Dance costumes
Encyclopedia
The purpose of a dance costume is to enhance the dancer’s
body and the concept of the choreographer
(Dance Catalog 219). “Costumes are clothes and they are art. They make the invisible ideas visible” (Nadel 241). Dance costume
has evolved throughout time and involves many different factors to create a costume that will engage the audience.
is today, a lightweight skirt. This change allowed the image of increased physical prowess (Penrod 13). Marie Tagolioni also inspired the first tutu
. As dance increased in athleticism more of the body was revealed. The hemline of the tutu grew shorter until the leg was revealed and the pelvic area was framed in a tiny skirt (Art of Production 57).
Marie Camargo made a great impact on dance costume today. In the nineteenth and twentieth centuries she “throws off the corset, bares her limbs, and dances barefoot” (Penrod 13). Duncan began a new look, inspired by the Greeks, of tunics and scarves. This simple costume inspired a new form of dance costume and new ways of moving (Penrod 13). This imitation of the Greek clothing freed the naturally beautiful lines of the human body and movement. This change in costume extended the dancer’s space, and caused the costume to be made to conform to the curves and shapes of the body as much as possible (Art of Production 57).
s that the dancer’s body creates (Penrod 11). It is an extension of the dancer’s movement and should never be just put on. The body is the choreographer’s medium; the choreographer and costumer work together to create the right theme (Art of Production 56). Also, formfitting costumes allow teachers to see the placement of the dancer’s body, and to make sure that the movement is right. If a dancer makes a faulty placement it can weaken or injure them.
The dancer’s tights and accessories should be worn so that the line of the dancer’s body can be seen clearly. Shorts shouldn’t be worn, because they don’t protect the dancer’s legs when doing floor work, and they don’t keep the body’s heat centered in the legs. Centering body heat to the legs helps keep the dancer’s muscles warm (Art of Production 74). Also, the costume needs to accommodate quick changes (Cooper 65).
Dance costume needs to be designed with the understanding that the dancer has to move in the costume. A dance costume’s purpose is to support the concept of the dance. It should not dominate or overwhelm movement or the dancers in color, pattern, or mass. It shouldn’t look like the costume is “wearing the dancer” (Cooper 50). The costume should be designed to the theme of the dance. A dance costume needs to flatter
the dancers, but can either harmonize or provide contrast to the dance (Cooper 48).
The sets and costumes need to work together and work with the movements. They should allow movements to happen comfortably; so that the dancer does not have to worry about ripping their costume or losing a shoe. If a dancer is being lifted in the dance number then the costume shouldn't have bulky fabric around the dancer’s waist or accessories that the lifter can get their fingers caught on. Dance costume should fit like second skin so that the costume moves with the body of the dancer. The costume needs to be quick and easy to fasten, this can be made possible through Velcro
or hooks allow (Cooper 65). The following will discuss costumes’ design according to color, texture and pattern, material, lining, women and men, accessories, hair, and make-up.
The colors need to be relevant to the dance. They can be symbolic. Some examples of color being symbolic are that green creates a feeling of envy and white evokes purity. Color can isolate one dancer and should contrast with the accessories or props used throughout the dance (Ellfeldt 87). Color gives line and form depending on how it is used. Certain types of dances may require certain colors (Joiner 21).
When designing a costume one should choose colors that flatter and compliment the dancer’s body. Darker colors make the dancer appear slimmer, and lighter colors look better on a slim body. For instance, the color black appears to make the body attractive and slim (Penrod 14). Pale
colors enlarge the shape of the dancer (Cooper 71). Designers should beware of loud prints or bold color combinations for they can distort the dancer’s body line and make it difficult for an instructor to determine the correct alignment of the dancer (Penrod 12). However, the designer should beware of large expanses of solid color and be cautious with how the colors are combined. Sharp contrasts of colors will chop the dancer’s body visually in two sections, not flattering the dancer. Shading the contrasting colors creates a unified appearance with the top and bottom colors of the costume. To make the light colors stand out and the dark colors recede, the colors should be shaded from light to dark. Dyeing is the most creative way to achieve color and effects. By mixing dyes one can produce a wide range of colors (Cooper 71).
If colored tights are being used they should be subdued tones. When using bright and garish colors for tights, they tend to make the dancer look larger. The top and bottom of the dancer’s costume need to blend harmoniously (Penrod 15).
