The theater is a realm of magnificent illusion, a space where every visual and auditory element on the stage serves a central narrative purpose. Among these carefully orchestrated elements, stage costumes hold a uniquely intimate relationship with both the performer and the audience. They are far more than mere clothing. They are wearable architecture, meticulous historical documents, and profound psychological portraits woven into physical form. To truly understand the profound depth and complexity of this art form, we must look closely at the dedicated hands that build these garments. Katherine Chung, an acclaimed costume maker currently based in Queens, New York, serves as our expert guide through this intricate and fascinating world. Originating from Taipei, Taiwan, Katherine brings a wealth of international perspective and exceptionally refined technical skill to her craft. She earned her Bachelor of Fine Arts in Costume Design from Taipei National University of the Arts and further elevated her expertise by achieving a Master of Fine Arts in Costume Production from Carnegie Mellon University. In recognition of her exceptional skill and dedication to the craft, she was recently awarded the highly prestigious Barbara Matera Award for Costume Making in the year 2025. This accolade underscores a career built on precision, historical fluency, and an unwavering commitment to theatrical storytelling.
To comprehend the magnitude of Katherine Chung and her contributions, one must first understand the life cycle of a stage costume. It is a journey that begins long before the actors step onto the stage, originating in the realm of concept and collaboration. As Katherine explains, a costume is never conceived in a vacuum. The initial phase involves the costume designer working in close concert with the director and frequently the dramaturg. Together, they dissect the script to understand the precise time period, the geographical setting, and the overarching tone of the production. Whether the vision is strictly realistic, highly stylized, or wildly futuristic, every character requires a distinct personality and an emotional arc that can be visually communicated to the audience.
During this foundational stage, designers immerse themselves in historical research, fine art, and period fashion. They generate expansive mood boards and initial sketches, seeking the visual language of the play. At this juncture, costumes are not merely clothes. They are vital storytelling tools designed to instantly convey status, occupation, and psychological state. Key figures in this phase include the costume designer, the director, the dramaturg, and the set and lighting designers, who must all ensure visual coherence across the entire production.
Once the conceptual groundwork is laid, the rough ideas must evolve into detailed designs. The costume designer finalizes the renderings, which are often meticulously hand-drawn or created digitally. Fabric choices are made, and intricate color palettes are established. Crucially, the designer must also provide specific notes on movement requirements, anticipated quick changes, and any necessary special effects. Practical constraints also enter the equation at this stage. The budget must be strictly adhered to, the physical comfort of the actor is paramount, and the durability of the garment under harsh stage conditions must be guaranteed. The costume designer takes the lead here, supported by assistant costume designers and overseen by the production manager, who monitors the financial realities.
It is in the subsequent phase that the artistic vision transforms into technical reality, and this is the domain where Katherine Chung truly excels. The pattern maker, or draper, must translate two-dimensional designs into three-dimensional patterns, essentially creating the architectural blueprints for the clothing. They are tasked with deciding exactly how the garments will be constructed, identifying what types of seams, closures, and structural reinforcements are required. They must also calculate how to allow for extreme physical movement, whether the actor is engaging in vigorous dancing, stage combat, or simply navigating a complex set. A costume supervisor simultaneously coordinates the production timelines, sources the necessary materials, and manages the workroom staff. The cutter or draper serves as the paramount specialist in shaping the fabric on mannequins to achieve the perfect silhouette.
Katherine Chung possesses a profound talent for this highly technical and spatial art form. Her penchant for historical and traditional clothing is evident in her meticulous approach to pattern making and garment construction. Her master of fine arts capstone project, for instance, brilliantly explored the intersection of Eastern and Western garment construction, specifically analyzing the profound influence of Western tailoring techniques on the traditional Chinese QiPao. This academic rigor informs her professional practice, allowing her to approach complex historical silhouettes with both reverence and innovative engineering.
Currently based in Queens, New York, Katherine operates within the very epicenter of the American theatrical industry. She works full-time as a first-hand at Parsons Meares Ltd, one of the most legendary and respected costume shops serving Broadway and international theater. Her journey to this esteemed position included valuable experience as an intern at the same company, as well as serving as a first-hand at The Santa Fe Opera and Barrington Stage Company.
