who wore a pale dress in 1770. The La Sylphide tutu may have been inspired by the use of muslin petticoats to give the skirt volume instead of using the usual hoops. Towards the end of the 18th century, female dresses had higher waistlines and became slimmer as well; dancers appeared to begin dancing without panniers (hips hoops to accentuate skirt designs) for a more natural theme that displayed the human body and allowed more freedom in movements. These translated well in costumes in order to accent the lines of the dancers. Skin-colored tights were also worn with these evolved form-fitting costumes to preserve modesty, but replace the unseemly shapes of knickers. However, the skirt that became known specifically as the romantic tutu made its first appearance in 1832 at the Paris Opera, where Marie Taglioni wore a gauzy white skirt cut to reveal her ankles, designed by Eugene Lami in La Sylphide. From the late 19th century onwards, the tutu was steadily shortened, for ease of movement and to show off the dancer's legs. Romantic tutus were effective in portraying the ethereal creatures that exist in many ballet repertoires, but as ballet became more modernized, the flouncy but stiff tutus would be replaced by softer more relaxed skirts. The traditional tutu is a symbol of historical dance and its past. During the twentieth century, the tutu reached its peak form with a platelike shape; French critic André Levinson highlighted the contrast between the stiff and immobile features of the skirt and the energetic and alive movements of the dancers. At the end of the century, human bodies were able to move without being weighed down by heavy costumes. The tutu’s simple design and timeless class are the product of countless adaptations to finally present the dancer in a flattering light. Oftentimes, tutus and costumes evolved alongside fashion during their respective eras. Skirts became shorter, fuller, and necklines were even lowered in the 1870s to display “sexual attractiveness.” Fashion designers have often been involved in design for ballet. Fashion designers including Cecil Beaton, Christian Lacroix, and Isaac Mizrahi in the United States have all designed tutus. Among the leading makers of tutus around the world, few designers have matched the reputation of Barbara Karinska (1886-1983), Russian costumer for the New York City Ballet for many years, She designed and constructed tutus of extraordinary beauty and durability. Styles The Romantic tutu