Dina's Bellydance Costume Galleries

Designing Motifs for Bellydance Costume
by Dina Lydia, Costume Goddess

Note: This article originally appeared in the
April 2003 issue of Jareeda magazine.

Dear Costume Goddess,
I know a lot about making belts and bras. What I do not know is how to actually make patterns with beads and other items. I have been searching for embroidery patterns a bit, and found nothing really that would work on a belt or bra. Do you have any actual designs for the beadwork in your book? Or do you have any other recommendation for getting started in creating my own beaded patterns?

Answer:
Book #3, Cabaret Belt & Bra for Bellydancers, has many designs illustrated for belts and bras, both line drawings and photos. Anyone is free to copy my examples, but it may be more fun to create something unique.
I often begin by choosing a design motif.

What is a "Motif"?
A motif is simply a shape. Some costumes have no design motif, but instead an all-over pattern or texture, like that created by sequins and beads completely covering the surface. I prefer to use a motif, because it creates a focal point that directs the viewer's eye to certain areas. Often a whole costume concept can be created around a design motif. It can be used singly or in multiples, as explained below.

Make the motif bold
Motifs and patterns designed for embroidery or henna decorations may not be suitable, because they're meant to be viewed at close range, where the delicate details can be admired. A stage costume needs to have motifs that are visible at some distance.

Ready-made
Sequinedand beaded appliqués in countless designs can be purchased to decorate the costume, but I like to design my own.

Types of motifs
The motif can be abstract (for instance, a 5-pointed star); representational of a realistic natural object (a starfish); or in between, or "stylized" (a starfish with 5 identically curved arms).

I suggest motifs be sizable and contrast with the background, to be more visible from a distance. If your figure is large and tall, the motifs can be especially bold.

Other design elements
A motif, by the way, is only one of many design tricks. Other favorites of mine are unusual edges where costume meets the skin; strap variations; draped strands; texture; and fringe variations. All these work together with the shape of the motifs. The shape of the motif suggests other design elements, such as lines extending from the motif in the form of hanging tassels or drapes.

