From Concept to Class: How I Make Custom Leotards

Those who have read my previous posts already know that I started sewing young after being taught by my Nan.

I later went on to study clothing production after high school and eventually worked in the industry for nine and a half years sewing knitwear, while also raising children who became my main customers outside of work.

Over the years I’ve made everything from children’s clothing and costumes to formalwear, swimwear, and dance costumes. Among those projects were custom leotards for my daughters’ dance classes.

While leotards may appear relatively simple, designing close-fitting stretch garments for movement requires careful consideration of fit, flexibility, seam placement, fabric behaviour, durability, and comfort. Because these garments are designed to move closely with the body, even small pattern or construction adjustments can significantly affect both appearance and performance.

This particular project focused on developing custom leotards that were functional for dance, comfortable to wear, age-appropriate in styling, and tailored to my daughters’ individual proportions and preferences.

In this post, I’ll walk through the design and development process, including fabric selection, pattern adaptation, prototype testing, fittings, refinement, and final construction outcomes.

The Brief

My daughters required custom leotards for dance classes, with a focus on fit, comfort, and movement. The garments needed to accommodate their individual body shapes, allow full flexibility, and feature age-appropriate styling.

Design Process & Concept Development:

I began by reviewing the specific requirements for each of my daughters’ leotards, including fit, comfort, movement, and school uniform expectations.

My first step was to investigate commercially available leotards online to assess whether suitable options already existed. We ordered a selection of garments for comparison, focusing on fit, fabric quality, lining, and suitability for age and season. After evaluating these options, it became clear that they did not fully meet the requirements, particularly in relation to lining, sleeve coverage for winter wear, and overall fit for my eldest daughter’s proportions.

Based on this, I moved into a more tailored design approach.

I then researched suitable sewing patterns and selected the Jalie range due to its strong focus on stretch and activewear construction. This provided a reliable foundation for adapting designs to each child’s individual needs.

With the pattern direction established, I began fabric sourcing. For my eldest daughter’s navy uniform leotards, I selected a cotton-spandex blend sourced locally from Spotlight, along with suitable lining fabric to ensure additional comfort and coverage. For my younger daughters, I sourced more decorative and flexible performance spandex fabrics from Glitter and Dance, which offered a wider range of colours and design options.

My younger daughters were also actively involved in the design decisions at this stage, particularly in selecting colourways and aesthetic preferences. This ensured the final garments reflected their individual personalities while still meeting the functional requirements of dancewear.

This staged process—from market review, to pattern selection, to fabric sourcing and user input—allowed the final designs to be grounded in both practical requirements and collaborative design decisions.

The Patterns I Used

Concept Development and Collaboration:

Once the research phase was complete, I moved on to developing the design concepts for each child’s leotards.

To begin the collaborative stage, I asked each child to select approximately five potential fabric options. Presenting multiple options allowed them to actively participate in the design process, while ensuring the selected fabrics met the technical requirements of dancewear, including stretch, recovery, durability, and comfort during sustained movement. My daughters particularly enjoyed selecting colours and design details, which helped ensure the final garments reflected their individual personalities and preferences.

Costing considerations and design decisions were also discussed with the end users throughout the project. This included discussion around design features such as colour combinations, sleeve and style variations, and the differences in material requirements between simple and more complex garment designs. These conversations helped guide decision-making and ensured the final leotards balanced cost, functionality, and user preferences.

For the base pattern, I selected Jalie patterns due to their strong focus on stretch garment construction and activewear. As leotards rely on close-fitting silhouettes and stretch fabrics to allow movement, these patterns provided a reliable starting point for sizing and fit. Using this base, I drafted individual pattern adaptations for each child, adjusting proportions where necessary to accommodate differences in body shape, comfort, and movement requirements.e, comfort, and movement requirements.

Although formal fashion sketches were not produced for this project, the concept development stage included fabric selection, discussion of style preferences, and determination of key design elements such as seam placement, neckline variation, sleeve length, lining requirements, and overall silhouette.

At the time of this project, I had already spent several years working in knitwear production within the clothing industry. This prior experience gave me a solid understanding of stretch fabrics, industrial sewing techniques, fabric behaviour, and the construction requirements of close-fitting garments. As a result, I was able to focus primarily on refining fit, comfort, and design details throughout the development process.

This collaborative approach ensured the final designs balanced functional performance requirements—freedom of movement, comfort, durability, and stretch recovery—with the aesthetic preferences of the children who would be wearing the garments.

During the research phase, I also explored additional fabric suppliers offering suitable stretch fabrics for dancewear, including cotton-spandex blends and performance knit textiles. While I am unable to recall the name of one supplier at this stage, I will update this documentation if the details become available.

