Because the director wanted the implication of the time but also a congruence with contemporary sensibilities, it was Li’s job to present costuming that was indicative of the original setting of the play but not completely accurate and defining. In order to sell the period through costume but not totally dead on to the period, she tried to catch the key visual elements of the time. For example, with women, Ruoxuan kept the corset & petticoat to create the right silhouette. For the men, the military uniform could not be changed and the standard three-piece suit was also utilized. The simplified surface decorations and fabric choices made the look visually more modernized and closer to contemporary life. Each look represented the personality and status of the character (i.e. Elizabeth as the widow but also the master of the house, Victoria as a maid but also a Ukrainian refugee).
While one might imagine the work of a costume designer as reclusive and solitary, nothing about Ruoxuan’s process exhibits this. While there are moments alone, she feels that her job is to assist in conveying the emotional impact of the character. Conversations with the director about their vision, inclusion in table reads, and rehearsals are all a part of Li’s process of creating and refining the look of the costumes. She also points out that music from an era and even the colors of the season in which the story takes places can steer her towards different choices in her creations. Far from static, her job is one of continual refinement, often leading up to the very moments prior to a performance.
Movement and lighting on stage are factors that always affect Ruoxuan’s work and decisions. Ask anyone who has worked in film, television, and theater and they will confirm that each venue has its own rules and parameters which augment or prohibit the audience’s investment into the action. In a live play such as “The Snow Geese” it primarily comes down to proximity. Li explains the need for experience in this approach stating, “For theater, in consideration of the audience sitting at different angle of the big stage, costumes normally tend to be bigger blocks than film. For example, if it’s an opera, the chain attached to a pocket watch for a gentlemen’s waistcoat may be as thick as a pencil. This would be too much for a real gentleman but for stage, the back of the audience might barely see it. “The Snow Geese” was performed in a studio venue where the audience sits very close to stage and could easily see every thread on the cast. I designed the costume exactly like how they should be worn in real life with no exaggeration. Elizabeth wore a very delicate golden brooch with pearl. Clarissa was given a thin cross necklace under her shirt etc. It’s important to understand all of these different approaches prior to your work in terms of time and budget.”
The sign of a consummate professional is not one who always presents greatness from the start but rather one who learns and adapts continually to hone their talent into greatness. Accepting challenges of all varieties is what enables this. Ruoxuan is adamant that her work on “The Snow Geese” was a constant cycle of attempt, failure, and none stopping tiny adjustments. Melissa Chalsma (lead actress and artistic director on The Snow Geese) recognizes this quality in Li’s work and it’s the reason she suggested her to the production’s director. Chalsma professes, “Ruoxuan's contribution was an integral part of the show's success! She in an inter-continental artist who excels in a wide range of styles, has done excellent work in a variety of mediums, and has wonderful inter-personal skills--essential in a field as collaborative and high-stress as theater. She has an excellent overall eye that creates strongly delineated characters, and also puts each actor into their best light.”