An interview with costume designer Lisa Perello
Marco Aquino
As a former flamenco dancer, Lisa Perello creates costumes for every professional flamenco dancer and flamenco school in San Antonio. Her elegant designs and skilled craftsmanship have earned her a place within flamenco royalty when it comes to the local performance community. In 2012, she presented the first all-flamenco fashion show, “Perello 09.13.12.,” at the Jump-Start Theatre. Her work has been featured in the exhibitions “Fuego de España: A Celebration of San Antonio Flamenco Art” at the Art Institute of San Antonio and as part of “Fiesta, Fête, Festival: Selections from the Tobin Collection” at the McNay Museum. Perello’s designs range from the traditional to bold and trend-setting. We sat down with the designer to discuss the makings of her lush creations and the many ways she had to get inventive to survive the COVID-19 pandemic.
What makes a great flamenco dress?
Well, usually what people associate with a flamenco dress are polka dots and flowers, lots of layers and ruffles, or a dress with a train. But a lot of flamenco dresses now are very streamlined. They may have one ruffle on the bottom or they may be very form-fitting which I love. I love that we are getting away from these dresses that look like the letter “A”— like a big tent with a lot of volume on the bottom. A lot of times when a seamstress or designer does not know how to dance flamenco, their dress starts to open from the waist. When I make a dress, it is tight around the butt. Then right under the butt, that’s when the dress starts to go out. That way, when you turn, you are in control of the dress. If you have that dress fitted to you, it’s secure, it’s not going anywhere. Your dancing will be awesome—you can do wonders. But what determines a flamenco dress today? It can really be anything—you could be wearing a trash bag.
Sometimes people are misled by computer-generated images or the internet. They will bring in a picture of what I call a feria dress or a dress that is just made to look good—think Morticia Addams and her dresses. But it’s not for dancing—you can barely walk around at the feria in it. I try to tell people, “Look, understand that is a feria dress. I can make it into a dress for dancing but i can’t make it tight to your knee, you won’t be able to dance.”
But is there anything that makes it uniquely flamenco?
I would say … the dancer. Nowadays, flamenco can be off-the-rack. Yes, there are traditional dresses like a bata de cola that you won’t see outside of flamenco. But if you have a dress and you can do your moves, that’s what counts.
For a bata de cola, there is a proper way to make it. It has to have the proper weight or it will turn on you. Some people will make them like a wedding dress and it will be too big. Some people make them like a cha-cha dress and it will be too small. There is a lot to consider because you have to think about the dancers height versus the length of the train.
Does knowing how to dance affect the way you create a dress?
Of course—I will say it’s a bonus. When I was growing up, not all the seamstresses were dancers but everyone’s grandma knew how to sew. Now, everyone has careers and no one sews. But fortunately for me, since I danced for so long I know how the skirt should move. But that’s not to say someone who doesn’t know how to dance can’t design a dress. There are still a lot of people who make flamenco dresses the old fashion way—basically a poodle skirt with lots of ruffles.
You have to know your dancers too. If you know your dancers, you know what they want. Some dancers are more conservative than others and some like strapless dresses or don’t mind showing-off their bodies. If you know the dancer’s personality, you’re going to build a better dress.
What do you feel when a dress is finished and you see it on stage?
I’m not gonna lie. I’m nervous until that dress has been worn on stage and nothing popped or fell off. Then, I can breathe a sigh of relief. But the perfectionist in me is always thinking, “You could have done a better job,” and that’s just something that will always stick with me.
How have you been handling the COVID-19 pandemic?
COVID broke my heart … I opened the shop in November 2019. I made the rent and I was so excited. In December, I made twice as much money. And then COVID came. I was dealing with two bad things: I was going through a divorce, then COVID came. Everything shut down or was cancelled—Fiesta was cancelled, prom was cancelled, recitals were cancelled, graduations were cancelled. Everything that I make dresses for or do alterations for was all cancelled. I had to return deposits. Everything shut down for a while and I was all alone here. I was crying all the time and I had no business. But then … a couple of wonderful things happened. Chorros of people showed up because they wanted masks! The Smoke Shack on Broadway ordered a thousand masks. People started coming in because they were going crazy staring at their furniture, so I had to learn how to reupholster furniture. Normally, I would just be making dresses but now I was making pillows, cushions, curtains and all kinds of stuff. When you challenge yourself you will be amazed at everything you can do if you just give yourself an opportunity. When COVID is over I can do more than just dresses.
So you’ve resorted to doing a lot of unconventional things?
Yes, it’s the only way. Another thing that was rare but now I do a lot are costumes for drag queens. Those are my girls! A lot of them live on tips. I tell them just go and get a dress that quasi-fits you and we will rearrange it and make it work. I know they have to do a lot of costume changes so I tell them I will rework their dresses.
Are you still making masks?
No, because now you can get them anywhere. But in the beginning, yes, I made every kind of mask you can think of … but I miss flamenco. With all the ideas and inspiration I have right now, when COVID is finished, we are gonna have a helluva fashion show!
Top photo by Darren Maslach
Flamenco Designs by Perello, 910 W. Laurel, (210) 609-0429