We create original costumes with an artistic approach to color; we like all types of color schemes: analogous, complimentary, monochromatic, and it doesn’t end there. We can even do split complementary, triadic, and tetradic schemes to introduce a third color. Outside of these, consider monochromatic with a single “pop” color; an analogous adjustment, which plays with a single color saturation in an otherwise monochromatic scheme.
Color on a costume is also a mood. Without going into too much explanation, here are some basic examples:
Red (warm) – The color of passion – exciting – dramatic – anger
Orange (warm) – Active – energetic – happiness – creative – sunshine
Yellow (warm) – Active – happiness
Green (cool) – Nature – soothing – growth – freshness
Blue (cool) – Openness – intelligence – faith – calm
Purple (cool) – Royalty – extravagance – wealth – flowers – gemstones – sunsets
White – Perfection – light – purity – clean
Black – Power – strength – elegance – death – evil
We can discuss other colors’ associations and temperatures when we start working on your costume.
We also like to blend colors for a subtle variegated (AKA ombré) effect.
When we start to look at sketching out a design, we separate our diagram into equal areas , and we do the same for each additional view that we are creating. It’s no secret that we use the rule of thirds!
The first step of our dance costume design process is to listen to the customer, and know “Will we be creating a symmetrical or asymmetrical design?” OK, now if it is symmetrical, will it be simple vertical or either a bilateral or radial symmetry?
Final designs on the piece will be strategically placed to accomplish unity, with focus on proximity. This creates level of emphasis, isolation, continuance, and contrast. Proportion is important so that the dancer is not lost in the costume.
Building a ContenderWear™ dance costume base is more encompassing in leading up to the end product as elements are sewn into seams, i.e. utilization of high-end clasps, closures, and other sewn-in rhinestone embellishments. Skirts and other items may be sewn into seams. Many of our rhinestones are done before the item is sewn together to have a more uniform pattern of stones. It’s all in the planning.
Some of our recent pieces bring pleather together with chiffon or lace for a very dramatic, yet still feminine, feel for jazz or contemporary genre. It all depends upon the mood of the piece. Clean lines with very pronounced studs, stoning, or chains are telltale signs.
So, if you are looking to spot our products, they are beyond just attaching fabrics and elements to an existing leo or two-piece. They are built into the product.
Another way to spot our costumes is the very deliberate way that rhinestones and other embellishments are aesthetically placed and spaced. This goes back to basic art.
As previously stated, we create costumes with clean lines, and in keeping with that, we utilize very distinct rhinestone patterns. On rare occasions, we use scattered rhinestones. Although, even our scattered stoning is applied in a pattern; it is more difficult to distinguish the pattern, but a pattern nonetheless. We do create digitized patterns for our stones and studding.
If covering the fabric with rhinestones randomly and/or completely were the objective, this would not say much for us as designers. Although, we have completely covered large areas of costumes or the complete top, but of course, in a pattern.
Rhinestones’ sparkle is used to engage others in the viewing of the piece being performed; it captures their attention and flirts with the viewer, and while some of our costumes have had 14+ gross of rhinestones, a costume should not upstage the dancer. Every consideration is made of the dancer, their size, their age, style of dance, mood of the piece, and what the dancer feels comfortable with in their dance costume design and embellishments.
Rhinestones are carefully placed on the dance costumes. They are meant to capture and mesmerize the viewers. Poorly placed rhinestones can detract from the dancer and performance. Don’t let the audience and judges focus on irregularly placed or an uneven line of rhinestones.