UCele uthe kuzanywa ukuthi amaphoyisa abe ngaphansi komnyango owodwa bese kulungiswa imithetho. Uthe kodwa namaphoyisa kumele afundisise umthetho ngoba uyawavikela uwanika negunya lokudubula uma kushubile. Shamask was also influenced by music and dance, which he explored both solo (as seen in Cello Jacket (1981), which boldly articulates the instruments curve) and in conjunction with others. His collaborations with choreographers Lucinda Childs and Mikhail Baryshnikov are reflected in an illuminating series of sketches in a loose, gestural hand that shows a lyrical side of the designers work. Shamask partnered with Childs to design costumes for eight dances between 1983 and 1999. Costume Design for Portraits in Reflection (1986, with sets by Robert Mapplethorpe) is a black and white abstract rendering of Childs in motion. Sketches for Dance Costumes for Chamber Symphony (1994) are, at their essence, geometric shapes overlaid with a grid, later reflected in his 1999 collection inspired by Bartlett. Costume Sketches for The Good Army (1994) for Baryshnikovs White Oak Dance Project depict non-costumes, a sporty street wear look using pieced, asymmetrically cut windbreaker fabric, cardigans, denim, and flannel. At first glance the costumes appear to be shirts tied around the waist, but when the dancers execute their ballet movements, the wraps become formal draped skirts. Shamask reinterpreted these costumes in his Spring/Summer 2012 collection, as seen in Mondrian Meets Superman Long Dress, in which the designerused fine linen, silk, leather, and suede to create a simple, elegant garment.