When Masako was a little girl growing up in Japan, she would sneak onto her father's sewing machine and experiment. During her 4th grade year, her father caught her, looked at what she had done and said that it was good.
Masako's father had a few businesses, but he was also a tailor by trade. He taught her much of the basics. She later went to school to learn about the design aspect.
In order to capture the essence of the choreographer's vision, Masako works closely with Ben Stevenson, O.B.E., the artistic director at Texas Ballet Theater. She collaborates with the other "creative people," as she calls them, for partnered performances with other local arts organizations such as the Fort Worth Symphony Orchestra.
After being inspired by the choreographer's expectations, Masako will pull samples of different materials to present. She says, "I used to do drawings, but a drawing can't show how the material will move or its texture."
On the day we visited, Masako was working on multiple projects including getting prepared for the March 1 – 3 performances of Lambarena and Voluntaries at Bass Performance Hall. They are also showing at Wyly Theatre in Dallas on May 3 - 5.
Val Caniparoli's Lambarena will feature African inspired costumes while dancers portray a celebration of two cultures. Performance music will fuse the melodies of Bach with African rhythms.
Masako was also frantically preparing next season's costumes for a photo shoot to highlight 2014's performances. With the help of only one assistant, Judy Black, it is remarkable that Masako is able to do it all.
There are many other factors she must take into account when choosing materials and patterns for the costumes. For one, the colors must translate well on stage for the audience. She doesn't trust the lighting in her workspace. "The lighting in here makes everything yellow. If I want to see the true color, I have to go outside."
Masako relies on many years of experience to create modifications from patterns. "I can't just go buy a pattern at the store. It has to be changed so that the dancers can move freely. Many people think that moving the seam 1 millimeter doesn't matter, but it makes a big difference," she says.
When choosing material, she must make selections that minimize the visibility of the dancers" sweat. "When they come off stage, they are dripping in sweat. We spray vodka on the tutus to kill the germs and smell."
Above all else, Masako's first priority is for the dancers" costumes to fit well. "Tailoring is very important. If the costume fits well, the dancer can focus only on performing. They don't have to worry if something is going to stay on or if it looks right," she says.
To see Masako's beautiful creations, ballet lovers should attend the upcoming Texas Ballet Theater performances. Visit texasballettheater.org for upcoming shows.
