Feathers, Flight and Fabric: Behind the Costumes of Theater Tol

What does it take to design a costume that can fly?

At Theater Tol, our performers regularly float above the audience on aerial structures and let feathers rain down from the sky. That makes costume design a blend of art and engineering. Every garment has to move with the wind, withstand the elements and shine under stage lights. And it has to tell a story.

The art and function of flying
From the start, costumes have been an essential part of who we are. They are more than decoration. They are emotional anchors, dream images and wings, sometimes literally. They have to captivate on the ground and come alive in the air. That is no easy task.

Every costume that goes into the air gets a fire-retardant coating. That step is crucial, because we use fireworks on top of our truss structures. Safety and spectacle are equal partners in every design.

In Garden of Angels and Pedaleando Hacia El Cielo, feathers drift down and balloons tied to the heads of flying performers fight the wind. There are also surprises we won't give away here. Let's just say feathers are not the only thing that falls from the sky.

A tribute to our makers
The creative mind behind many of our most iconic costumes is Lisette Henst, whose legacy lives on in every piece. Today the torch is carried by Ben De Smedt, our current costume designer, who brings his own creative flair and technical ingenuity. Together with Talitha De Decker, Ben plays a key role in the visual world of Above & Beyond and Cage Fantastique.

We talked to Ben about what it really takes to dress a dream in motion.

Q&A with Ben De Smedt, costume designer at Theater Tol

1. How do you start designing a new show? Does the story, the character or the movement come first?
"It really depends on the project. Sometimes you have a good idea for a story, and you develop it. Just as often I already have a concept for characters in my head, and the story grows from there. But I can only start designing once the story and the characters are really clear. Movement, and freedom of movement, comes later. It is crucial, though. It has to fit the story, the character and of course the performer. They need to be able to move freely in what they wear."

2. What is one of the biggest challenges of designing for aerial shows?
"Aerial shows don't only happen in the air. There is often a part on the ground, among the audience, where people see the performers up close. So the costumes also have to impress up close, with fine details. But when the same performer then rises dozens of metres into the air, you no longer see those details. Then it is all about movement and silhouette. It is a constant search for the right balance between detail up close and impact from a distance."

3. Can you share a detail from a recent costume that the audience probably doesn't notice, but that you find beautiful?
"In recent years we worked a lot with red, white and black. A beautiful, powerful palette. For Cage Fantastique we wanted something different, without losing the 'Tol' feel. We chose gold. Every costume contains gold, and that creates visual unity.

For example, we have an animal-like figure, entirely in gold, finished with black feathers. The dancers in the cage wear costumes inspired by straitjackets, white with gold buckles. Even the musicians, mostly in black, wear almost twenty metres of straps around their arms and torso, full of gold-coloured rivets. Those details may not stand out right away, but they make me really happy."

4. How do you combine sustainability with the dreamy, ethereal look Tol is known for?
"It is almost inevitable that we work with light, delicate fabrics to capture that airy feel. But if we can get the same effect with more sustainable materials, we always choose those. Theatre is movement, so wear and tear is part of it. All costumes are checked regularly, repaired where needed and stored carefully so they last as long as possible.

Fun fact: every costume that goes into the air gets a fire-retardant treatment to protect the performers during fireworks effects."

5. What would you still love to make one day? Your dream costume, so to speak?
"That is without doubt the hardest question! I love everything, from small, minimal costumes to huge, bombastic designs. At Theater Tol I would love to create a gigantic, impressive, mysterious figure one day. Ghostly and floating, something that feels completely otherworldly. Or something tiny and playful, for a cheerful show for children. There is always room to dream bigger."

At Theater Tol, a costume is never just a costume.
It is a character. A partner in the air. A carrier of feathers, fireproof thread and a little bit of sky.

Curious? Let's talk!
Are you a festival, a city or a creative who wants to bring something special to the sky? Get in touch:
📧 talitha@theatertol.com
🌐 www.theatertol.com
📍 Instagram: @theatertol