New York City itself is a vital character in the story of theatrical costuming. The city is home to some of the most prestigious educational institutions dedicated to the theatrical arts, acting as incubators for the kind of top tier talent required by Broadway. Schools such as the New York University Tisch School of the Arts, The Juilliard School, the Fashion Institute of Technology, and the Parsons School of Design offer rigorous programs that blend artistic vision with technical mastery. These institutions teach students the exhaustive history of dress, the complex chemistry of fabric dyeing, and the intricate mathematics of pattern drafting. Students in these New York schools learn that a stage costume must survive eight performances a week, enduring sweat, intense lighting, and rigorous physical activity, all while maintaining the exact visual illusion intended by the designer. While Katherine received her foundational and advanced degrees from Taipei National University of the Arts and Carnegie Mellon University, respectively, her current professional home in New York places her squarely in the middle of this vibrant, highly educated community of master craftspeople.
As Katherine explains, the construction phase is where the true alchemy happens. Depending on the specific demands of the production, some costumes are built entirely from scratch, while others are rented, purchased, or heavily adapted. The construction process encompasses precise sewing and assembly, specialized dyeing and fabric treatments, and the application of elaborate embellishments such as embroidery, beading, and intentional distressing. The workroom is a hive of specialized activity. The costume makers and stitchers diligently execute the patterns, while the first hand serves as the lead tailor, overseeing the direct assembly and ensuring the draper’s vision is accurately realized. Dyers and craftspeople add the final layers of visual texture, whether that involves creating the illusion of heavy armor or aging a garment to look like it has survived decades of wear.
Katherine provides a perfect illustration of this complex construction process through her work on the Carnegie Mellon University Spring 2024 production of A Little Night Music. Working alongside costume designer Evan Riley and first hand Brandon Eichenlaub, Katherine served as the draper for a breathtaking evening gown worn by Susana Cordon as the character Desiree Armfeldt. This specific garment was designed for the pivotal eleven o’clock number, Send in the Clowns. Katherine notes that the design was deeply rooted in detailed research from the late 19th century. Through extensive conversations with the designer and her own rigorous historical research, Katherine developed a highly complex two-piece dress.
The construction of this single garment reveals the staggering mathematical and spatial intelligence required in costume making. The bodice alone was comprised of 41 distinct pattern pieces. It featured a striking asymmetrical design characterized by a draped velvet shoulder detail on one side, perfectly balanced by a cluster of delicate flowers on the opposing side. Katherine meticulously combined seamed velvet with a delicate, hand-picked lace overlay. The accompanying skirt was equally demanding, featuring asymmetrical brocade and intricate bead detail. It boasted a substantial train engineered with interior dust ruffles and a waltz loop to allow the actress mobility. The entire skirt was then trimmed with beaded lace, a task Katherine accomplished by utilizing a specialized sewing machine equipped with an omnidirectional foot. This level of detail ensures that the garment is not only visually stunning but structurally sound enough to perform flawlessly under the theatrical lights.
Following the intense construction phase comes the highly critical fitting period. This is the moment when the actors try on the costumes for the very first time. Katherine explains that this stage is fundamentally iterative and deeply collaborative. The primary goals are to adjust the fit for aesthetic perfection and to ensure the physical comfort of the performer. Mobility must be rigorously tested. The team must ask if the actor can sit, run, dance, and breathe without restriction. The garment must completely align with the actor’s interpretation of their character. Design tweaks and structural modifications frequently happen in the fitting room. Key figures during this phase include the costume designer, the wardrobe supervisor, specialized tailors, alteration experts, and, most importantly, the actors themselves, who become active collaborators in finalizing the wearable architecture.
The necessity for costumes to function practically while maintaining historical illusions is beautifully demonstrated in Katherine’s work as a draper for the City Theatre Company’s Winter 2024 production of The Wickhams Christmas at Pemberley. Under the vision of costume designer Carrie Anne Huneycutt and working with first-hand Bri Johnson, Katherine was tasked with creating a custom-made uniform for the character Cassie, the new housemaid, played by Shannon Arielle Williams. The production is precisely set in December of 1815, demanding that all maids be outfitted in historically accurate empire-waisted garments.
However, theatrical reality often clashes with historical fastening methods. This costume, consisting of a dress, an apron, and a cap, needed to be entirely rigged for rapid changes backstage. Katherine engineered the dress with a snap-on, drop front design that concealed a hidden zipper closure, allowing the actress to transition in and out of the garment in seconds while maintaining period-accurate sleeves and silhouettes to the audience. The fabric choices were equally precise. The dress was crafted from a cotton stripe, while the apron utilized a cotton pin tucked voile. The cap was a masterpiece of delicate engineering, featuring a vintage crochet doily mounted on silk gauze. Katherine thoughtfully lined the cap in Italian tulle specifically dyed to match the hair color of the actress, emphasizing the transparency of the delicate lace, and secured the entire piece invisibly using toupee clips.
