Be Your Own Design Diva!
Costume Bra Alteration:
How-To Change Halter to Conventional Straps
by Davina
posted March 30, 2010
One of the staples in many a dancers wardrobe is a gold and silver bedlah. This most chameleon bra and belt set can be paired with virtually any color skirt/veil combination making this a versatile foundation for building hundreds of different looks.
The silver/gold bedlah is so versatile, that troupes around the globe select it as a unifying costume element.
When a dancer friend approached me with her new gold and silver costume I was impressed by her strategic wardrobing choice. This particular bedlah set is gorgeously encrusted with three-dimensional beading and gold hologram sequins. She was lucky that the belt fit like a dream, the cups of this bra fit well and the bra band was perfectly sized.
However, the halter styling of the bra had straps that were far too short to fit around her neck limiting her ability to lift her arms over her head.
Although it’s good rule of thumb for a costume to fit snuggly, this bra was digging painfully into the back of her neck. Our mission – convert this bra from halter to conventional straps. Since this costume was an Egyptian import, we had a few accessory pieces to work with, treating them like raw materials to create a new strap. (Hot Tip – I never use a halter strap configuration for any full C cup or above. The weight of “the girls” can be a pain in the neck – but most importantly – the halter can limit mobility through the neck and shoulders.)
After looking at the accessory pieces that came with this bedlah set, I suggested converting an outdated crown-like headpiece into a new left shoulder strap. (Photo 2 – Head Band) The crown featured a sweeping point, which we experimented with until we found a shoulder position we liked. During our fitting, we decided that turning the point away from the neck would form an attractive mock epaulette. The existing left strap would be removed and added to the right shoulder strap to create much-needed length so it could reach the band in back.
Head Band
To begin the renovation process, I marked the position of my work with safety pins. The crown was marked to indicate where it would attach to both the bra-cup and the band. You can see these pins in photo 2. Once I’m comfortable with all of my marks, I proceed, unpicking the lining in the areas where I will be working. In some ready-made costumes, the beading goes through to the lining, so investigate and be careful!
Lining Pulled Back
Once the lining was pulled back, I removed the left strap and attached it to the right. I am careful to fold under any raw edges, so that it does not fray through my stitches and pop undone during a performance. I use a combination of whipstitches and slip stitches to really nail the two pieces together. In this photo, if you look carefully, you can see some of the original stitching is in white, my stitching new stitches in yellow.
Strap Extension
It is my philosophy to conserve the original costume as much as possible. Some future dancer may want to restore the costume to its original configuration as a halter with a crown. So instead of simply cutting the end of the crown shorter, I choose to fold the end under and adjust the lining.
Folding the end under
Because the beads can press into the shoulder painfully, I will add a layer of soft fabric to protect skin against the beads. This crusty 3D nature of the beading on this costume required this additional cushion. Many different materials can be used such as fleece, velvet, or in the case of my project, vellux. I laid the crown onto the vellux and simply traced the shape. This interlining was applied to the beaded surface with a quick whipstitch.
Adding a cushion layer
Next, I folded the end of the former crown under and then tucked excess lining inside as well, forming a multi-layer sandwich. I then use a combination of whipstitch and slip stitch to sew around the opening. Note – Before you sew everything closed, be sure to double check that you’ve left at least an inch of extra length, so you can insert the newly converted strap between the cup and lining of the bra – or your strap will be too short!
New Strap with alteration sealed shut
Once the new strap is finished the transformation is nearly complete. I slip the straps into their new positions. The left shoulder gets pinned into both the top of the cup and the back band. The right strap just needs to be positioned on the back band. Once the straps are firmly attached with sturdy stitching, seal up the lining and you’re done!
Final Results
The final result – a more comfortable and better fitting bra.
Dawn Devine ~ Davina is an author, costumer and dance instructor living in Silicon Valley. She has written several books on costume design and construction including the seminal “Costuming from the Hip” and the best selling “Embellished Bras.” Visit her website to read more about her books, classes and costuming. http://www.davina.us
Photos by Digital Wuff – http://www.ibexa.com
Have a comment? Use or comment section at the bottom of this page orSend us a letter!
