Over my time as first a dancer and now as a costumer I have seen, heard and been requested within, many instances of a costume being refurbished.  More often than not, this is a simple task and, thus, not an issue of much note but with a tutu, refurbishment can very quickly become a lot more involved as often one alteration will affect another part of the tutu that was probably previously not an issue.

When presented with a situation my first decision is whether the requirement is for a new tutu or for a refurbishment.  Where it is a refurbishment request I will then understand the requirements and the materials I have to work with.  Where, in my professional opinion, the result is not possible with the job requirements and materials I will politely decline.  I may make suggested alterations to the specification or suggestions based on past experiences.  Often, I will start a refurbishment with an agreement of my hourly rate and an initial upper limit of cost, with no guarantee that the work will be done before I must request a financial extension to continue as often there are hidden extra tasks to be completed, only visible once the work has started.  So why would I recommend refurbishment?

Cost

This is the simplest and most important of reasons.  When refurbishment is minor and sure to not affect any other part of the tutu this is inordinately cheaper than a new tutu.  Bear in mind, however, that what may look like a minor refurbishment may not be given the specifics of the tutu in question.  For instance, adding a hoop is only minor if the casing for the hoop is already there!  Tutus made to exacting professional standards are also, per costume, significantly more expensive.  Here more major alterations may still turn out to be cost effective.  All subsequent reasons assume money is no object!

Deadline

It takes a long time to make a tutu, to measure, cut, sew, fit and decorate and sometimes that is not an option given a timeline and a costuming requirement.

One of a group of costumes

Finding the same materials to make an exact replica is time consuming, if possible at all.  Where only a small number of costumes of a larger group are in need of repair this may be the only option to retain the same look for all the costumes in use.  You only need to think of a troupe of swans in their lines with one heavily drooping tutu to see the impact this can have to the look of an entire show.

Characterisation requirements

You wouldn’t expect to see the lilac fairy in red, nor the black swan in mint, and thus another reason for a refurbishment.  In amateur dance competitions, where set pieces are often not performed, fashions change and particular dancers may need differing requirements.

Sentimentality

Maybe this tutu was worn by a family member or a member of your dance school or troupe but tutus, in my opinion, are a little bit like dreamcatchers; the net serving to catch the hopes, fears, triumphs and successes of dancers and wearers gone by.  It is not an uncommon practice in larger ballet companies to write the successive names of dancers wearing a costume in a never ending list inside a garment and, as I experienced myself as a child, this too is the case at an amateur level with senior dancers inspiring younger girls.