Although this project was not undertaken for commercial production, costing considerations were still applied in line with industry practice, including awareness of material costs, construction complexity, and break-even considerations.

Design Concepts

Three initial design concepts were developed for the leotards based on discussions with the end users, functional requirements, and inspiration gathered during the design phase.

Concept 1: Long Sleeve Leotard (Winter Uniform Requirement)

A long sleeve leotard design used across all three children to provide warmth and comfort during colder weather. This concept prioritised coverage, durability, and freedom of movement for dance activities while maintaining a fitted silhouette suitable for performance wear.

Concept 2: Short Sleeve Leotard (Warmer Weather Variation)

A short sleeve variation developed to accommodate warmer weather conditions. This concept focused on maintaining full mobility and comfort while reducing thermal layering, allowing for a lighter and more breathable garment option.

Concept 3: Skirt and Non-Skirt Options

A design concept developed primarily for my younger daughters, using plain stretch fabrics in a range of colours selected by the children. This concept provided two styling variations: a fitted leotard with an integrated skirt, and a streamlined non-skirt version.

The skirted option was constructed from the same base fabric as the leotard to ensure consistency in stretch, colour matching, and movement performance. This allowed for stylistic variation while maintaining uniformity in material behaviour and garment function.

Evaluation of Concepts:

All three concepts were evaluated in relation to comfort, movement, durability, construction complexity, cost, and suitability for seasonal and individual user requirements. Final design selections were refined through user feedback and practical considerations during development.

Prototyping, Fit Testing and Pattern Adaptation

Once the design concepts and fabrics were selected, the next stage was testing the patterns and refining the fit for each child. I used leftover stretch fabric from previous knitwear projects to create test garments, allowing me to trial sizing adjustments and construction techniques without risking the final fabrics.

The base pattern used was from Jalie, which provides clear guidance for adapting stretch garment proportions. Using these principles, I adjusted the pattern individually for each child to ensure a comfortable fit and full range of movement.

One daughter is taller and slimmer in proportion, while the other two are more compact in build with differing height-to-torso ratios. All three also share relatively narrow shoulders, which influenced pattern adjustments around neckline balance and strap placement to ensure the garments remained secure and sat correctly during movement. Small adjustments were made to each pattern to accommodate these differences, particularly in relation to torso length, leg openings, and overall stretch balance. These refinements were essential to maintaining both comfort and a clean silhouette during dance activity.

Testing with scrap fabric also allowed me to refine seam placement, assess stretch recovery, and confirm sizing adjustments before cutting into final fabrics. This step was particularly important in ensuring that seams supported movement rather than restricting it or creating discomfort during repeated dance actions such as stretching, jumping, and floor work.

Materials and Construction Considerations

During the research stage, I explored lining options, as lining can significantly improve comfort, coverage, and garment stability in close-fitting dancewear.

In relation to lining, the materials were selected based on availability, comfort, and suitability for stretch garments. For my eldest daughter’s leotards, I used a black lining sourced from Spotlight, as this was readily available and appropriate for her navy uniform requirement.

For my younger daughters’ leotards, I used a nude stretch lining sourced from Glitter and Dance. This provided a softer finish against the skin while maintaining coverage under lighter coloured fabrics. The coloured spandex fabrics used for these garments were also sourced from the same supplier, ensuring consistency in stretch behaviour and colour coordination across the designs.

Elastic is a critical component in leotard construction, as it directly affects how securely the garment holds its shape during movement. For this project, elastics were sourced from both specialist and general fabric suppliers. The performance-focused elastic was preferred due to its more consistent recovery and stability under repeated stretching.

Stretch fabrics such as spandex/elastane blends were used throughout the project. These fibres rely on elastane content for recovery, and over time can degrade if exposed to excessive heat or sunlight. To maintain material quality, fabrics were stored away from direct sunlight in sealed containers, helping preserve elasticity and prevent premature breakdown prior to construction.

Materials and Haberdashery

Production, Practical Use, and Durability

Previous industry experience and prior garment production, including the construction of knitwear and stretch garments, informed production planning and cost-efficiency strategies. Based on this experience, garments were produced using a workflow that grouped items by colour and construction stage. Processes such as pattern making, cutting, overlocking, and topstitching were completed in batches rather than individually.

This method reduced time spent transitioning between machines, minimised thread changes, and improved overall efficiency. Completing each stage across multiple garments before progressing to the next also supported consistency in construction quality and finishing.

