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The backbone of nearly every performance garment. Strictly, spandex is the fibre and Lycra is a brand of it, and in practice the words are used interchangeably. It is almost always blended with nylon or polyester rather than used alone.
What matters is the direction of the stretch. Two-way stretch gives in one direction only; four-way gives in both and is what a garment needs if it has to move over a torso. A bodice cut from two-way fabric in the wrong orientation will feel restrictive no matter how well it fits on paper.
Stretch velvet has a nap — a direction the pile lies in — which is why it reads as two different colours depending on the angle you view it from. It is heavier than plain lycra, hangs beautifully, and photographs richly under stage lighting.
Its weakness is crushing. Pressure marks the pile, and a crushed patch does not always recover. Store velvet flat, and never fold it against itself under weight.
The plain, non-shiny workhorse. Opaque, hard-wearing, and the usual choice for linings, briefs and anything that needs to disappear.
Open-weave and light, used for sleeves, side panels and yokes where a designer wants line without weight. Power mesh is the sturdier version with real recovery, used where the panel has to hold something in. Fine mesh is the delicate version, and it ladders like tights.
Mesh in a skin tone, chosen so that a cut-out reads as bare skin from a distance. The whole effect depends on the match: illusion that is close to the wearer’s tone disappears, and illusion that is a shade off is the most conspicuous thing on the garment.
Illusion is also the panel most likely to have aged. It yellows with time, heat and sweat, and once yellowed it cannot be brought back. It is worth looking at closely on any used dress.
Soft, floaty and non-stretch, used for skirts and overlays rather than for anything structural. Chiffon is what produces the trailing movement on a lyrical costume. It snags easily and it frays if the edge is not properly finished.
Stiffer sheers that hold a shape instead of draping. Tulle is what gives a tutu its structure; organza gives a crisper edge and more shine.
Ranges from soft stretch lace that moves with the body to rigid corded lace used as a fixed overlay. Stretch lace over illusion mesh is one of the most common constructions in skating dresses. Check the scalloped edges on a used piece — that is where lace goes first.
A metallic or iridescent layer bonded to a stretch base. Enormously effective under lights and the least durable surface in this list: it scuffs, and it will not tolerate heat. Never iron it, and never let it near a dryer.
Sequins pre-strung in rows on a stretch ground. Covered in detail on the Spangles & Sequins page.
A weave rather than a fibre — the shine comes from how the threads cross. It ranges from non-stretch bridal satin to stretch charmeuse. Beautiful, and it shows every needle mark, so alterations to satin are unforgiving.
Every listing records the fabric where we can establish it. Where we cannot, we say so rather than guess.
We are a resale boutique. We find, assess and sell existing garments; we do not manufacture to order. What that means in practice:
