The 1988 Olympic Winter Games featured "The Battle of the Carmens," where American women's champion Debi Thomas faced off with East Germany's Katarina Witt.

Coincidentally, both women chose music from Georges Bizet's opera Carmen for their free programs. However, the competitors approached the character of the unlikely heroine differently — Witt leaned heavily into the theatrics and drama, while Thomas accentuated her power and influence. Witt's costume was heavily inspired by flamenco dance; Thomas chose a more modern interpretation that featured Bob Mackie-style beadwork.
  
The contrasting Carmens serve as a perfect illustration of the power of packaging. A skater has to consider many elements when crafting their image, including their personal style and what statement they want to make on the ice.

 
The costume is a critical starting point for packaging, as it is the first thing that the audience and judges see.

"You see the costume before the program's music is ever heard, so it should be the first big indication of what the theme, idea, story, character is about to be revealed," Renee Roca, three-time U.S. ice dance champion and renowned choreographer, said.

Even with the simplest of designs, there are still many considerations to get right, including color, fit, embellishments and the connection to the skater's program music. And of course, you want to feel good while you're wearing it.

"You should stand in your opening position and look amazing, even if you are about to perform something crazy and wild," Roca said.

Movement is hugely important as well. While the overall look of a costume matters, skaters need to be able to rotate jumps and spins with ease, and the fabric needs to be durable yet flexible.
 
"Unlike fashion on the runway or in a photo — this package has to move," Gale Tanger, a longtime World and Olympic figure skating judge and U.S. Figure Skating Hall of Fame member, said. "The movement and comfort of the skater is the most important thing. The skater must be comfortable."

If a skater is unable to move freely in their costume, it can not only distract from the aesthetic they're trying to portray on the ice; it can also negatively impact the program component score.

 Additionally, other elements — such as makeup choice and hairstyle — should be carefully considered when developing the overall look.

"The costume, ability to move it, makeup and hair — all of these things need to work together to enhance your image," Tanger said. "It's very much interplayed, from the color of the costume to how you fix your hair — it's intertwined with the music choice, the character interpretation and the overall presentation. It's all connected to packaging."
  
U.S. senior ladies competitor Sonja Hilmer is known for her unique and intentional viewpoint.
   
"I think if you wonder about something affecting packaging — it will," she said. "I usually think more about hair than makeup, but makeup has become a larger consideration for me within the past couple seasons. Hair can add motion if desired and can either create great character or become a distraction."

She continued, "For makeup, I have been considering how to do things that my character would wear. It's a little different than conventional skating makeup, but just enough to make a point and not overwhelm. A good example of this is my Viking free program from last season."

An aspect of packaging that should not go unnoticed are gloves and hosiery.

"Sometimes gloves are part of a costume design, and the length and color of the gloves do affect the overall look," Hilmer said. "Arms are extensions, so the wrong glove color can affect how the skater's line is viewed. Different types of tights can impact the look, too. You need to consider the skater's proportions."

The entire look must harmonize, from head to toepick.

"Even your equipment, like skates, can be distracting and look heavy," Tanger said. "As a performer, it all has to blend seamlessly."

Though skaters today have endless resources and inspiration to draw upon, it's important to remember that balance is key.

"The most important thing is to enhance your image and match the composition in your music," Tanger said. "The enemy of good packaging is distraction, whether that's too much beading on a costume or too much makeup. You don't want anything to detract from your overall performance or comfort."

Creating a distinctive style is critical to a skater's long-term success. 

"Your brand is your signature," Tanger said. "It has to be suitable for your age and the stage you're at. You also have to consider what will make you comfortable and confident. And above all, no one can beat you at being you."

Hilmer not only understands her personal style, she embraces it fully.

"My brand as a skater is centered around individuality," Hilmer said. "The most important thing a skater can do for their packaging is deciding their personal view on how they want to look. There are going to be a lot of opinions flying around, but at the end of the day if there is no one thing jumping out as being an issue, and you love how you look and feel, you're doing great."

Above all, authenticity should guide a skater's choices.

"To make your packaging on point, you have to stay true to who you genuinely are, because you are showing your honest self," Roca said. "Yes, there are going to be imperfections here and there, but that's what gives someone character."

And when thinking about your aesthetic, why settle for "good enough" when you can be legendary, Roca said.

"When I think about packaging and image, I would strive to lay the groundwork to be iconic one day," she said.