Designing Motifs for Bellydance Costume by Dina Lydia, Costume Goddess Note: This article originally appeared in the April 2003 issue of Jareeda magazine. Dear Costume Goddess, I know a lot about making belts and bras. What I do not know is how to actually make patterns with beads and other items. I have been searching for embroidery patterns a bit, and found nothing really that would work on a belt or bra. Do you have any actual designs for the beadwork in your book? Or do you have any other recommendation for getting started in creating my own beaded patterns? Answer: Book #3, *Cabaret Belt & Bra for Bellydancers, has many designs illustrated for belts and bras, both line drawings and photos. Anyone is free to copy my examples, but it may be more fun to create something unique. I often begin by choosing a design motif. What is a "Motif"?* A motif is simply a shape. Some costumes have no design motif, but instead an all-over pattern or texture, like that created by sequins and beads completely covering the surface. I prefer to use a motif, because it creates a focal point that directs the viewer's eye to certain areas. Often a whole costume concept can be created around a design motif. It can be used singly or in multiples, as explained below. Make the motif bold Motifs and patterns designed for embroidery or henna decorations may not be suitable, because they're meant to be viewed at close range, where the delicate details can be admired. A stage costume needs to have motifs that are visible at some distance. Ready-made Sequinedand beaded appliqués in countless designs can be purchased to decorate the costume, but I like to design my own. Types of motifs The motif can be abstract (for instance, a 5-pointed star); representational of a realistic natural object (a starfish); or in between, or "stylized" (a starfish with 5 identically curved arms). I suggest motifs be sizable and contrast with the background, to be more visible from a distance. If your figure is large and tall, the motifs can be especially bold. Other design elements A motif, by the way, is only one of many design tricks. Other favorites of mine are unusual edges where costume meets the skin; strap variations; draped strands; texture; and fringe variations. All these work together with the shape of the motifs. The shape of the motif suggests other design elements, such as lines extending from the motif in the form of hanging tassels or drapes.
Sources for design motifs 1. Geometry
One of the basic geometric shapes makes a fine motif. It's what you do with it that makes it beautiful: your choice of embellishment, color combinations and placement. Several shapes can be combined: a spiral inside an oval, or a circle inside a marquise. Geometric shapes: circle, square, diamond, oval, marquise, hexagon, spiral, star
2. Ethnic Art Years ago, library or field research would be required, but now we have countless examples of historic and ethnic art displayed on the Internet after a few minutes' search. Archetypal Middle Eastern shapes are an obvious source of inspiration, when choosing design motifs. Look at shapes in looping Arabic script, Islamic architecture, Persian rugs, Moroccan and Byzantine jewelry. Since Islam discourages representational artwork, we see beautifully stylized crescents, stars, rosettes, and leaves, and gracefully curving and intertwined geometric patterns.
Islamic arch	Islamic dome	Islamic tile	Abstract Islamic motif	Islamic star
If you are going for a "Pharoanic" look, some ancient Egyptian motifs are the ankh, palm fronds or fan, lotus blossom, falcon-headed Horus or eye of Horus, cobra, scarab beetle, and the winged goddess Isis.
Egyptian ankh	Egyptian fan	Lotus	Cobra	Scarab
No need to be restricted to Arabic or Egyptian, of course. I have found suitable motifs in books of East Indian, Medieval, Chinese, Celtic, Art Deco, and Art Nouveau design; bold graphics on webpages and in dingbat fonts; and motifs from fabric patterns, especially East Indian and Persian-inspired prints.
Chinese motif	Celtic motif	Persian motif	Dingbat icon	Print fabric
3. Themes Choosing a theme for your costume can help you visualize design motifs, as well as a color scheme. For example, "Desert Evening Sky " produces images of a silvery crescent moon and scattered sparkling stars, on a background of deep azure or midnight blue. Or "Magic Carpet": a border with rose, cream, and green rosettes on a dark blue background, as on a Persian rug. Fantasy and novelty themes that you could never find on mass-produced costumes, from Amazon to Goth to "Zilda from the planet Zoltar", are possibilities. When you are the designer, anything is possible.
Placement of motifs The motifs are placed where you want the focal point of the design. It looks pleasing if the motif is repeated a few times. For example, one or two motifs on the front of the costume, one or two on the back, and one on an accessory, like the headband or armband. The audience sees the costume from all angles, so the back is as important as the front. A center motif on the back of the belt, bra, and halter strap (if the hair doesn't cover it) make that view much more interesting. Center motifs on the belt and bra are flattering for those who want a taller or slimmer appearance.
Two identical motifs visible from the same angle may compete somewhat (left). But if the motifs vary in size, that makes the repetition more interesting: for instance, a large motif on the belt, a small one on the armband. Or, a large predominant motif and a coordinating smaller and simpler one can be used (right).
The motifs can also be placed at varying angles. Of two motifs, one can be "reflected" in the opposite direction. The two can face toward or away from each other to create another interesting shape. Several small motifs, like leaf shapes, assembled in a row, can follow a design line on the costume; the sleeve, neckline or belt edge, for instance. Left, the three butterfly motif shapes vary in both angle and size as they travel in a line.
Asymmetrical (off-center) placements of motifs and drapes, such as on one hip or one shoulder, are visually dynamic, but too many may be confusing or too busy. I think it looks balanced if the motifs are placed on alternating sides of the body. Two or three asymmetrical motifs, as illustrated left and right, are enough. With more, the eyes of the viewer may be constantly darting back and forth, comparing one side of the costume to the other.