. Appliqué includes drawing or painting on the fabric, spraying the fabric, or stitching on to the fabric. Fabric pens are used to draw with and stencils are used for spraying on to the fabric. The stencil helps create pattern and texture, shading, and blending. When drawing on stretchy material, the dancer needs to be inside of the costume so that the design will not be distorted. When applying cut outs to the costume, the same material as the costume should be added on. For example, stretch on stretch. These cut out appliqués are either glued or stitched on to the costume (Cooper 75-77) Also, an effective addition to the dancer’s costume is layers of colors, which will be revealed when the dancer moves (Art of Production 59).
, a natural fabric made by silk worms, flows around the body like water (Art of Production 60). Skirts, soft trousers, dress
es and tops
are frequently made out of stretchy fabric, because it has few movement restrictions. Some good examples of soft stretchy material are jersey
, silk
, chiffon
, Georgette
, and Lycra. If the costume is going to be dyed then cotton
or silk
should be used. Natural materials take the dye better. If using stiff fabric the designer should consider the possible boxy, square, and immobile look created through this type of material (Cooper 65).
(Guide to Dance Production 15). The lining of a costume gives form, provides qualities of movement and direction, brings out points of interest, and determines the pattern and style of the costume (Joiner 6). Vertical lines lengthen and fine down the dancer’s body, and horizontal lines shorten and widen it (Cooper 51). When designing for a group of dancers it is more effective to use simple lines (Joiner 5).
that cover the legs and hips and a leotard that covers the hips and trunk (Penrod 13). Leotard
s are an important basic garment in which most dance costumes are based from (Harrison 8). If the tights have a seam it is worn on the back of the legs. Women can wear underwear under their tights; however, if they do wear underwear, it must never be seen. By showing the line of their underwear on the leotard the long look of the leg is destroyed. Most dancers go without underwear, but if they are uncomfortable with this then they wear a thong or bikini underwear. Dancers also require a well fitting bra
. Their bra should have no metal clips or hooks that could cause damage to the dancer or a partner. If their bra doesn’t provide enough support then the breast tissue can be torn away from the underlying musculature. Sports or dance bras provide enough support and allows the dancer to move with ease (Penrod 13).
Male dancer’s standard costume includes tights
and a tunic worn on the upper body. Men’s tights should be pulled up firmly in the crotch to avoid a baggy appearance. Their tights are a heavier less sheer material then women’s tights, but they also wear their tights’ seams in the back. Men wear a dance belt
thong under their tights for support and to keep the body aligned. Men also wear a regular belt or suspenders to hold up their tights. Suspenders give a better line and eliminate the bulky belt line. Their tunic, tight-fitting waist- length t-shirt
, is either tucked into their tights or worn out. If it is worn out then it should just cover the pelvic area (Penrod 14). This tunic is fitted to allow more freedom for the male dancer’s strong movements. By adding elastics to the side seams, it provides a more fitted look (Harrison 115).
s and elastic bands for their hair, a towel to wipe away sweat, and sometimes they require knee pad
s. When using knee pads a thinner padding is easier to work with. A dancer should be prepared for any clothing emergency that may come (Penrod 16).
Usually a designer will apply accessories to a costume to help it relate more to the theme the dance. A designer may create false sleeves, collars, cuffs, wristbands, and shawls to emphasize the desired mood of the dance (Cooper 76). Sleeves should allow free movement at the armpit. To do this the armhole is cut very high. However, designers should avoid covering part of the neck. Covering parts of the neck disturbs alignment of the body and interrupts flow of movement. Also, they should avoid hiding the face. Any type of headdress should be placed on the back of the head so a shadow is not cast on the dancer’s face (Harrison 73).
, and tap shoes. Each shoe should be chosen to harmonize with the costume and to the comfort of the dancer. Safety and avoiding injury is most important in all dance shoes. Footwear should not draw attention to the foot; it needs to blend with the outfit. If the dance includes a lot of turning the dancer should have a cover for the balls of their feet, enabling the dancer to turn with more ease (Guide to Dance Production 37).
should be something practical and attractive for the dance. Long hair should be secured in such a way that it won’t fall into the face or eyes of the dancer; if it is not secured it will distract the dancer and audience (Penrod 15). The dancer should be able to move their head. The head is the heaviest part of the body and should be able to move freely. This can be done through designing the dancer’s hair with the dance movements. The designer should also consider the type of dance. An example would be if it was a pair dance. This would require the female dancer’s hair to be securely fastened to the head, not a ponytail
, so that it won’t distract the other dancer. A looser hairstyle is most effective if the dance includes swinging movements, allowing the dancer’s hair to stay off their face (Cooper 70).