Multiple leotards were produced for each child using a combination of newly sourced fabrics and remaining stretch materials from previous projects. This allowed for variation in colour and style while maintaining consistency in fit and construction approach. Producing multiple garments was a practical decision, as dancewear is subjected to repeated stretching, washing, and movement stress during regular use. Having several leotards available ensured garments could be rotated between classes, maintaining comfort, hygiene, and garment longevity.

This rotation also ensured that clean, dry leotards were always available for weekly dance classes without over-washing individual garments, which can reduce the lifespan of stretch fabrics over time.

Some remaining fabric was also utilised for additional small stretch garment projects, maximising material efficiency and reducing textile waste.

Over time, garments continued to perform well, with many maintaining their shape and elasticity after extended use. This demonstrates the effectiveness of appropriate fabric selection, pattern adaptation, and reinforced construction techniques for stretch garments designed for repeated movement.

Given the success of this approach in terms of functionality and durability, the same production methods would be applied for future garments as the children grow and require updated sizes.

Work health and safety practices were applied throughout the production process. When operating sewing equipment, appropriate precautions were taken, including wearing closed-toe footwear, securing long hair, and avoiding loose clothing or jewellery that could interfere with machinery.

As garments were constructed from stretch fabrics, cutting was completed using controlled single-layer cutting with scissors to maintain accuracy and safety. The work environment was organised to support safe movement between tasks and equipment.

Some Photos of the Finished Leotards

Sourcing Materials

Below is an example of a resources table used to track where materials and supplies are sourced. A downloadable blank template is also provided for reference.

Materials for this project were primarily sourced from Glitter and Dance and Spotlight, along with commercial patterns from Jalie. These suppliers were selected based on their suitability for stretch garment construction, availability of appropriate fabrics, and reliability for small-scale production.

Shipping structures and availability were considered during sourcing decisions, particularly for online fabric orders. Where possible, local suppliers were prioritised to reduce waiting times and improve project efficiency. This also supported more flexible production scheduling.

Ethical and sustainability considerations were applied through careful material selection, efficient use of resources, and minimising waste through planned fabric usage. Supplier product descriptions and available information were used to compare options where direct communication was limited.

Materials were ordered, received, checked, and stored in accordance with standard textile handling practices and appropriate care requirements for stretch fabrics.

Cost and Budget Considerations

Cost and budget were key considerations throughout the design and production process. A comparison was made between fully lined and unlined leotard designs to assess the impact on material usage, construction time, and overall cost.

To further manage costs, practical decisions were made regarding thread usage. Overlocking thread colours were selected to match groups of garments rather than individual fabrics. For example, one thread colour was used across all pink garments and another across all blue garments. As overlocked seams are not visible in the finished garment, this approach reduced the need for multiple thread changes while maintaining a clean internal finish.

Topstitching thread was matched more precisely to individual garments where visible stitching was required, ensuring a professional external appearance.

Materials such as elastic and lining were purchased in bulk where appropriate to maximise usage and reduce overall costs, including postage and handling expenses. This approach improved efficiency while ensuring consistency across garments.

Lined leotards required additional fabric and construction time, increasing production costs; however, they provided improved comfort, structure, and coverage. Unlined versions reduced material usage and production time, making them more cost-effective while offering a lighter garment option depending on use requirements.

Costs were considered in relation to:

materials and fabric selection
labour and production time
construction methods and techniques
overall quality and functional performance

Differences between small-scale and large-scale production were also considered based on previous industry experience in knitwear manufacturing. Small-batch production, as used in this project, allows for greater flexibility, individual fitting, and design variation, but results in higher per-unit costs due to reduced production efficiency.

In contrast, large-scale production enables efficiency gains and reduced per-unit costs through repetition and standardisation, but limits customisation. The small-scale approach used in this project was appropriate, as it prioritised fit, individual requirements, and garment performance over mass production efficiency.

Design decisions were adjusted throughout the process to maintain a balance between quality, cost-effectiveness, and suitability for purpose. Supplier selection was based on their ability to meet requirements for quality, availability, and cost efficiency.

Resource Table Template Download

Costing Children’s Swimwear: Labour, Materials, and Ethical Considerations

When producing small-batch leotards for children, it is important to balance a range of cost factors while maintaining quality, fit, and functionality. These considerations include:

material costs – stretch fabrics, linings, and elastics
labour costs – sewing time, level of skill required, and pattern adjustments
overheads – notions, thread, and cutting tools

In addition to direct costs such as materials and labour, indirect costs were also considered. These include machine usage, electricity, tool wear, and time spent on sampling, fitting, and pattern adjustments. While not always directly itemised, these factors contribute to the overall cost of production and were considered when evaluating the efficiency of the project.

