Behind the Seams: Judith Tapia on Dressing Maluma and Bad Bunny’s dancers for the Stage and Screen

Judith Tapia talks about the art of costume design, which has enriched her creations for global stars like Maluma and Bad Bunny and left a distinctive mark in"Malacopa" and "El Día de la Unión"

Judith Tapia at the "Most Wanted" tour: Bad Bunny's costume undergoes a change. Photo from Judith's archive.

In the dazzling world of music and film, where visual spectacle meets storytelling, few artists like Judith Tapia can blend creativity, functionality, and narrative. Renowned for her work dressing some of the most iconic figures in the entertainment industry, including Maluma and Bad Bunny, Judith's journey from a curious child inspired by her father's artistic flair to a leading costume designer is as captivating as the wardrobes she creates.

Judith Tapia's early ventures in the Mexican fashion scene and meaningful projects like "Malacopa" and "El Día de la Unión" laid the foundation for a career that deftly bridges the worlds of film and music. Transitioning to the music tours, Judith dressed the teams for global sensations like Bad Bunny and Maluma. The demands of this environment, where costumes must endure rigorous performances while maintaining aesthetic appeal, presented unique challenges. Yet, Judith's innovative solutions and creative vision ensured that each costume enhanced the performers' stage presence.

Steaming capes with Adriana from the Head Wardrobe in the background. Photo from Judith's archive.

What inspired you to pursue a career in costume and wardrobe design?

My dad is, mainly, the main figure in my story. Ever since childhood, his style has made me think that our clothes are a primary means of narrating our character and story to others. He’s a musician and has always designed costumes for his musical group, so since I was a kid, I enjoyed accompanying my dad in the search for materials, workshops, and fittings.

How did your early experiences, such as working on "Malacopa" and "El Día de la Unión" shape your career?

My career began to take shape years before I started working in films. During my studies, I collaborated with friends in the Mexican fashion industry, doing whatever I could with my limited knowledge. I always knew I would focus on something other than fashion shows or brand creation. My interest was in creating characters, setting scenes, narrating stories, and being part of the entertainment world. This passion led me to costume design.

Therefore, "Malacopa" was the starting point of a dream come true—my first opportunity to translate text into a character's wardrobe. Ximena Guzmán, the designer, opened a big door for me. I learned that when an opportunity arises, you must demonstrate why you were chosen for the team and show that the person who trusted you made the right choice.

"Hotel Cocaine" is one of your recent projects. Can you share your experience as an assistant costume designer in this series?

Professionally, "Hotel Cocaine" was a challenge because we had to produce the costumes in Mexico and transport everything to the Dominican Republic, where the film set was located. Due to customs procedures and other logistics, we had to ideally import all the costumes in a single shipment, which made those weeks quite hectic. The extensive search for vintage '70s and high-fashion pieces representing the upper social class of Miami at that time was demanding. My biggest challenge was creating costumes for the Mutiny girls for their club' performances.

Preparing costumes for the Mutiny girls of "Hotel Cocaine" at Pinewood Studios, DR. Photo from Judith's archive.

"All That Is Invisible" deals with complex themes. How did you approach the costume design to enhance the film's narrative?

Working with Mariana Chenillo, the director of this film, made things easier for us because Mariana and Ari Brickman, the main actor and co-writer, had thoroughly researched the topic of blindness, providing valuable information to help us develop a wardrobe that suited the central character. However, the character's hallucinations presented a significant challenge, requiring tests with materials, colours, and more. Overall, it was an enjoyable film and very different from the usual creative process.

Can you tell us about your work on "Luis Miguel: The Series" and the methods you used to ensure the costumes' historical accuracy?

It was definitely one of my most important projects and my first series. It felt like a gestation process, as I worked on it for about 9 or 10 months, filled with all sorts of adventures. We conducted extensive research to create costumes that were accurate to the era. The series featured many formal suits for men, so we paid great attention to details like shoulder pads, the width of the jacket backs, lapel crosses, trouser cuts, and the number of buttons used on jackets over the years. Practically all the main actor's suits were custom-made to recreate the unique pieces required for the character. Studying the fabrics, cuts, patterns, and fashion trends of the various geographic locations depicted in the story involved vast examination. Adela Cortázar, as the creative head, led her team impressively and beautifully to make that magic happen.

Photo from Judith's archive.

Photo from Judith's archive.

How did you transition from film to working with high-profile artists like Bad Bunny and Maluma?

It was like magic. The universe seemed to know that the world of musical entertainment was meant for me. Curiously, it was something I never actively sought out. A film producer named Omar passed my contact information to someone looking for a show assistant, and they thought of me. I’m infinitely grateful that his recommendation led me to show business because I genuinely enjoy every part of it. Feeling the audience’s excitement at each show gives me goosebumps, and I discovered this passion without consciously knowing my professional purpose.

Judith Tapia sewing a dancer’s fishnet during showtime. Photo by BSTATIC.

What are the challenges and rewards of designing for music tours compared to film and TV projects?

Designing or working on show costumes definitely has its challenges. It’s about making them visually attractive and functional for the performer. Dressing dancers requires considering their mobility, ensuring the costumes are durable due to heavy wear and tear, and making them easy to clean and maintain during tours. Since transportation space is limited, we can’t have multiples of everything, so costumes must be designed to last as long as possible throughout the tour. The rewards for me are hearing the audience enjoy the show and getting a hug from a dancer because a costume modification helped them perform better. Also, the family you form with the crew and the countless memories created after the show are invaluable.

Backstage at the "Most Wanted" tour, preparing for the dancers' quick changes. Photo from Judith's archive.