The eyes are the most expressive part of the face. To enhance their features dancers should draw attention to and make their eyes appear larger. However, to maintain unity, the intensity of the eyes must be balanced with color and shape of the lips. The color of the lips needs to be complimentary to the skin color and costume (Art of Production 123). Women appear blusher, and have stronger eyes and lips (Cooper 78). Men apply a browner shade for their lips and have a stronger shadow for their jaw line. Dancers should also dust their faces with color and lightly add blush to their knuckles so it doesn't contrast with their face (Art of Production 125).
. Hanging the costume up to dry will help keep it in good condition and in its original size. Costumes shouldn’t be stored in a locker when they are wet with perspiration (Penrod 15). They should be hung and arranged so they don’t wrinkle (Ellfeldt 174). Wrinkles can be prevented through using a hanger and plastic bag to keep your costume in (Harrison 127). If tights have runs they can be sewn, allowing the tights to have a longer life (Cooper 64).
Dance
Dance is an art form that generally refers to movement of the body, usually rhythmic and to music, used as a form of expression, social interaction or presented in a spiritual or performance setting....
body and the concept of the choreographer
Choreography
Choreography is the art of designing sequences of movements in which motion, form, or both are specified. Choreography may also refer to the design itself, which is sometimes expressed by means of dance notation. The word choreography literally means "dance-writing" from the Greek words "χορεία" ...
(Dance Catalog 219). “Costumes are clothes and they are art. They make the invisible ideas visible” (Nadel 241). Dance costume
Costume
The term costume can refer to wardrobe and dress in general, or to the distinctive style of dress of a particular people, class, or period. Costume may also refer to the artistic arrangement of accessories in a picture, statue, poem, or play, appropriate to the time, place, or other circumstances...
has evolved throughout time and involves many different factors to create a costume that will engage the audience.
History
“Clothing worn in dance training generally reflects period, culture, and performance traditions” (Penrod 12). Throughout history, clothing has become more simplified as dance becomes more physically demanding and free. In the past, dancers would dance in gardens and halls in elaborate and expensive costumes. However, in the eighteenth century they began to dance in theaters and to “discard cumbersome garments” (Penrod 13) by training in daily clothing. The ballerina Marie Tagolioni, in the nineteenth century discarded weighty costumes and began wearing what the standard ballet uniformUniform
A uniform is a set of standard clothing worn by members of an organization while participating in that organization's activity. Modern uniforms are worn by armed forces and paramilitary organizations such as police, emergency services, security guards, in some workplaces and schools and by inmates...
is today, a lightweight skirt. This change allowed the image of increased physical prowess (Penrod 13). Marie Tagolioni also inspired the first tutu
Ballet tutu
A tutu is a skirt worn as a costume in a ballet performance, often with attached bodice. It might be single layer, hanging down, or multiple layers starched and jutting out.There are several types of ballet tutu:...
. As dance increased in athleticism more of the body was revealed. The hemline of the tutu grew shorter until the leg was revealed and the pelvic area was framed in a tiny skirt (Art of Production 57).
Marie Camargo made a great impact on dance costume today. In the nineteenth and twentieth centuries she “throws off the corset, bares her limbs, and dances barefoot” (Penrod 13). Duncan began a new look, inspired by the Greeks, of tunics and scarves. This simple costume inspired a new form of dance costume and new ways of moving (Penrod 13). This imitation of the Greek clothing freed the naturally beautiful lines of the human body and movement. This change in costume extended the dancer’s space, and caused the costume to be made to conform to the curves and shapes of the body as much as possible (Art of Production 57).