Costing Table Download

Cost Analysis & Decision

Although producing lined leotards requires higher material and labour costs, the increased quality, comfort, structure, and coverage justify the additional expense. The skill required to manage stretch fabrics, apply linings, and maintain clean seam finishes contributes to a professional result that is difficult to achieve with mass-produced garments.

Small-batch production also supports ethical and sustainable practices. Sourcing high-quality stretch fabrics and using careful construction methods helps reduce waste, ensures suitability for children’s dancewear, and improves overall garment longevity. This approach prioritises quality, fit, and functionality over mass production efficiency, aligning with both practical and ethical considerations in garment production.

Production Considerations

Several production considerations and constraints were taken into account during the creation of the leotards.

The use of stretch knit fabrics required appropriate construction techniques to ensure both durability and flexibility. Seams were finished using an overlocker to prevent fraying and to allow for stretch, while elastic was applied using an overlocker and secured with a zigzag stitch to maintain elasticity and garment integrity.

Production constraints included:

the need for stretch-compatible construction techniques
the limitations of domestic sewing equipment for certain stages
ensuring garments maintained shape, recovery, and function after repeated movement

These constraints were addressed through the use of appropriate domestic sewing techniques suitable for knitwear construction, resulting in a functional and professional finish that met the requirements of the garments.

Additional Pattern and Design Applications

While the core project focused on the development of children’s leotards for dancewear, these construction and pattern adaptation skills were later applied to additional performance garments for my eldest daughter during a school dance event.

As her standard dance uniform required navy leotards, this was one of the only opportunities within the year to create more expressive, colour-based performance pieces. For these garments, she selected her preferred stretch fabrics from Glitter and Dance, allowing her to contribute to the design process through fabric and colour choice. Leftover nude lining from previous projects was also used where required, and tulle was sourced locally from Spotlight.

Both garments were developed using Jalie 3349 as the base leotard pattern, ensuring consistency in fit and construction across designs. Although the original tutu element was designed as a separate component, this was adapted by integrating it into the leotard construction for the pink performance piece to create a unified garment suitable for stage use.

The second garment was a blue leotard with an attached half tutu at the back. This design was developed through pattern improvisation, using the same core leotard construction principles while adapting the silhouette to create additional movement and visual emphasis in the rear of the garment.

Across both garments, the same construction principles established in the main leotard project were applied, including:

stretch fabric handling
elastic application for secure fit
pattern adaptation for individual sizing
balancing aesthetic design with movement requirements

These garments demonstrate the adaptability of the core leotard construction techniques to more expressive performance wear, while still maintaining functional fit and comfort for active use.

The Tutu Pattern I Used

Jalie 2915

More Dance Patterns by Jalie

The Finished Costumes

Reflection

This blog post serves as both a visual and written presentation of the design process, functioning as a storyboard to communicate the development of the leotard garments. The presentation includes initial inspiration and design concepts, fabric and material selection, work-in-progress images, construction processes and techniques, and the final completed garments. My intention in sharing this process is to encourage and inspire others to explore making their own dancewear and stretch garments.

Looking back, this project brought together many different skills that I have developed over the years, particularly through prior experience working with knitwear and stretch fabrics in the clothing industry. This background provided a strong foundation and confidence to approach leotard construction with an understanding of fabric behaviour, stretch recovery, and appropriate finishing techniques.

Designing these garments also provided an opportunity to focus on pattern adjustment and fit, which is an area I particularly enjoy. Adapting patterns to suit each child’s proportions and individual preferences allowed me to revisit and apply pattern-making skills in a practical, real-world context.

Throughout the design process, I also considered elements such as colour, balance, and proportion to create visually cohesive garments, while ensuring functionality and suitability for dance movement. This balance between aesthetics and performance was central to each design decision.

At the same time, creating these garments for my children made the process collaborative and responsive. Their input helped shape the choice of colours and styling preferences, while I focused on technical aspects such as fit, durability, and construction methods.

The project also reinforced the importance of thoughtful material selection and practical production considerations. Choosing appropriate stretch fabrics, linings, and elastic ensured the garments met both functional and quality expectations. Cost was also considered during material sourcing, including decisions such as purchasing elastic and lining in bulk, and selecting thread colours that could be used across multiple garments to improve efficiency and reduce costs.

Although the original goal was to create functional leotards for my children’s dancewear needs, the process became part of my broader creative and technical development in garment construction. It combined research, design, problem-solving, pattern adaptation, and production in a way that reflects my approach to textile work.

Looking back, this project represents an ongoing progression in design and making. It also highlights how dancewear construction sits within the broader textile and fashion industry, where fit, functionality, durability, and aesthetics all play essential roles. This project demonstrates how everyday garment-making can develop into a structured process of design thinking and technical execution.

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