Costuming for dancers can be a tricky task. Dance productions combine elements from stage, studio, and museum, and require costumes that are reflective of the historical context of the piece and that suggest elements essential to characterization, but that are also easy to move in, allowing for the freedom necessary to execute intricate dance steps, group choreography, and flowing aerial moves.

A tall order it would seem. There are, however, some basic principles that govern costuming for dancers that, when kept in mind, make the task infinitely easier.

First, fabric selection is much different than for regular costuming. Dancers need to wear fabrics that move, flow, and breathe. They cannot be weighed down with heavy or bulky fabrics. The hand of the fabric must be soft enough that the material will drape well, but flow with the movements of the performer. Quality of the fabric is not a foremost concern. Any fabric that is the right color and has the correct flow and movement properties will be fine.

Second, fit takes precedence over detail. A well-fitted costume for the dancer is of paramount importance. The costume must hug the body, not constrict or bind in any place, and must provide simple, clean lines against the body, especially for male dancers. Period costumes in particular may call for intricate and complicated detail when constructed for the stage or for other events. For dance, however, those details are not so important. As long as the costume conveys the “feel” of the period, minute details are unnecessary, and become invisible to the audience as the dancers move about the stage. Creating the illusion of detail can be accomplished through the use of decorative patterns and elements that are drawn onto the fabric rather than constructed from actual materials.

In the same category as fit is the problem of hemlines. Ragged or uneven hemlines are distracting to the audience and are quite noticeable, especially when the dance stage or platform is raised above eye level. To ensure even hemlines, allow fabric to hang in space from a hanger so that any stretch in the fabric will relax. After constructing the skirt piece, allow it to hang again and even up the hemline before attaching the skirt to the bodice or taking up the hem.

Another consideration in the construction of dance costumes is the strength of the stitching. The seams of a dance costume must be stitched using tight stitches and strong thread. Double stitch seams without creating unnecessary bulk where extra stress will be placed on the stitching due to movement that stretches the fabric excessively.

Finally, dance costumes are rarely complete without a headdress. Head dressings can go a long way in completing the period feel of a costume or in implying the intended characterization. Pay particular attention to headdresses, using lightweight materials and constructing mechanisms by which to fasten the headdress to the dancer’s head that are strong and secure.

Keeping these few tips in mind will help make your adventure into creating beautiful costumes for dancers a successful and enjoyable undertaking.