BTQ is approaching its 90th anniversary. What does being part of such a long and rich legacy mean to you as Head of Wardrobe?‍

Being part of BTQ at this moment feels incredibly special. We have almost 90 years of talented designers, wardrobe makers and artists behind us, so to be working in this role as we approach such an important milestone is a real honour. I feel very connected to the work that has come before and excited about what we are creating now and what we will leave for the future. Costumes are such a big part of how a company tells its story, so being able to contribute to that legacy means a great deal to me.

What are the biggest challenges facing the wardrobe department today?‍

One of our biggest challenges is how small our team is compared to the amount of work we do. In a large professional ballet company, a wardrobe department might have ten or more people. Here at BTQ, we often achieve the same level of output with just a few staff, supported by a wonderful group of volunteers. We are creating work to a very high standard with very limited resources, which takes a huge amount of care, commitment and energy.

BTQ has always relied on volunteers to help make its costumes, and that generosity is something we treasure. At the same time, the expectations have grown, and the level of finish, durability and detail required is higher than ever. We are moving into a new era where we need to find ways to match that ambition with the support behind the scenes.

What opportunities do you see for BTQ to grow its costume resources or archival practices?‍

We have an incredible collection of costumes and designs going back almost 90 years, but much of it has never been properly catalogued or preserved. There are so many beautiful and historically important pieces in our sheds that really deserve more care and attention. With more time, people and funding, we could properly stocktake, archive and protect these works so they can be enjoyed in the future. I would love to see BTQ’s costume history shared more widely, perhaps through curated displays or exhibitions that tell the story of the company through what has been worn on stage. 

What first drew you to costume design, and how has your artistic style evolved over the years?‍

I was drawn to costume from a very young age. I could never quite find clothes that felt right for me, so I started making my own. I was inspired by ballet magazines from the 1970s and would recreate Giselle-style ballet dresses at home. That early love of ballet and costume has stayed with me ever since. Over the years I have made many different kinds of garments, including couture and theatre pieces, but ballet has always been at the cornerstone of my work. It is where movement, emotion and visual storytelling all come together, and that still shapes how I design today.

Is there a costume from your career that you are especially proud of, and why?‍

There are a few that really stand out for me. At Queensland Ballet, working on My Brilliant Career was very special. I worked closely on the women’s costumes, with Sybil’s mustard coloured dress being a particular favorite, and seeing that on stage was incredibly rewarding.

I also loved working on Dangerous Liaisons, building the costumes for Merteuil with Head cutter Anna Ilic. The level of detail and craftsmanship involved made that a joy to work on. From my own designs, the Evil Queen from Snow White remains a favourite. She was bold, dramatic and wonderful to bring to life.

How does designing for ballet differ from designing for other artforms?‍

Ballet costuming is quite unique because it has to move with the dancer as if it is part of their body. The garments need to stretch, breathe and support every jump, turn and lift. In other artforms, a costume can sit on the body, but in ballet it has to move with it. Because I am a costumier and costume builder as well as designer, I take this into consideration in my designs. I always think about how a costume will feel as well as how it will look. If a dancer feels comfortable and free, they can fully become the character.

What inspires you creatively?‍

Colour and fabric are my biggest inspirations. A fabric can be beautiful, but if the colour does not speak, it just does not come alive. I often find inspiration in nature, in the subtle tones of bark, leaves or light. I am also inspired by classic designers like Madeleine Vionnet, Christian Dior and Elsa Schiaparelli. Their old world sense of line, structure and craftsmanship continues to influence the way I work.

What would increased funding allow your team to achieve?‍

More funding would make an enormous difference to what we can do. It would allow us to grow the wardrobe team so we can give each costume the time and care it deserves, while also reducing the strain on the people doing the work. It would also let us begin the important job of preserving and archiving BTQ’s historic costume collection. With the right support, we can keep creating beautiful new costumes while also protecting the legacy of Ballet Theatre Queensland for the future.

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