DANCE COSTUMES – A QUICK RUNDOWN

The main concern with designing dance costumes is to create a garment that is not difficult to dance in. While some dance costumes may be highly elaborate and counterintuitive to graceful movement, the various types of dance costumes all contain some similar traits like lightweight fabric that clings to the skin without being too tight, easy-to-use Velcro straps for securing purposes and, of course, dazzling aesthetics.

Once a basic costume design has been decided on, the color, fabric and texture of the costume then need to be worked on. Whether a ballerina or a majorette specializing in baton twirling, the basics are common.

Color

The costume color is dependent on the role played by the dancer – whether the dancer is part of a story that incorporates the dance, or as a standalone dancer that seeks to evoke certain responses from the spectators.

Simple color science is involved – bluish hues have gloomy and cold connotations, green is synonymous with envy (but may also mean vitality and life), while yellow and red are typical ‘fiery colors’ consistent with passion and activity. Some dancers may ‘change colors’ by lighting methods or by simply shedding their costume and revealing another one inside.

Fabric and Texture

The most common kinds of fabrics for dance costumes are chiffon, silk, Lycra, cotton and Georgette. These are all stretchy and light materials – ideal for graceful movements that may sometimes require a sudden high kick or acrobatic feat.

Dyeing the material and how well it absorbs the dye are key considerations – along with how the material looks under the glare of a spotlight (or in whatever ambience the dancers will find themselves in. The stiffness of the fabric may sometimes be used to create a comedic, awkward, prop-like effect. A crocodile-skin pattern may be used to impart a bestial or primal quality to the dancer, while lines parallel to the body add a slender effect to the dancer’s body. Conversely, lines transverse to the body make the dancer appear fat and short.

The garment will be stretched when the dancer wears it, so the paints and dyes are sometimes applied when the dancer is wearing the garment. The make-up and accessories are also commonly applied after the costume is worn. Care must be taken to create a costume that performs as well as the dancer – a hastily assembled piece that succumbs to the tension created by the dancer’s swift movements and falls apart on the stage is every costume designer’s woe. Costumes are seldom designed for long term usage, so there may be a tendency to try and cut corners with costs and effort. It is a diligent and honest costume designer who cares only for the best performance that the costume can bring forth in a dancer.For an excellent listing of dance and majorette costumes, try The Bandmans Company.