A motif with a curvy or angular edge breaks up the shape of a straight, plain belt or bra, and makes it look more like a costume and less like a fancy bikini. A motif can also break up the straight line of the armband or headband. Placing motifs on the top of the bra cups, above the fringed area, or on the straps, creates a neckline with an interesting shape. The fringe can follow the shape of the motif. If the cup is not hung with fringe or coins, the motif can cover the entire cup.
Consider body type when placing motifs. For instance, if the bust is large in proportion to the body, attention-getting motifs might be placed on the back, shoulder or hip (right), rather than on the bra cups, where they will focus attention on the large chest. A figure with a small bust looks nice with bold, decorative bra cups (left). Flattering design and decoration placement is discussed at length in Book #1, Flattering Costume for Bellydancers, and Book #3, Cabaret Belt and Bra.
Construction of motifs How can one fashion a motif in bellydance costume? There are a number of methods.
1. Flatwork In this technique, beads and/or sequins are sewn directly onto a costume piece to form solid shapes. If a removeable backing is the base for the beading, it becomes an appliqué (see #5). Hand beading is time-consuming, especially beaded flatwork, which must cover a large surface. I recommend, unless you really love to do hand beading, that you don't attempt to copy the heavily beaded surfaces of imported Egyptian cabaret costumes. If you do use beads, large beads cover a surface much faster than thousands of tiny ones, and they are more visible from a distance. Similarly, a shape can be outlined or filled in with overlapping sequins (right) faster if sequins are on a string rather than loose.
2. Cluster of jewels Costume jewels and rhinestones, in acrylic or glass, come in many shapes and sizes, from a couple of millimeters to nearly egg-sized. The larger the jewels are, the faster they will cover a space and the bolder the design will appear from a distance. The jewels are three-dimensional and create a thicker, more textured surface than beaded flatwork, or sequins. Different shapes of jewels can be clustered (as illustrated) to form large motifs like stars, sunbursts, flowers, fans, or geometric shapes. Small ones can be sprinkled over a background. These can be either hand-sewn (if they have holes) or glued directly onto a costume piece, or onto a separate appliqué or medallion. I like to outline the very large jewels with metallic cord or beads, which makes them look richer, as if in a jewelry setting.
3. Cording A decorative round, flexible cord or braid can be invisibly tacked (couched) to the fabric surface. You can also do the same with a long beaded strand that's secured at the ends. Wavy, spiral, and looping motifs are formed this way. In this illustration, I've outlined the three largest jewels with cording, to create a center back accent motif, then concealed the ends of the cord under the jewels. The other jewels are scattered in a random pattern.
4. Ready-made jewelry A large piece of jewelry, like a rhinestone pin or a gold pendant, is a ready-made motif to decorate the bra or belt. Several pieces of jewelry that are similar, all white rhinestone, for instance, can be used as motifs on the same costume. Or, other motifs can be made to coordinate with the jewelry piece, using beads, jewels, or cords similar in color and shape.
5. Appliqué or Medallion These decorated motifs are sewn onto a costume piece as a separate layer that can easily be removed and repositioned, if the costume is restyled or resized. An appliqué is a thin backing covered with beads, jewels, sequins, or other decorations to form a shape, such as a curlique, leaf or flower. The backing is flexible, so it can be sewn onto costume parts with a curved surface, like a bra cup or an armband (right). You can make your own appliqué by tracing the motif shape onto a backing that doesn't ravel, like nylon tricot, which comes in many colors. Or use non-woven interfacing, like Pellon, in black or white. Then outline nd fill in the shape with sequins, beads or even fabric paint.
A medallion is a thicker, sturdier piece than an appliqué. It can support the weight of sewn-on jewelry or hanging ornaments, like tassels (right) or pendants. I use the medallion to cover hooked closures, as on a belt or bra. Make a medallion by cutting a stiff interfacing into the shape of the motif, then cover it with costume fabric. Then sew on or glue on the jewels, beads, or other decorations. A felt backing is added to finish it neatly. Complete instructions for making a medallion are in Book #3, Cabaret belt and Bra for Bellydancers.
6. Lace motifs Some types of lace incorporate strong repeating motifs in the pattern, such as stylized leaves, flowers, or abstract shapes. Venise lace is the thickest, sturdiest type of lace and often has bold (rather than delicate) motifs. It is usually made of rayon, which can easily be dyed to match any color. Thinner Chantilly lace, which is on a net backing, is also suitable. A motif can be cut out of the lace, since it does not ravel. The lacy motif can be enhanced with beading, sequins, fabric paint, or the other techniques mentioned above. It can be sewn or glued onto an appliqué backing, if it needs to be stronger. Then it can be sewn onto a sleeve, neckline or anywhere. 7. Cut-outs A shape can be cut out of the fabric of the costume piece and underlined with mesh, net, or lace. It may also be outlined with beads, sequins, or trim. The diamond-shaped cut-out, left, is underlined with cotton lace to match the sleeves, outlined with metallic trim, and decorated with a corded swirl and a tassel. Good places for cut-outs are the sleeve, back, side, tummy, hip or thigh of the garment (but not all at once!) where the extra skin exposure is tasteful and flattering. The cut-out makes the costume piece cooler, another advantage. Motifs on fabric or trim Use the pattern that's printed or woven into a fabric or trim as a motif. Right, geometric shapes are woven into a flat trim, which I enhanced with jewels and pendants. Then I used the trim as an armband. Complete instructions for armbands are in Book #4, *Arm Costume for Bellydancers. All the design lines must work together without clashing and competing elements. If you're inexperienced, ask others for their opinions. There are no definite rules - I've broken my own rules many times! - so sketching designs on paper, then experimenting and eyeballing is the way to decide what looks best. ~Dina Lydia, Costume Goddess HOME ABOUT COSTUME BOOKS ART TIPS LINKS CONTACT*
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