Requirements
Dance costume must harmonize with the dance. The costume should never hinder the movements of the dancer or attract too much attention. A costume needs to be simple and expressive (Joiner 3). Dancing in ordinary clothing restricts movements. Through dancing in a standard or elaborate costume a dancer is placed in the correct frame of mind and mood to dance. Teachers vary on what they require for dancing outfits. However, the focus should be placed on the movement and not the body shapes (Cooper 49). A costume is required to be formfitting to emphasize the visual art of architectural designArchitectural Design
Architectural Design, also known as AD, is a UK-based architectural journal first launched in 1930.In its early days it was more concerned with the British scene, but gradually became more international. It also moved away from presenting mostly news towards theme-based issues...
s that the dancer’s body creates (Penrod 11). It is an extension of the dancer’s movement and should never be just put on. The body is the choreographer’s medium; the choreographer and costumer work together to create the right theme (Art of Production 56). Also, formfitting costumes allow teachers to see the placement of the dancer’s body, and to make sure that the movement is right. If a dancer makes a faulty placement it can weaken or injure them.
The dancer’s tights and accessories should be worn so that the line of the dancer’s body can be seen clearly. Shorts shouldn’t be worn, because they don’t protect the dancer’s legs when doing floor work, and they don’t keep the body’s heat centered in the legs. Centering body heat to the legs helps keep the dancer’s muscles warm (Art of Production 74). Also, the costume needs to accommodate quick changes (Cooper 65).
Design
The most successful costumes portray or relate to some characteristic or mood of the dance (Joiner 3). When designing dance costumes it is required to analyze the costume’s function in relation to the purpose. The main people involved with the designing of the costume are the choreographer, designer, costume maker (seamstress), and dancer. The costume should be designed according to the movements of the dancer, the budget, and to the comfort of dancer. A costume should not be just worn, the dancer needs to take advantage of its restrictions and use them to enhance the visual designs or ideas. Dance costume makes it possible to extend the potentials of the body design in space and to add new elements of stage interest (Cooper 49).Dance costume needs to be designed with the understanding that the dancer has to move in the costume. A dance costume’s purpose is to support the concept of the dance. It should not dominate or overwhelm movement or the dancers in color, pattern, or mass. It shouldn’t look like the costume is “wearing the dancer” (Cooper 50). The costume should be designed to the theme of the dance. A dance costume needs to flatter
Flatter
A flatter is a coloring specialist within the comic book industry that prepares the inked or sketched comic book page for the colorist with digital art software such as Adobe Photoshop by selecting the objects on the page and filling them in with a solid color called a "flat" so that the "flats"...
the dancers, but can either harmonize or provide contrast to the dance (Cooper 48).
The sets and costumes need to work together and work with the movements. They should allow movements to happen comfortably; so that the dancer does not have to worry about ripping their costume or losing a shoe. If a dancer is being lifted in the dance number then the costume shouldn't have bulky fabric around the dancer’s waist or accessories that the lifter can get their fingers caught on. Dance costume should fit like second skin so that the costume moves with the body of the dancer. The costume needs to be quick and easy to fasten, this can be made possible through Velcro
Velcro
Velcro is the brand name of the first commercially marketed fabric hook-and-loop fastener, invented in 1948 by the Swiss electrical engineer George de Mestral...
or hooks allow (Cooper 65). The following will discuss costumes’ design according to color, texture and pattern, material, lining, women and men, accessories, hair, and make-up.
Color
Color is the area of greatest exploration (Art of Production 58). It has a direct appeal to the audience’s emotions. Colors can either absorb or reflect light waves. Strong and intense colors tire the eyes (Guide to Dance Production 17). The designer should choose the colors of a costume while considering the amount of light it absorbs or reflects (Art of Production 58). Colors similar to violet give off a cold feeling and ones similar to red evoke a warm feeling (Guide to Dance Production 17).The colors need to be relevant to the dance. They can be symbolic. Some examples of color being symbolic are that green creates a feeling of envy and white evokes purity. Color can isolate one dancer and should contrast with the accessories or props used throughout the dance (Ellfeldt 87). Color gives line and form depending on how it is used. Certain types of dances may require certain colors (Joiner 21).
When designing a costume one should choose colors that flatter and compliment the dancer’s body. Darker colors make the dancer appear slimmer, and lighter colors look better on a slim body. For instance, the color black appears to make the body attractive and slim (Penrod 14). Pale
Paleness (color)
Paleness of color is the property of being a light or pastel version of another color of the same hue. The paler color has higher luminance, and lower chrominance ....
colors enlarge the shape of the dancer (Cooper 71). Designers should beware of loud prints or bold color combinations for they can distort the dancer’s body line and make it difficult for an instructor to determine the correct alignment of the dancer (Penrod 12). However, the designer should beware of large expanses of solid color and be cautious with how the colors are combined. Sharp contrasts of colors will chop the dancer’s body visually in two sections, not flattering the dancer. Shading the contrasting colors creates a unified appearance with the top and bottom colors of the costume. To make the light colors stand out and the dark colors recede, the colors should be shaded from light to dark. Dyeing is the most creative way to achieve color and effects. By mixing dyes one can produce a wide range of colors (Cooper 71).
