Yasamin’s Work Reviews

“The costume design by Ruoxuan Li and Yasamin Sarabipour is exceptional, creating a look for the girls that is iconic yet surreal, as if they stepped out of dream.”

Haunting

“The other supporting cast members do justice to the piece in their varied roles while designers Ruoxuan Li’s and Yasamin Sarabipour’s costumes are as colorful and outlandish as the hullabaloo Chalsma has skillfully placed on the small stage.

Stage Raw

“Ruoxuan Li and Yasamin Sarabipour are as exceptional as usual with their choices, creating a simple, yet elegant black outfit that compliments each of the dancers and showcases the fluidity of their movements.”

Haunting

“First is the costuming. Where The Chosen (as I’ll call Barr’s character) and her retinue dance barefoot and are outfitted in plain, taupe-colored costumes that stylistically echo the more recent Suspiria film (designed by Ruoxuan Li and Yasamin Sarabipour), the Goddess (as I’ll call Houk’s character) dances on pointe and is dressed in a chainmail-like version of the more pagan rags.”

— The Ballet Herald

“The other dancers unshackle themselves from the traditional nature of ballet, these women are wild, free, and fluid. Madeline Houk emerges as the queen of this tribe, dressed in royal garb compared to the simple and uniform taupe cloth that all others wear (shoutout to the amazing Ruoxuan Li and Yasamin Sarabipour).

— Haunting

“The costume design by Ruoxuan Li and Yasamin Sarabipour is minimal and utilitarian, which, like the bare space surrounding the stage, focuses our attention to the dancers and their movement.”

The Ballet Herald

“The period-contemporary mishmash of costumes fashioned by Ruoxuan Li and Yasamin Sarabipour strike the right tone.”

Broadway World

“Ruoxuan Li and Yasamin Sarabipour outdid themselves on the costume for this as well as Roxanne Mcdanel on makeup.

— Haunting

Subtle costumes by Ruoxuan Li and Yasamin Sarabipour display a restrained color palette of light beige, white, and scarlet accents, but the attention remains on, as Balanchine would have it, the beauty of female form.”

— The New Criterion