Colorful, Complex Creations Adorn Irish Dancers

Dance Magazine, Oct, 2001 by Darrah Carr

IRISH STEP DANCE HAS AMAZED audiences through the complex footwork that flies from the stage during shows such as Riverdance and Lord of the Dance. It seems only fitting, then, that the competition costumes worn by champion dancers who fill the ranks of those shows are equally complex in their design. Performance costumes tend to be simpler in order to emphasize the unity and precision of a line of dancers and to give the stage shows a sleek, modern look. Competition costumes, however, are tailor-made for the individual female dancer, with heavy embroidery and elaborate applique intended to make her stand out. Obtaining such a dress, known as a solo costume, is a rite of passage within the world of competitive Irish dance because it signifies that a dancer has reached a certain level. At that point, she will work with her teacher and a costume designer to create a specific, individual look. [] Unlike artists in other forms of dance in which a costume may denote a character or mood, the Irish dancer need not portray anything other than her own personal tastes. As designer Mary Staffrey, who is based in Youngstown, Ohio, explains, "I encourage the dancers to pick out as much as they can. The dress needs to be a reflection of their personality, their being." [] There are several guidelines that direct this freedom, however. Generally speaking, "Competition costumes are based on the same dress pattern," explains Rhea McGarry, wardrobe mistress for the Chicago-based Trinity Irish Dance Company. "A circular skirt with a front panel and a regular bodice with a jewel neck. Always long sleeves, though they vary from straight to bell to puffy, and a shawl on the back--attached either on one or both shoulders."

Costume guidelines are established by the Dublin-based An Coimisiun le Rinci Gaelacha, or the Irish Step Dancing Commission, which organizes competitions and serves as an arbiter of standard and tradition. Paddy Richardson, a London, Ontario-based designer, notes several more specific roles: "No V-neck, nothing lower than the collarbone, nothing shorter than four inches above the knee."

Such requirements may prevent competitions from turning into beauty pageants and ensure that costumes are age-appropriate for the many young girls who take part, but they also serve to remind the community of Ireland's history. The dress and shawl recall traditional Irish peasant dress, while the embroidered designs "take a look back at the history of Celtic art," explains Richardson. "The Celts decorated everything--jewelry, stone carvings, clothing, and illuminated manuscripts, such as the Book of Kells," a famous medieval Irish text of the Gospels.

During the Gaelic Revival at the turn of the last century, Celtic artwork, with its interlacing patterns, was esteemed as a symbol of Ireland's glorious, independent past. Driven by the desire to create an image of Irish nationhood with the hope to thereby establish Irish home rule, revivalists encouraged Irishmen to renew their cultural ties by enjoying traditional Irish dance, music, and language. Competitions were established in these areas to promote public interest and, eventually, Irish dance costumes--especially those that referenced Celtic designs, through ribbons, minimal embroidery, or a brooch that fastened the shawl--became a vehicle for nationalism. White and green were the preferred costume colors, while red was avoided because of its association with British soldiers. At one point, nationalist feelings were so intense that the Commission declared dancers were not allowed to compete unless all items worn were of Irish manufacture.

With the establishment of the Irish Free State in 1921, the fervor of revivalists waned somewhat. Nevertheless, for a number of years, dancers drew many of their embroidered designs from the Book of Kells. Starting about thirty years ago, however, and escalating in the last fifteen, there has been great development in costume design, instigated by a constant flurry of new trends. One noticeable change is a movement away from embroidery based in Celtic zoomorphics and interlacing knotwork toward more geometric, abstract designs. Also, the overall amount of embroidery used on the costumes has dramatically increased. According to Molly Bennett, a Denver-based dressmaker and teacher, "The number of embroidered designs tripled from 1986 to 1996. Then, in the last five years, it has doubled again." Given the current amount of embroidery, "It is often hard to tell what the actual color of the dress is--the material hardly peeks through," claims Jo-Ann MacNeil, a designer from Dartmouth, Nova Scotia.

CHANGES IN THE AMOUNT and style of embroidered designs are trends that seem to be more a function of competition than nationalism. The nature of competition itself produces an inevitable escalation of technique and artistry, which is reflected in the ever-increasing complexity of both Irish dance steps and costumes. Most of the trends are said to originate from dressmakers in Ireland, where some of the more revered design houses are based. The demand for a costume from Ireland is so high that Threads of Green, a Kilkenny-based operation, is booked until August of 2005!