If colored tights are being used they should be subdued tones. When using bright and garish colors for tights, they tend to make the dancer look larger. The top and bottom of the dancer’s costume need to blend harmoniously (Penrod 15).
Texture and Pattern
Texture and patterns emphasize or minimize parts of the dancer’s body. Some ways to create texture and pattern are through shading, patching, and tie-dying. Another way to add texture and pattern is through appliquéApplique
In its broadest sense, an appliqué is a smaller ornament or device applied to another surface. In the context of ceramics, for example, an appliqué is a separate piece of clay added to the primary work, generally for the purpose of decoration...
. Appliqué includes drawing or painting on the fabric, spraying the fabric, or stitching on to the fabric. Fabric pens are used to draw with and stencils are used for spraying on to the fabric. The stencil helps create pattern and texture, shading, and blending. When drawing on stretchy material, the dancer needs to be inside of the costume so that the design will not be distorted. When applying cut outs to the costume, the same material as the costume should be added on. For example, stretch on stretch. These cut out appliqués are either glued or stitched on to the costume (Cooper 75-77) Also, an effective addition to the dancer’s costume is layers of colors, which will be revealed when the dancer moves (Art of Production 59).
Material
When designing a costume one needs to determine the type of material that will flatter and add to the dancer’s movements. The material should illustrate the quality of the movements and the idea of the dance (Joiner 18). The Designer should also consider the amount of light the material absorbs and reflects. Dance is about movement, so the way the fabric moves is very important. The Designer should consider the way a fabric hangs or moves on the dancer when creating the costume (Guide to Dance Production 19). Light weight material moves faster and easier. Through weighting the bottom of the fabric, the costume will move in a stately fashion (Ellfeldt 85). Natural fabrics tend to breathe and move more freely with the dancer. SilkSilk
Silk is a natural protein fiber, some forms of which can be woven into textiles. The best-known type of silk is obtained from the cocoons of the larvae of the mulberry silkworm Bombyx mori reared in captivity...
, a natural fabric made by silk worms, flows around the body like water (Art of Production 60). Skirts, soft trousers, dress
Dress
A dress is a garment consisting of a skirt with an attached bodice or with a matching bodice giving the effect of a one-piece garment.Dress may also refer to:*Clothing in general*Costume, fancy dress...
es and tops
Top (clothing)
A top is clothing that covers the upper human body from the neck to the waistline, especially that of women. Tops are sometimes as short as mid-torso, and as long as mid-thigh. Men's tops are generally paired with pants, and women's with pants or skirts...
are frequently made out of stretchy fabric, because it has few movement restrictions. Some good examples of soft stretchy material are jersey
Jersey
Jersey, officially the Bailiwick of Jersey is a British Crown Dependency off the coast of Normandy, France. As well as the island of Jersey itself, the bailiwick includes two groups of small islands that are no longer permanently inhabited, the Minquiers and Écréhous, and the Pierres de Lecq and...
, silk
Silk
Silk is a natural protein fiber, some forms of which can be woven into textiles. The best-known type of silk is obtained from the cocoons of the larvae of the mulberry silkworm Bombyx mori reared in captivity...
, chiffon
Chiffon (fabric)
Chiffon, , from the French word for a cloth or rag, is a lightweight, balanced plain-woven sheer fabric woven of alternate S- and Z-twist crepe yarns. The twist in the crepe yarns puckers the fabric slightly in both directions after weaving, giving it some stretch and a slightly rough...
, Georgette
Georgette
Georgette may refer to:* Georgette Lemare, fictional character from the anime/manga Strike Witches* Georgette , crinkly crepe-like fabric...
, and Lycra. If the costume is going to be dyed then cotton
Cotton
Cotton is a soft, fluffy staple fiber that grows in a boll, or protective capsule, around the seeds of cotton plants of the genus Gossypium. The fiber is almost pure cellulose. The botanical purpose of cotton fiber is to aid in seed dispersal....
or silk
Silk
Silk is a natural protein fiber, some forms of which can be woven into textiles. The best-known type of silk is obtained from the cocoons of the larvae of the mulberry silkworm Bombyx mori reared in captivity...
should be used. Natural materials take the dye better. If using stiff fabric the designer should consider the possible boxy, square, and immobile look created through this type of material (Cooper 65).
