woven pattern in tone
the main color of the dress.
The hem and collar of the dress are decorated with decorative patterned braid.
Stage dress intended for folk groups, theaters and philharmonic societies.
100% cotton items are great for folk dances. With
heavy physical loads that dancers are subjected to, it is very important that the body of
"breathe". Cotton has excellent breathability. Items made of cotton
are perfectly washed, ironed, but it should be remembered that such items quickly lose their shape and wrinkle.
Slavic blue stage dress Asya is made of high quality 100% cotton. After
washing or cleaning, the dress should be stored vertically on a coat hanger in a protective bag.
Asya blue stage dress can be bought in the official online store of the company
"Quadrille", which specializes in the manufacture and sale of costumes and shoes for folk
creative groups. The order of this dress is possible both in one copy and in a large batch of
for the whole team. Size range of the model "Slavic dress Asya blue": from 40
to size 56 inclusive.
The belt is not included with the dress. Cotton dress Asya
blue is very easy to buy. It is enough to call our managers, whose phone numbers
are listed in the contacts of the site. You can also ask questions in the chat on the site. For the customers of our
online store, all the conveniences for payment and delivery of goods have been created.
Firm "Kadrille" guarantees the quality of its goods, its durability, as well as fast and
When ordering a suit from size 48, the cost increases by 15%.
More news about our products you will find in our group in VKontakte and Instagram
*This is a sample of a suit that we can sew. Photo taken from the Internet.
semi-linen, 100% cotton, mixed fabric with a woven pattern, decorative ribbon
You can pay for your order at any bank after we issue you an invoice. The average time of receipt of funds 2 - 3 working days. day. When you pay by bank transfer, the bank will automatically charge a transfer fee.
The size of the commission in each bank is individual.
You can pay for the goods you order at any post office, through the function - postal money order.
The product does not include shipping costs!
We deliver our goods throughout Russia and abroad. Our experts will help you choose the best delivery option for your order.
We use the following services: Russian Post, EMS, CDEK, Railway Forwarding, DPD.
We deliver most of our orders by Russian Post. This is the easiest and most affordable shipping method. Also, there is a Russian post office in every locality of our vast country, so if you are far from the city, then it is better to use the mail service.
Transport campaign can deliver goods to all major cities of our country.
If you have any questions when placing an order, we are always ready to advise you by phone:
8 (963) 888-90-03 - Costume Manager
8 (963) 888-96-89 - Shoe Manager
In order to to make a wholesale order, call 8 (963) 888-96-89
We are engaged in the production of all folk shoes of the Russian folk characteristic direction and theatrical costumes.
In production, we use only natural materials.
Retail stores in all cities of Russia that sell dance goods. Firm "Kadrille" offers our customers a wide selection of wholesale folk shoes for dancing and costumes!
Also, our frequent wholesale customers are: Houses of culture, groups involved in all types of dance, Schools of Arts, world famous theaters, ballet schools, Philharmonic Society, which regularly need serial tailoring of dance shoes and costumes.
We work with all legal entities and individuals to sell folk shoes in bulk. We work with legal entities under the contract. We conclude agreements with state institutions under 44-FZ and 223-FZ. We are registered on the supplier portal.
We accept payment to the current account.
We work on 100% prepayment. We have a large number of models of shoes in stock.
We provide fast delivery in a convenient way for the client.
It is important to us that the suit chosen by our customers fits perfectly. Therefore, take measurements according to the instructions.
• Wear the exact underwear (or the same type of underwear) that you will wear with the finished garment. A volume-adding bra or slimming tights makes a big difference!
• Tie a ribbon or ribbon around the waist.
• Assume a natural posture. Lower your arms down, do not bend your legs.
• For greater accuracy, take each measurement several times and compare the results.
• The centimeter should be snug but not tight. Try to position it horizontally.
Chest circumference (Og) - measure along the protruding points of the chest, the centimeter should tightly wrap around the body
Waist circumference (From) - measure along the intended waist line, the centimeter should tightly wrap around the body.
Hip Circumference (R) – measure at the most protruding points of the buttocks. If it is necessary to take into account the protruding belly, attach a ruler to it vertically and take measurements taking into account this protrusion.
Sleeve length (Dr) - start measuring from point Шп (see pic), move the centimeter along the outer side of the arm (toward the little finger) and end at the wrist line.
The arm should be slightly bent at the elbow.
Height (P) - Measure along a vertical surface from crown to floor. First you need to draw a horizontal line from the crown.
Product length (Diz) - start measuring from the seventh cervical vertebra, along the back and to the desired length.
We would like to draw your attention to the fact that not all measurements can be taken alone. An assistant is needed to measure the length of the arm.
ASIA'S SLAVIC RED-GREEN DRESS
Women's full dress uniform
Black Irish dance dress
Asya's Slavic blue dress in Russia in the atelier for tailoring dance clothes and shoes Quadrille. Price 5900. More than 590 types of dance clothes and shoes. Order Slavic dress Asya blue online around the clock on our website by filling out an application yourself or by calling +7 (963) 888-90-03
Online store of dance shoes and costumes. Delivery throughout Russia!
You can pay for purchases in cash upon receipt, or choose another payment method
Mon-Fri: from 9.
