When you think of pop singers on stage, the expectation is often glittering sequins, sheer fabrics in various degrees of transparency, form-fitting silhouettes, and, well, minimal fabric. However, Taylor Swift stands out as a multi-platinum megastar with a unique approach. 

Throughout her 1989 World Tour, which drew crowds of around 60,000 fans in sold-out stadiums, Swift took the stage in a way that went beyond the norm.

In the midst of a performance of “How You Get the Girl,” featuring a giant HD screen backdrop and raindrop sound effects, a crew of 12 backup dancers showcased not just expert choreography but also three-piece battery-operated suits adorned with LED light strips along every seam. Even their umbrellas were illuminated with LED lights. The highlight came when Taylor Swift herself emerged in a flash of light, courtesy of her own LED-equipped crop top and skirt set.

All of this innovation, from the dazzling lights to the intricate costumes, was the result of a collaborative effort, primarily orchestrated by three electronic engineers—Dave Sheinkopf, James DeVito, and Dylan Fashbaugh—and costume designer Asher Levine.

Describing it as essentially an LED screen on a person, Sheinkopf explains that each dancer had 800 pixels synchronized to the music, contributing to a lighting design with 35,000 moving parts. While acknowledging predecessors like Katy Perry and Rihanna who incorporated technology into their performances, Sheinkopf highlights that Swift’s show had the most intricate wearable lighting system for a stage performance, especially with 13 people involved simultaneously.

This complexity brought its fair share of challenges, especially considering the physically demanding routines of the dancers. Installing computers on performers engaged in backflips and somersaults was no easy feat. Additionally, accounting for quick costume changes and ensuring no interference from cell phones in the radio-control signal posed logistical hurdles.

For Swift’s costume, the team crafted two versions—a crop top and skirt set and a slightly longer alternative. 

Unsurprisingly, Swift preferred the crop top version, featuring a simpler design organized as a grid or matrix, akin to a Times Square billboard screen.

 The first full dress rehearsal provided the team with the emotional moment of seeing everything come to life, validating the weeks of tireless work and meticulous planning.