Lining
Lining and shape can place a costume in its specific era or ethnic groupEthnic group
An ethnic group is a group of people whose members identify with each other, through a common heritage, often consisting of a common language, a common culture and/or an ideology that stresses common ancestry or endogamy...
(Guide to Dance Production 15). The lining of a costume gives form, provides qualities of movement and direction, brings out points of interest, and determines the pattern and style of the costume (Joiner 6). Vertical lines lengthen and fine down the dancer’s body, and horizontal lines shorten and widen it (Cooper 51). When designing for a group of dancers it is more effective to use simple lines (Joiner 5).
Women and Men
Designing a costume differs when creating for either a male or female dancer. Female dancer’s standard costume includes tightsTights
Tights are a kind of cloth leg garment, most often sheathing the body from about the waist to the feet with a more or less tight fit, hence the name....
that cover the legs and hips and a leotard that covers the hips and trunk (Penrod 13). Leotard
Leotard
A leotard is a skin-tight one-piece garment that covers the torso but leaves the legs free. It was made famous by the French acrobatic performer Jules Léotard ....
s are an important basic garment in which most dance costumes are based from (Harrison 8). If the tights have a seam it is worn on the back of the legs. Women can wear underwear under their tights; however, if they do wear underwear, it must never be seen. By showing the line of their underwear on the leotard the long look of the leg is destroyed. Most dancers go without underwear, but if they are uncomfortable with this then they wear a thong or bikini underwear. Dancers also require a well fitting bra
Brassiere
A brassiere is an undergarment that covers, supports, and elevates the breasts. Since the late 19th century, it has replaced the corset as the most widely accepted method for supporting breasts....
. Their bra should have no metal clips or hooks that could cause damage to the dancer or a partner. If their bra doesn’t provide enough support then the breast tissue can be torn away from the underlying musculature. Sports or dance bras provide enough support and allows the dancer to move with ease (Penrod 13).
Male dancer’s standard costume includes tights
Tights
Tights are a kind of cloth leg garment, most often sheathing the body from about the waist to the feet with a more or less tight fit, hence the name....
and a tunic worn on the upper body. Men’s tights should be pulled up firmly in the crotch to avoid a baggy appearance. Their tights are a heavier less sheer material then women’s tights, but they also wear their tights’ seams in the back. Men wear a dance belt
Dance belt
A dance belt is a kind of specialized undergarment commonly worn by male ballet dancers to support their genitals. Most are similar in design to thong underwear....
thong under their tights for support and to keep the body aligned. Men also wear a regular belt or suspenders to hold up their tights. Suspenders give a better line and eliminate the bulky belt line. Their tunic, tight-fitting waist- length t-shirt
T-shirt
A T-shirt is a style of shirt. A T-shirt is buttonless and collarless, with short sleeves and frequently a round neck line....
, is either tucked into their tights or worn out. If it is worn out then it should just cover the pelvic area (Penrod 14). This tunic is fitted to allow more freedom for the male dancer’s strong movements. By adding elastics to the side seams, it provides a more fitted look (Harrison 115).
Accessories
Dancers require certain accessories for their costumes. A dancer requires bobby pinBobby pin
A bobby pin is a type of hairpin. In British English, it is known as a hair grip, grip, or kirby grip. It is a small pin or clip, usually of metal or plastic, used in coiffure to hold hair in place. Typical bobby pins are plain and unobtrusively colored, but some are elaborately decorated or jeweled...
s and elastic bands for their hair, a towel to wipe away sweat, and sometimes they require knee pad
Knee pad
Kneepads or knee pads are protective gear worn on knees to protect them against impact injury during , e.g., a fall or a strike, or to provide padding for extended kneeling.-In sports:...
s. When using knee pads a thinner padding is easier to work with. A dancer should be prepared for any clothing emergency that may come (Penrod 16).