Check the "Letters to the Editor" for other possible viewpoints!
Ready for more?
- 11-16-07 Nonprofits for Middle Eastern Belly Dancers, Is a 501c3 Right for You?
By understanding the nature of non-profits, how they are organized and run, you can see their potential for developing successful arts organization, performance space, dance company or troupe. - 6-2-07 By Dancers, For Dancers DVD reviewed
As working professionals, these dancers present the style of performance you would see in an intimate restaurant or at a house party. - 9-22-06 Kohl: Drawing the Line
Along with henna, kohl has been part of the beauty regimens of women since the dawn of history, and an unbroken line connects the eyes of today with those of the ancients. - 3-9-03 On The Costumer’s Bookshelf
Beaded Embellishment Techniques & Designs for Embroidering on Cloth by Amy C. Clarke & Robin Atkins
Well-written directions for all of the most useful stitches for the application of beads are accompanied by clear illustrations. - 7-8-02 Rakkasah Trend Report 2002
…the hottest and latest new styles from across the US, Turkey, Egypt and beyond - 1-25-07 One Banat: An Exploration of Some Belly Dance Costuming Origins by Tasha Banat
Since the establishment of Israel, the definition of the term “Middle East” seems to have changed and now has come to refer to a conglomeration of a number of unrelated countries
in the Asian and African parts of the hemisphere. - 4-18-07 Antique Textiles: Renewed Life for Dance by Najia Marlyz
In fact, we often danced for many little luncheon gigs in offices and other places as a surprise birthday gift—to the music of our own solo sagat. Now, that is a skill that I have never seen anyone repeat since the early seventies! - 3-26-10 Carl’s Photos from Rakkasah East Festival 2009, Page 2: D-J by Carl Sermon
Page 2: Dalia, Daniel, Dorothea, Denise, Egyptian Sun, Elisheva, Fahtiem, Fatima, Femme Fatale, Gabi, Groove Merchant, Habiba Dance Ensemble, Hannah Nour, Helena Zahra, Hipnotiq, Jamilah Bellydance, Jenivina and the Mystical Hips Tribe, June and Chandani Oriental Dance… - 3-25-10 Carl’s Photos from Rakkasah East Festival 2009, Page 1: A-C by Carl Sermon
Page 1: Alana, Alchemy, Alex King, Alia, Alrana, Amalia, Amy, Anasma, Aneena, Angelique, Anku Kusu, Artemis Mourat, Athalia, Attiya, Avivah, Ayshe and the Cult or Isis, Blanca, Bliss, Blooming Rose, Chellcy and Fringe Benefit - 3-18-10 Not Last Year’s Saiidi by Brigid Kelly / Zumarrad
Recently, a belly dance community newsletter here in New Zealand ran an editorial in which the author remarked that the current generation of dancers still perform “traditional styles – Ghwazee, Khaleegy, Saiidi” but innovate with poi, fan veils and Isis wings in a sort of dance evolution that retains respect for the value of the old. - 3-16-10 Serena Wilson (1933-2007) A Student of Ruth St Denis, Part 3: Serena’s Books by Barbara Sellers-Young
Serena’s approach saw women as joyful, soft, and feminine. They were responsible for and in control of their sensuality and by extension their sexuality. The dancers were not encouraged to challenge men by their physical presence, but neither was their physical presence and personal desire controlled by men. - 3-12-10 Creating Camp Negum by Leila of Cairo
The idea came to us as we laid on the beach at Ras Sidr, a resort town near Suez on the west coast of the Sinai Peninsula. It was one of those rare times when my husband, Safaa Farid, and I could slip away from work for two days. We were watching the wind surfers and listening to Om Kalthoum on the clubhouse speakers when the question just popped out.
Sorry, comments for this entry are closed at this time.