ll eyes are on Madison Hubbell and Zach Donohue as they skate toward the center of the ice at the 2011 Hil- ton HHonors Skate America. Many are curious to see how the new team will perform at their first major competition together. One thing is certain — Hubbell and Donohue make a striking pair. For their samba and rhumba short dance, Hubbell wears a leopard-print dress, with the skirt accented by bright colors like fuchsia and azure. Donohue chooses a simpler ensemble — black pants and shirt with a deep “V”— letting his partner garner the attention. e team not only skates well and impresses the audience, but also receives high marks from the critics for its costume choices. “I think a great costume makes you feel like your character,” Hubbell said. “It should make you feel confident and be fun to wear.” Donohue’s feelings matched his outfit. “Overly theatrical costumes (for men) are a no-no,” he said. Figure skating costumes are the subject of much debate. What an athlete chooses to wear can create just as much discussion as the techni- cal content of the program or where the skater ends up in the results. But what makes a great costume? It’s not just one characteristic, but sev- eral that need to come together to create a truly memorable (in a positive sense) look. Of course, the design is part of the overall story the athletes try to tell. “e costume should project the intent and character of the programs,” two-time U.S. cham- pion Jeremy Abbott said. “It should enhance the performance, not distract or overpower.” Abbott opted to work with designer Elise Fife to create his costumes this season. Fife’s clientele includes mu- sicians, singers and dancers, so working with the figure skater was a new experience. Abbott want- ed something he could wear outside as functional clothing, and Fife’s background in menswear helped to bring his ideas into fruition. “I wanted to highlight his body but in a sil- houette rooted in vintage winter sportswear,” Fife said of creating his free skate outfit. Masculine, powerful and glamorous were my keywords in creating this look.” Zhanna Kens of Tampa Bay, Fla., has de- signed costumes for several top skaters, includ- ing 2010 Olympian and U.S. pairs champion Caydee Denney. It’s a delicate balance of com- bining aesthetics and performance wear, when it comes to creating costumes, she said. “A designer must consider skating as a sport that is mixed with the art of dancing,” Kens said. “e lines of the dress must flow with the mu- sic and choreography of the dance, allowing the skater to better interpret the music.” In addition, it’s important not to forget the original purpose of the outfit. “A skating costume is about function and flexibility,” she said. “It must fit comfortably and be one with the body.” Like many other parents in figure skating, Susan Hubbell has created costumes for daughter Madison, as well as her son Keiffer, since they be- gan competing. She draws upon her background (Hubbell studied design at Michigan State Uni- versity and works as an interior designer) to craft one-of-a-kind pieces. Susan Hubbell agrees with Kens that fit and function are essential when creating competitive wear. “You have to balance the visual choices for a program with the functional elements necessary for extreme athletics,” Susan Hubbell said. “e garment has to fit in every possible posture. It does not fit the same way when you are standing up as when you are bending completely back- ward with your foot behind your head.” Sometimes less is not only “more,” but also WHAT MAKES COSTUMES GO FROM GOOD TO GREAT by KAMA KORVELA A PHOTO BY DAPHNE BACKMAN Danielle Gamelin and Alexander Gamelin perform in their costumes by Tania Bass. Former U.S. champion pairs skater Caydee Denney performs in a creation by Zhanna Kens. Madison Hubbell and Zachary Donohue grab the crowd’s attention with their free dance and Hubbell’s costume. PHOTO BY JOLUSKATING 34 JANUARY 2012