James Lavoie is the mastermind behind Cirque du Soleil BAZZAR Costume Design, “Circus arts attract diverse, dynamic people. Let’s be inspired by them!” James embraced the energy, natural look, and raw talent of each artist to amplify their true spirit through costume design.

With a band of thirty crazy eclectic characters, the main challenge was to create individual looks that visually unify in the troupe-spirit of Cirque du Soleil. Much like the show itself, the creation process was intuitive and organic, not fixed to any one point in time. Cirque du Soleil BAZZAR presented an invitation to design by instinct, to be inspired by everyday life, and to trust your gut!

Beyond instinct however, James sought inspiration in the works of contemporary 20th century artists, conceptual architectural clothing, and street style, as the history of Cirque du Soleil is rooted in street performance.

Throughout the process, the set design came to be a heavy influence. Study the troupe’s looks and notice black lines running through each. Obvious and subtle. Thick and thin. A nod to the performance lab’s architecture, and connectivity in the chaos. This visual connection between costume and space wasn’t the initial intention. James tends to draw with a Sharpie and heavy hand on paper.

Cirque du Soleil BAZZAR creators, Susan and Marie-Hélène saw his first sketches and fell inspired. Steps of the creative process, like James’ first Sharpie sketches, are directly expressed through the costume design. For example, the chaotic energy of the After-Effect tableau is captured by scribbly patterns or “pen marks on paper”, says James. “We are trying to express the chaos at the beginning of creation. The first stroke on canvas.” The themes of Construction-Deconstruction and Time are expressed through various garments too. A skirt that seems incomplete.

Pants with cut outs. A shirt with bands of fabric that begs the question: ‘Is this garment finished, or in the process of making?’. There’s a strong sense of building and breaking apart. Creating or disassembling. Much like the creative process itself.

The Maestro’s hat is one costume item worth mentioning, not onlybec ause it is part of the storyline, but because of the function worked into its design. Custom molded and laser cut plastics come together to create a scale model of the set, worn on the Maestros head with

integrated lighting and a small plastic ball that scurries down a slide and through a trapdoor.

Digital printing techniques and silkscreening with various foils or silicones add an element of experimentation. Vibrant colours, shiny golds, patent leather, crisp blacks and whites, eye-catching prints, delightful textures, innovative materials, and avant-garde silhouettes collide in celebration and visual cohesion. Nothing is shy about Cirque du Soleil BAZZAR.

James Lavoie, Costume Designer

Cirque du Soleil BAZZAR Set Designer Simon Guilbault wanted to push the interaction between space and performer, and create a structure the performers could climb on, be on top of, move through, and really become one with.

Cantilever structures, gravity-defying bridges, and tension based structures, provided great inspiration for Simon Guilbault. He worked closely with expert engineers to create a strikingly unusual set design that seems to challenge science and physics. As he puts it, “The performance lab, visually speaking, is a matter of lines and metal supports and how separate pieces can be linked. You don’t really understand how its made or holds together. There are so many bizarre angles. It’s very chaotic and seems to float in space with just a few anchor points.”.

Cirque du Soleil BAZZAR Director Susan Gaudreau challenged the set design, “I wanted a set that could be like a LEGO block. A structure that depending on how you add or take away, creates a different space and emotion.” Moving parts are therefore heavily integrated, such as brilliant mirrors which can be moved around by the artists. “Everything can change, nothing is fixed,” says Simon Guilbault.

Reflective and transparent colors of blue and violet support the vibrant, brightly coloured troupe. Light catches beautifully and comes through the structure to create striking shadow effects. In the end, the result is incredibly sculptural and artistic.

Going back to the start of Cirque du Soleil as street performers, Composer and Musical Director Simon Carpentier found inspiration in live buskers, “I really like street music and went back to the essence of this. People playing acoustic and electric in the street is very raw and present. My first inspiration was street percussions. From there I said, ‘OK let’s go with folk, play with acoustic guitar, and mix it with electronic fan fare to amplify the feel of busking with a modern twist for today.”

Two musicians within the troupe are always playing, live. With live music, singing, and a ‘ghost DJ’ who is never seen but heard, the result is a super groovy, universal, supercharged pop soundscape. Folk-electronica ear-candy, created with four main instruments: Baritone sax, acoustic guitar, dreamy melodic piano, and soulful vocals. Hits of ukulele, various flutes, and simple banjo, amplify the spirit of sidewalk entertainment.

A soulful singer brings poetic, female energy within the musical craze. Combined with live musicians, their total performance makes music an equally visual experience, bringing fans closer to the action within the intimate big top setting.

Light and hopeful music supports the love of creation and key emotions that ride along with the creative process. As Simon says, “Music always tells a story!”

The village – Cirque du Soleil mobile village includes the Big Top, one large entrance tent, a VIP tent, the artistic tent, a kitchen, offices and more. The site relies only on local water supply and telecommunication facilities to support its infrastructure.

A few facts about the Cirque du Soleil BAZZAR Big Top and the Cirque du Soleil village

• The Big Top seats more than 1,500 people.
• The entire site set-up takes 6 days. This includes installation of the Big Top, the entrance / VIP tent and the rehearsal spaces.
• The Big Top stands at 19 meters (62 feet) high and is 41 meters (135 feet) in diameter.
• The 4 steel masts stand at 22 meters (71 feet) tall each.
• 450 pegs are required to firmly hold down the big top.
• The Big Top can withstand winds up to 120 km/h (75 mph).
• The light-coloured canvas helps counter the effects of the sun, thereby reducing energy consumption and minimizing greenhouse gas emissions.
• Cirque du Soleil BAZZAR travels via 25 sea containers carrying close to 700 tons of equipment.