Cortázar labored with Miller and Colombian-Canadian artist Lido Pimienta, the corporate’s first-ever lady of shade to compose an unique piece of music for the ballet, titled “sky to hold.” Drawing on the themes of freedom and vibrancy, Pimienta injected rhythms from Indigenous and Afro-descendant communities in Colombia like vallenato and cumbia, whereas Miller, who comes from trendy dance world, choreographed her first ballet on pointe whereas difficult the ballet dancers to carry out out-of-this-world contortions that disrupted the normal positions of classical ballet. To that finish, Cortázar made costumes that felt natural and lightweight: “I didn’t want to overcostume them,” stated Cortázar. “It’s a gorgeous story that grows little by little and it has peaks and crescendos and lots of excitement.” Each a part of the piece is marked by a special shade, exhibited via lighting, set design, and, in fact, costumes. To convey the feelings in every part, the designer created delicate, flowing clothes and bodysuits in ombre blends of orange, blue, and yellow that soared via the air because the dancers leapt and turned. One part, which centered on one-on-one human connection, contrasted the yellow-and-orange bodysuits worn by dancers on stage with their shadows mixing via a projector within the background, an impact solely made attainable by the subtlety of Cortázar’s bodysuits.