Speaking of Maluma, how did you become the head of wardrobe for the tour?

Life brings pleasant surprises. I met someone from Maluma’s production while touring with Bad Bunny. At that time, Maluma’s team was reconfiguring; someone asked if I was interested in submitting my profile for the position, and I obviously agreed. The head of this department mainly ensures the production team has what they need to dress the dancers and manage costume changes during the artist’s performance. This includes assembling the team if several assistants are required, requisitioning transportation equipment, and knowing how to alter, maintain, and repair costumes. I’m also responsible for designing and creating costumes for the dancers, which involves not only design proposals but also delivering a budget for making and purchasing the wardrobe needed to make it happen.

Fittings in Mexico City for the dancers' costumes for Maluma’s Europe Tour. Photo from Judith's archive.

Can you describe your creative process when designing outfits for Maluma's tour?

This time, I wanted the audience to connect with the dancers' fashion for the European tour, which includes festivals. So, I drew inspiration from urban fashion. I also discussed with the artist's stylist to understand their plans for dressing the artist in these shows. Based on that, I began searching for references. I enjoy creating a collage of images that capture my ideas, then sketching and compiling the portfolio with the proposed looks. I always consider garments that can be adapted for proper mobility in choreographies and quickly make changes on stage.

Do you have any behind-the-scenes stories from working on Maluma's tours that you'd like to share?

There are several, but the most recent one was about adding harnesses to the "Cuatro Babys" choreography. It was a new area for me since I had never worked with harnesses before. Configuring a system where the dancers could put them on quickly took more than one show. The first show was slightly messy, with some harness straps twisted and questionably adjusted. Sometimes, the audience doesn't notice, but behind the scenes, it's a rush of adrenaline to make that change on time! Just when we thought we had mastered the harnesses in one of the last shows, the waist strap of one of the dancers broke in the final seconds before the song started. I had to fix it with safety pins and hope it wouldn't come undone during a move where she could get hurt. Part of the skills required in this job is creative and immediate problem-solving in a live show. So, there are always behind-the-scenes stories, some fun and others less so.

What are the differences between your role as a wardrobe specialist for Bad Bunny's "Most Wanted Tour" and "El Último Tour del Mundo"?

Despite having years of costume experience, joining "El Último Tour del Mundo" was like learning everything from scratch, guided by the then-leader of the tour since it was my first time doing this type of work. The key difference in the "Most Wanted Tour" was the self-confidence gained, joining a team that already trusted me, knowing I could do the job and allowing me to flow and make decisions.

Wardrobe dressing room for the "Most Wanted" tour. Photo from Judith's archive.

What are some of the most challenging and rewarding aspects of working on Bad Bunny's tours?

Being part of a team that is so highly skilled at what they do pushes you to want to do your best. I think that’s the challenging part for me personally. The most rewarding part is knowing that I’m there and that they give me a place within a team of talented people with impressive career trajectories. Sometimes, I can’t believe I’m part of that, but I always try to remind myself that my path to getting here has been intense and full of commitment. So the reward is 100% deserved!

Please tell us a memorable moment from working with Bad Bunny:)

Memorable and very challenging: An hour before Bad Bunny's performance at one of his shows in New York City, we were asked to modify a Gucci jacket specifically designed for him. However, if shorter, he felt it would be more appropriate for the occasion. So, we had to cut the Gucci jacket with the show about to start. I had never been so scared in my life, but thanks to teamwork and support from everyone, we made it! I'll never forget that moment.

Cutting the Gucci jacket for Bad Bunny's "Most Wanted" tour show in NYC. Photo from Judith's archive.

How does your Mexican heritage influence your work and designs for these international artists?

Being Mexican has influenced everything I am, do, and think. My culture is something I always carry with me; the colours of Mexico are a great source of inspiration for me as a designer. The energy and passion I put into my work are inherited from a vibrant, passionate, intense, and surreal culture in many ways. I’ve always believed that being Mexican gives me a touch of magic.

Who are your biggest sources of inspiration in the fashion and music industries?

Undoubtedly, my father's aesthetic and musical legacy is my greatest source of inspiration. However, if we're talking about significant figures worldwide, I would include Björk, David Bowie, Gwen Stefani, Vivienne Westwood, Bernhard Willhelm, and Alexander McQueen. Some of them are no longer alive, but they continue to inspire me.

How has technology influenced your work in costume design and wardrobe management for tours?

Thanks to technology, we have excellent access to sources of inspiration. Seeing how someone is dressing in another part of the world on the web greatly enriches your visual research. Technology gives us an immediate connection to what’s happening in the industry, allowing us to support our project planning.

Any advice you'd give to young, aspiring costume designers looking to break into the industry, especially in the music industry?

Take advantage of every opportunity to learn and improve. Working with talented people can be intimidating, but it’s a chance to grow and refine your skills. Don’t be afraid to take risks and face challenges; these moments can become your most valuable memories. Also, always keep your identity and cultural roots present in your work; this will give you a unique and authentic touch. Most importantly, remember that passion and commitment are crucial to achieving success in this industry.

To stitch things up, what moment in your career are you most proud of?

The proudest moment of my career so far was realizing that I was fulfilling my professional dreams in an industry that once seemed like a fantasy. I remember seeing some girls walking with a wardrobe rack at Universal Studios Hollywood and thinking, "Oh, I wish I could do that when I grow up." To see that childhood fantasy become a reality in my adult life has been, to this day, the highest point of pride in my professional career.

Judith Tapia on stage at the Zevra Festival in Valencia, Spain.