Paid for by patrons
Esmeralda, off-stage re-invented
The next costume being developed further: 

Yet again I wanted to give Esmeralda more egde; a more exotic look which is soaked in every detail with her personality.
So, now she has 2 different outfits, one for act 1 and one for act 2. 

Basically, Esmeraldas look speaks of her passionate, warmhearted nature, her self-love and a great desire to be protected.
The white underwear dress and the henna tatoos evoke a feeling of intimacy. They hide underneath the outer layers and makes you want to explore her body and subliminal magical charm. But she has learned to be cautious and does not handle her secrets openly. The wine red scarf she is wrapped into and the boots protect her from the cold and the strains but also limit her in her expression. She is also having a comfortable white underbust bustier to enhance her feminine shape and it´ s useful to attach the scarf onto.  
Her make-up is radiating a dark , warm aura and is rather oriental inspired: Her eyes have black outlines, giving them a cat-like shape, a small golden dot on the forehead (the 3rd eye, as it is common in India). Her hair is wild and a bit curly and softly tied together in the neck, fastened by a long white feather. She wears a bit of golden jewelry (earrings, bracelets) but the most striking element are the tatoos. The time, effort and craftmanship invested into painting them mark Esmeralda as truly adorned and speak of how she defines her virtues and her beauty herself (juxtaposed: Esmeralda, objectified is fully loaded with gold, because that is the convienent idea of "buying a woman jewelry=beauty"). As any tatoos they speak of an outsider postion in society, and since they are oriental and contain mystical symbols, with them Esmeralda looks even more like a witch. The references to other cultures challenge the normative forces of the western-christian-society. She even wears a Hamsa (Hand of Fatima), an islamic symbol, in her hand ("bohémienne -c´ est écrit dans les lignes de ma main"). This is a wider interpretation of the "stigma by birth": in the book she is a gypsy, nowadays she could just as well be a muslim refugee.  
Her charm is to turn this stigma from "something threatening" into "look how beautiful" by her own interpretation. 

Overall her look is shabby and structured, but she blossoms from within.   

The look with the long dress is for the first act, where the story is yet mostly peaceful and Esmeralda makes the impression of a medival maid. Visually she is rather connected to Esmeralda, dancer (long skirt, scarf around the hips). In the second half, as the conflicts arise and peak, her outfit rather brings out the fighter within her. Visually she is now closer to Esmeralda, objectified (shorter skirt, legs more visible)