Tro
ja

Two worlds. One production. In the Iliad, Homer describes Troy as a well-founded, strong-built and well-walled city. Yet the Trojans were defeated after the Greeks left behind a large wooden horse and pretended to sail for home — unbeknown to the Trojans, it was filled with Greek warriors who sacked the city once brought inside its walls.

How to create costumes for a legendary story without looking archaic or overly referential? The answer was to use mostly technical, performative, athletic fabrics — neoprene, thick mesh, hardware belt clasps and new-age pleating techniques — designed in abstract, symbolic Greek styles and silhouettes. Dark red thick fringes became human muscles in skin-tone unitards that read as near-nakedness, ritual scarring: the body exposed and weaponised. Dark navy leotards depicted the sky and the sea. Dark and light blue strands of fringe formations symbolised the air and the waves during the dancers' movement. Dove grey long half-pleat dresses were inspired directly from the Doric marble columns of the Parthenon.

Kassandra was an array of five clones of the same person in all her emotional states — twisting and turning in a contemporary neoprene dress with round side cuts, sharp front and side pleat volumes, revealing a dream-like state of desperation in performance.

One female figure rises from a golden disc, bare-chested, coiled in silver — the myth made singular. The costume design holds the myth intact, yet lets the bodies carry all the real weight.