February 12, 2026
At a ballroom dance competition, a judge evaluates at least six couples simultaneously.
They have a few seconds per couple — and in that time, they assess technique, musicality, and partner interaction. There is one more parameter, which appears in competition protocols under different names — “presentation,” “appearance,” “overall impression” — but is always present. Judges assess costume, hair, makeup, and the overall look of the performer at virtually every competition.
A fold across the back conceals the line of the body. Excessive decoration pulls attention away from technique. A look that doesn’t match the character of the dance undermines the overall impression — the costume must tell the same story as the dance.
Marta Karimova creates competition costumes for dancers in New Jersey. Her clients include participants in Blackpool Dance Festival, Hong Kong Dance Camp, and Embassy Ballroom Championship. Over twenty years of practice, she has learned to read a costume through a judge’s eyes and to sew in a way that earns the dancer extra points.
Lines
In November 2024, the scientific journal Sports published the first study examining the direct relationship between a dancer’s psychological state and their competition results. The finding: confidence before a performance is one of the key factors in winning. And a poorly fitting costume undermines it.
“Large skirts or wide trousers conceal the lines of the body and make it harder for judges to assess technique. A costume that doesn’t fit the figure draws the eye away. Folds across the back are a separate and very common problem. They arise for two reasons: the cut is too long from shoulder to waist, or the costume is too tight at the hips and the fabric bunches where it has no room. Color matters too. Light shades under bright lighting add visual bulk. Judges stand at a distance from the floor — and the costume must read from that distance. What looks too bright up close often looks perfect on the competition floor under stage lighting. On the other hand, muted, flat shades that seem elegant in the fitting room get lost under the spotlights. Choosing dull colors is one of the most common mistakes beginners make,” Karimova says.
Non-stretch fabrics in a corset are a frequent problem. Under a sharp movement, they don’t move with the body — and either split at the seam or shift out of place. Securing decoration is critical: poorly attached stones fly off during a performance.
Details that add points
In competitive dance, there is an unspoken principle that experienced designers know: a judge’s gaze follows the sparkle.
“Stone placement is a strategy. Around the collarbone and ribs, they highlight the movement of the torso. On the hips, they accentuate Latin plasticity. In vertical lines, they visually elongate the silhouette. Stones along the sleeves draw attention to the work of the arms; on the skirt, to the movement of the legs. Scattering them evenly across the entire costume means emphasizing nothing,” Marta shares.
Cut also works in favor of the result. A pear-shaped figure works best with emphasis on the upper body and a flowing skirt. An apple shape is complemented by a structured bodice without emphasis on the waist. An athletic figure pairs well with soft ruffles, draping, or feathers — elements that create volume and soften sharp lines.
“Professional dancers come to me because they know about my individual approach. Their request is a costume that will help them win. I value their trust and work on every costume until it fits perfectly,” Karimova says.
There are moments in the work when the designer’s vision and the client’s wishes diverge. The client wants a certain style — Marta sees that it will interfere with technique. A choreographer insists on a detail — Marta understands it will create a fold in movement. In these situations, she advises rather than insists.
“If I see that something will sit better technically, I recommend small changes. But I try to keep the final result as close as possible to what the client wanted. The client should get what they asked for — and something that will look good on the floor,” Marta explains.
The dancer knows how they want to look; the designer knows how the costume will behave in motion. A successful result requires combining both perspectives.
Champions begin at the fitting
Every year, the studio in New Jersey where Marta works produces over 450 competition costumes. Among those who have worn them on the floor are world champions.
Marta conducts final fittings, evaluates fabrics, and checks compliance with regulations. On one occasion, before production even began, she determined that a purchased batch of Lycra would not hold up under competition demands — and the fabric was replaced. A quiet decision the dancers will never know about — but the costume holds on the floor.
“Twenty years — from the first bridal gowns in Ukraine to working with world champions. I want to keep moving forward — to work on more complex projects, to develop my own methodology. The dance world is large, and I see many opportunities ahead,” she says.