Usually a designer will apply accessories to a costume to help it relate more to the theme the dance. A designer may create false sleeves, collars, cuffs, wristbands, and shawls to emphasize the desired mood of the dance (Cooper 76). Sleeves should allow free movement at the armpit. To do this the armhole is cut very high. However, designers should avoid covering part of the neck. Covering parts of the neck disturbs alignment of the body and interrupts flow of movement. Also, they should avoid hiding the face. Any type of headdress should be placed on the back of the head so a shadow is not cast on the dancer’s face (Harrison 73).
Footwear
Various types of dance require a certain type of shoe. A few examples of dance shoes are the Pointe shoe, bare feet, ballet slipperBallet shoes
Ballet shoes, or ballet slippers, are lightweight shoes designed specifically for ballet dancing. They may be made from soft leather, canvas, or satin, and have flexible, thin soles. Traditionally, women wear pink shoes and men wear white or black shoes...
, and tap shoes. Each shoe should be chosen to harmonize with the costume and to the comfort of the dancer. Safety and avoiding injury is most important in all dance shoes. Footwear should not draw attention to the foot; it needs to blend with the outfit. If the dance includes a lot of turning the dancer should have a cover for the balls of their feet, enabling the dancer to turn with more ease (Guide to Dance Production 37).
Hair
A dancer’s head is the main focal point (Cooper 70). The designer should keep the dancer’s hair from becoming the focus (Art of Production 125). The dancer’s hairstyleHairstyle
A hairstyle, hairdo, or haircut refers to the styling of hair, usually on the human head. The fashioning of hair can be considered an aspect of personal grooming, fashion, and cosmetics, although practical, cultural, and popular considerations also influence some hairstyles.-History of...
should be something practical and attractive for the dance. Long hair should be secured in such a way that it won’t fall into the face or eyes of the dancer; if it is not secured it will distract the dancer and audience (Penrod 15). The dancer should be able to move their head. The head is the heaviest part of the body and should be able to move freely. This can be done through designing the dancer’s hair with the dance movements. The designer should also consider the type of dance. An example would be if it was a pair dance. This would require the female dancer’s hair to be securely fastened to the head, not a ponytail
Ponytail
A ponytail is a hairstyle in which most or all of the hair on the head is pulled away from the face, gathered and secured at the back of the head with a hair tie, clip or similar device, and allowed to hang freely from that point. It gets its name from its resemblance to the undocked tail of a...
, so that it won’t distract the other dancer. A looser hairstyle is most effective if the dance includes swinging movements, allowing the dancer’s hair to stay off their face (Cooper 70).
Make-up
The amount of make-up used on a dancer depends on the venue, lighting, and the distance of the audience. To enhance the dancer’s face and make it visible from a distance, the face’s bone structure should be emphasized, there should be a space between the eyebrows, and the eyes should stand out. The further away the audience is the bolder make-up required (Cooper 78).The eyes are the most expressive part of the face. To enhance their features dancers should draw attention to and make their eyes appear larger. However, to maintain unity, the intensity of the eyes must be balanced with color and shape of the lips. The color of the lips needs to be complimentary to the skin color and costume (Art of Production 123). Women appear blusher, and have stronger eyes and lips (Cooper 78). Men apply a browner shade for their lips and have a stronger shadow for their jaw line. Dancers should also dust their faces with color and lightly add blush to their knuckles so it doesn't contrast with their face (Art of Production 125).
Care
Costumes should be made with enough time to allow the dancers considerable time in the costume to make sure that the movements are right. Also, allowing time for rehearsals in the costume helps identify any problems or parts that restrict the dancer’s movements (Poor Dancer’s Almanac 25). A costume can be recycled if properly cared for. To save money, a designer can just add on accessories to the old costume (Ravelhofer 126). Costumes will last for years if they are properly cared for. They should be washed after each time they are worn. The costume should be washed in warm water alone with soap and water to prevent it from fading, rotting, and developing an odorOdor
An odor or odour is caused by one or more volatilized chemical compounds, generally at a very low concentration, that humans or other animals perceive by the sense of olfaction. Odors are also commonly called scents, which can refer to both pleasant and unpleasant odors...
. Hanging the costume up to dry will help keep it in good condition and in its original size. Costumes shouldn’t be stored in a locker when they are wet with perspiration (Penrod 15). They should be hung and arranged so they don’t wrinkle (Ellfeldt 174). Wrinkles can be prevented through using a hanger and plastic bag to keep your costume in (Harrison 127). If tights have runs they can be sewn, allowing the tights to have a longer life (Cooper 64).