Liminal is a new platform by The Human Expression (T.H.E) that focuses on the voices of mid-career dance artists. In this first edition, three choreographers explore the concepts of motherhood, freedom and desire, and I am excited to have helped realize their vision in the form of costumes.

Since taking on costume design work, I’ve been itching to push boundaries and this project has certainly expanded my creative vocabulary and technical skillset. The difference between designing for contemporary dance as compared to other performances is the expression of concept over a linear narrative, which allows for flexible design interpretations. Additionally, the physicality of contemporary dance means enhanced performance fabrics and construction techniques. These factors, combined with the managing of 3 separate choreographic works make for a rich and complex project.

Through this experience, I have also learnt a lot about the impact of collaboration: how listening and adapting to different ideas can result in inspiring outcomes. I learnt about the way costumes influence choreography and vice versa, the interplay of lighting, sound, costumes, and the artistry of the choreographers and dancers who weave these various elements to bring the stage to life.

The Rooms Inside, by Fiona Thng

This work is about the emotional spectrum of motherhood externalized through the body. Taking inspiration from stretch marks, the rawness of skin, muscles, I decided to directly drape and hand-manipulate the fabric on a dress form. While laborious and not replicable, this method allowed me to sculpt the pieces in an organic way, as if they were a kind of “second skin”. I chose a strong, stretchy, supple netting combined with a transparent air mesh, and created cut-outs to emphasize the contrast between the costume and the body. After further discussion with Fiona, I designed a lace headgear to hide the dancers’ identities. The choreography is incredibly beautiful — filled with tension, awkwardness, and a deep longing of two foreign bodies attempting to form a connection.

Draping and manipulating the fabric on form

Official show photography by Ms Bern, courtesy of The Human Expression

Laya, by Klievert Mendoza

Laya, which means freedom in Tagalog, examines the tension between desire and consequence. A symbolically familiar narrative, this work features three characters: one who embodies passion, one who transforms from a state of innocence to a state of freedom, and a quiet, towering figure who brings lightness and hope at the end of the performance.

The construction process for Laya was much more volatile and technically challenging as the costumes function like props that the dancers physically interact with. Multiple details such as how the dancers would place object and remove them from the outfits had to be gradually worked out. Specifically, the on-stage transformation of the second character, where she puts on the “orb” jumpsuit in the middle of the stage. This jumpsuit features two large balls precariously positioned at the neck and waist, in addition to multiple smaller balls of various sizes on different parts of the jumpsuit.

While this was by far the most demanding design approach, it was also the most collaborative piece where costume and choreography had to really be in sync. What impressed me was the way the dancers would creatively adapt to their outfits and the synergy of costume, lighting, and music.

Official show photography by Ms Bern, courtesy of The Human Expression

Ma, by Anthea Seah

Ma, short for matrescence, explores the experience of becoming a mother and adopting different roles. Anthea’s general costume design direction was that of surreal tailoring: turning pants into sleeves, mixing details of the suit and the cheongsam — a mishmash of classic pieces that represent strength, structure, femininity. In terms of color, we chose subtle shades of ocean blue to evoke calm amidst a jumbled silhouette. Throughout the performance, with sharp, abrupt changes in motion, lighting shifts, the projection of shadows, it seems as though the dancer is constantly questioning her sense of self before finding peace as the music gradually slows down towards the end and she hears the sounds of her child.