“Scarred Bouquets,” a lush work for 12 dancers dressed in Naomi Luppescu’s rich wine and navy garments. The men’s vests, worn without shirts, gave the dancers a sensuous, Spanish look, while the women’s full skirts were a contrast in femininity. The women also wore short booties, rather than ballet slippers or toe shoes. The sumptuous costumes worked well with Brittany Diliberto’s redolent light patterns

The slow montage of ambiguous images continues to flirt with the horizon line until three dancers finally reveal themselves and climb atop the pedestal. They wear nearly identical pastel, leotard-like costumes (thanks to Naomi Luppescu) that create a sense of sameness, of twinship, of unity….This newly formed togetherness works to produce one beautifully complex image after another, like underwater sea coral gently flowing with the tide.

The other dancers who appear are clad, like Lee, in stylish, long-sleeved, semi-transparent outfits by Naomi Luppescu that bare their legs and their backs. Lee, Hsin-Yi Hsiang, and Jye-Hwei Lin wear white versions; Candice Schnurr, Isabel Umali, Motrya Kozbur, and Delphina Parenti are dressed in black.

Featuring seven comely dancers in Naomi Luppescu’s partially transparent leotards with bare legs and braided hairstyles, the piece explores the struggle of female identity by focusing on women making the leap from adolescence into womanhood.

The most potent sense of individuality came from Ms. Skarpetowska, whose “Cuore Sott’olio” set adventurous, high-velocity partnering against the slow-motion progression of a lone dancer, the stately Tyler Brown. Ms. Brown, in one of Naomi Luppescu’s handsome dresses, enters walking backward from one wing, toward a cluster of six dancers.

The women wore sheer, silky leotards (beautifully designed by Naomi Luppescu), cut like glamorous evening gowns. Some were purply-brown and backless, others white and high-necked, slit down the front. Their all-business legs were bare. Think of screen sirens on top, gymnasts below. It was a look at once fleshy and ice-cold.

Naomi Luppescu created in the costumes an updated jackal herd in sexy, black, liquid leather unitards that fit so well they seemed painted on….At the end, one woman stripped down out of her black and glowed like a statue in a gold unitard and silver thread streamers fell from the stage as a cascading waterfall.

From the thrashing, witty movements to the costuming choices (designed by Naomi Luppescu) this piece had a strong punk rock feeling to it. With the hard-edge movements, it felt as if the dancers were rebelling against a larger idea.

This article was written for the Danish magazine “Forkant”. In this portrait Mette Jakobsen tells the story of how Naomi Luppescu transitioned from dancer to costume designer and is written in hopes of inspiring other entrepreneurs take the leap.

Mette Reinhardt Jakobsen, JournalistForkant, September 2013

…the four performers…..stand in various stiff-armed positions, lined up across the back of a gleaming all-white space. The floor, the walls, the clothing (by Naomi Luppescu), the lighting (by Joe Levasseur): white.

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