Behind the seams: Season 2023 costume design
What was the inspiration behind the dreamy, plum-toned costumes in our Season 2023 brand shoot? We spoke with Queensland Ballet Costumier Beth Cordwell and Workroom and Art Finishing Coordinator Zoe Griffiths to find out.
When designers Beth and Zoe were given a brief to design and construct costumes for the Season 2023 brand shoot, there was one imperative: the colour plum. From here they sought inspiration from the diversity of the dancers, selecting flora native to their cultural backgrounds and creating dresses that were spontaneous, flowing, unpredictable, and beautiful.
What was the initial design brief?
BETH: We were given a colour – plum, plus some reference images of a few things, such as a silhouette or the way a fabric fell. It was quite open-ended, which is why we started creating the floral theme. Being inspired by the dancers was quite nice, but you have to give yourself your own rules to stay within, which helps to keep you focused.
Tell us about the stories behind the costume pieces.
ZOE: Because we’re a very multicultural company, we wanted to hone into the backstories and origins of the dancers. We were thinking about beautiful things that could represent where they are from. Neneka (Yoshida) is from Japan, so we chose the Cherry Blossom to inspire her dress. Lucy (Green) is Australian so we used the Protea. Her dress incorporated crinoline, which is often used in millinery and had a stiff base so that when we hugged it in around her waist it created this amazing shape, then with tulle over the top there was this great texture. Yanela (Piñera)’s dress was inspired by the Cuban Orchid, and it spilled out into different levels. We found out about Mia (Heathcote) later, so we channeled the energies of those three pieces into hers. She was a real combination: beautiful organza flowers, the fullness of the skirt which channeled Yanela, and pleated tulle on her bodice from Lucy’s.
What was your creative process?
ZOE: First and foremost, they needed to have that practical element because they’re still partnering, they’re still dancing. Often, I like to work backwards – pick up a fabric and go from there, so we started doing a little of that. We knew we wanted to play with the pleated tulle we found, but it was in cream so I had to dye it. Then Beth brought in her beading techniques as we wanted to get those textures in there, still allowing the dancers to feel great in it.
BETH: For Zoe and I working in costume and backstage at the theatre, we see the dancers onstage and also offstage, so we know them quite well. We felt like we were best to be inspired by the dancers themselves because they are such incredible artists and athletes, so we looked at each individual dancer as people as well as what they bring to the stage. And a flower grows and blooms, which was quite a nice point to begin with.
Was there anything special or unique about the fabrics and materials you used?
ZOE: We sourced most of it locally, supporting a few local bridal fabric stores which was fantastic. The dyes and paints we used were from within Australia, and the beads were also from a local store, which was great as well. Then it was a matter of manipulating those fabrics in a way that we could keep the story going.
How did you carry the theme over to the men’s costumes?
BETH: We built beaded straps for the men’s black tights because we realised we wanted that plum to be incorporated into everyone’s outfits. When designing for dance, the movement needs to come first, so I think the tights provided a nice clean look, but with the exciting addition of beaded straps.
Best thing about the project?
BETH: That it meant something to the dancers. When we shared our stories with them their eyes lit up and they loved how the outfits had been made for them and about them, really. I remember Lucy saying she was so inspired during the day to try new things in front of the camera because she was wearing this outfit that she loved. And I think that’s the best thing to hear, as a designer, that the person you are dressing loves it. They’re wearing it and they feel strong and confident in it, which is great.
ZOE: The dancers’ feedback was the best: they said they all felt really empowered and strong and beautiful in what they were wearing. And I think that’s the best possible feedback – as long as they liked it and felt good in it, that’s what mattered.
Does Queensland Ballet offer this creative opportunity for every season launch?
ZOE: This was actually the first time! It was really exciting when they approached us, and I’m so glad we got to be a part of it. I think it’s important they use local designers or incoming students or talent. It’s a nice platform to champion local designers.
