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By SANDY COHEN
LOS ANGELES â For Randall Christensen and his wardrobe team at ABCâs âDancing With the Stars,â the next 10 weeks are going to be a crystal-encrusted, chiffon-wrapped blur.
âDancingâ is known as much for its dazzling costumes as its disco-ball trophy. Every week, celebrity contestants and their professional partners step out in costumes ranging from glamorous to outrageous; from swingy dresses reminiscent of Ginger Rogers and old Hollywood elegance to skimpy spangled hot pants.
Each outfit is one-of-a-kind, handmade and custom-designed with the dancerâs personality, figure and ability in mind. Theyâre couture pieces, cut and assembled by veteran costumers and seamstresses from fabrics selected specifically for each performance. Every feather wisp is glued on individually, each rhinestone and sequin carefully sewn on by hand. And the entire episodeâs attire is conceived of, styled and stitched into reality in about four days.
âPeople really donât realize that thereâs no magic closet that we pull this from. It is a bolt of fabric every Wednesday,â says Christensen, a dancer whoâs been making costumes professionally since 1978. âWe never use a ready-made costume ... every single solitary thing is made from scratch.â
Twenty-two custom-made costumes and 11 new stars will make their debut on Mondayâs season premiere (8 p.m. EDT). The cast includes actors Kirstie Alley, Ralph Macchio and Chelsea Kane; athletes Sugar Ray Leonard, Hines Ward and Chris Jericho; singer Romeo; radio host Mike Catherwood; talk-show host Wendy Williams; reality star Kendra Wilkinson; and model Petra Nemcova. Each contestant is paired with a professional dancer who choreographs and teaches the weekâs routines and dreams up the costume concepts.
Christensen translates their visions into sketches on Tuesday and buys the fabrics on Wednesday. His team of two patternmakers and 10 seamstresses transform the raw materials into costumes by Friday.
Their workroom contains the highest concentration of sequins anywhere at CBS Television City, where âDancingâ is filmed. Along one wall are bolts of fabric: shimmery purple, deep emerald green and bright royal blue â materials ordered from a dance company in Europe where the fringe, stretch fabric, mesh and chiffon all match.
âThatâs the toughest challenge,â Christensen says.
Fourteen sewing machines and mannequins from size 0 to 16 are in the room, as are costumes in various stages of creation. (A tiny pewter beaded number sits on a plastic-covered dress form outfitted with âbooty pads.â)
And the gowns arenât just gorgeous on the outside; bra cups and body-shaping panels are hidden inside to provide a solid foundation and prevent wardrobe malfunctions.
Christensen also has to consider the showâs requisite spray tans when it comes to each costumeâs color and fit: âTheyâre going to be mahogany by Monday, they just keep spraying and spraying,â he says. âWe canât use double-stick tape. It does not stick with the perspiration, the gyration and the tanning creams. So if itâs gaping somewhere, we have to take that dress off, rip the stones off, put a dart in, re-sew it and re-stone it.â
The crew has just a few hours to correct any wardrobe issues between Monday afternoonâs dress rehearsal and that nightâs live show.
Racks of gowns line another wall, including those ready for Mondayâs premiere. Seamstresses sit at large tables at one end of the room, meticulously adding fringe, feathers and crystals to some of Mondayâs outfits. Each is assigned a celebrity. If her dancer is eliminated, she assists another dressmaker. Since season two, these 10 women have worked together, creating couture gowns at a breakneck pace.
âWe enjoy what we do, thatâs the most important thing,â says seamstress Karina Avakyan, adding that they like the creativity, glamor and reward of seeing their work during prime time.
âYou see your job all the time on TV,â she says, âand you feel proud of yourself that you did such a beautiful job. Itâs very exciting.â
More racks of costumes and boxes of bangles and other bling fill Christensenâs office down the hall, where framed photos of this seasonâs cast line the wall and images of some of his favorite outfits cover a bulletin board by his desk. While he considers all the showâs costumes his âbabies,â he has a few favorites from his five years on the job. One is pro dancer Edyta Sliwinska draped in sheer white chiffon.
âShe wears a quarter of a yard of fabric fantastically,â he says. âShe always had been my muse.â
Another favorite: Jennifer Greyâs gold-and-silver feathery beaded dress from last season.
âWe actually attached ostrich wisps to those individual strands of beads, one by one,â Christensen says. âAbsurd.â
Other highlights: Mel B.âs dominatrix paso doble outfit and Brandyâs dreamy peach rumba dress.
Christensenâs Phoenix-based costume design company sells the âDancingâ dresses from past seasons. Prices range from about $1,500 to more than $3,000 per costume. Past champs Kristi Yamaguchi and Shawn Johnson each bought all their costumes, Christensen says. Other stars have picked up a few of their favorite pieces. Investors and professional dancers have also purchased the one-of-a-kind costumes.
The Emmy-winning costumer is also creating a collection of ready-to-wear gowns for La Femme inspired by his âDancingâ designs. The collection is available at boutiques and department stores.
Even though the showâs pace is unrelenting, and Christensen decided after his first season that heâd never do it again, he keeps coming back for more. Itâs the variety, he says, and the magic that comes from creating such glamorous gowns.
âThis is the biggest fantasy show there could be,â he says. âI say we do everything from Cinderella to drag queens â from that campiness all the way to a dream dress where all thatâs missing is a tiara.â