The journey to mastering these complex skills is paved with exhaustive academic and personal projects. Before executing these designs on professional stages, artisans like Katherine spend years honing their craft in educational settings. A prime example is her advanced draping project at Carnegie Mellon University in the Spring of 2023, completed under the instruction of Hugh Hanson. For this assignment, Katherine chose to recreate a magnificent Robe de Cour, specifically the gown depicted in the Portrait of Anne, painted by Tischbein in 1750.
Katherine approached this undertaking with the rigor of a historian and the ingenuity of an engineer. She deeply researched the garments and the necessary understructures of the mid-18th century to be as faithful as possible to the original portrait, while simultaneously exploring modern methodologies to improve the functionality of the garment. The foundation of the silhouette required fully boned covered stays. Katherine originated her pattern from Janet Arnold’s highly respected reference book Patterns of Fashion 5. In a nod to modern conservation and practicality, Katherine utilized synthetic whalebone as a direct replacement for traditional baleen. She thoughtfully incorporated a layer of baby flannel interlining to entirely prevent the rigid boning from showing through the delicate silk face fabric. The closure of these stays featured meticulously hand-worked eyelets set on a hidden placket.
The exterior of the Robe de Cour was equally complex. Katherine engineered detachable sleeves that were joined to the main bodice through a complicated series of hidden loops and ties, beautifully finished with lace and silk gauze trimming. To achieve the dramatic width of the 1750s silhouette, she recreated a pannier pattern found in the seminal text Corsets and Crinolines by Norah Waugh. Here, Katherine sought to incorporate modern materials and methods to significantly reduce the sheer weight of the historical undergarment. Her brilliant adaptation utilized nylon horsehair and poly tubing, achieving the necessary structural volume without burdening the model, Yin Xue Wang. The final crowning element was the skirt, which required an astounding eight yards of meticulously cartridge pleated embroidered silk taffeta, elegantly bag-lined to sheer silk organza.
Such academic exercises are not mere reproductions. They are vital laboratories where artisans discover how to manipulate physics, fabric, and the human form. This relentless exploration of character and shape is further evidenced by Katherine’s capstone project at the Taipei National University of the Arts in the Spring of 2021. Given the rare opportunity to serve as both costume designer and draper, Katherine chose to design and construct garments for a conceptual production titled Jekyll and Hyde and So On.
The project required her to research and execute five detailed renderings, ultimately building two distinct alter ego costumes from scratch for the same actress, Zhu Sheng Ping, who played the dual roles of Eve and Heidi. Because the script was firmly set in the 1880s, the foundation of the costumes necessitated a heavily structured period corset and traditional combinations for the character of Heidi. When transitioning to the character of Eve, the actress was required to wear an elaborate bustle foundation, a tailored bodice, and a heavily draped skirt layered directly over the previously mentioned undergarments.
Katherine once again turned to historical resources, deriving her corset pattern from Norah Waugh’s Corsets and Crinolines. The patterns for the combinations and the over skirt were carefully lifted from an authentic Victorian patterning book, while the bodice was adapted from a base commercial pattern. This project highlighted Katherine’s exceptional ability to seamlessly blend the creative vision of a designer with the rigorous technical demands of a draper, crafting garments that tell a complex psychological story of duality while remaining structurally viable for a theatrical performance.
The versatility required of a theatrical costume maker is immense. They must transition flawlessly from the heavy satins and rigid boning of the Victorian era to the specialized, highly athletic requirements of dancewear. Katherine demonstrated this remarkable breadth of skill during a Carnegie Mellon University class project in the Fall of 2023, again under the instruction of Hugh Hanson. Asked to design and construct an ensemble for a principal character from a classical ballet, Katherine selected the fiery character of Kitri from Don Quixote. Understanding the profound physical demands placed on a ballet dancer, Katherine approached this project with a sharp focus on mobility paired with intense visual impact. Selecting a dramatic and traditional red and black color scheme, she created an ensemble featuring a plunging neckline and a highly complex, multi-pointed waistline specifically designed to visually support the dangerous sensuality inherent in Kitri’s character. The centerpiece of the ensemble was the classical, bell-shaped tutu. Katherine brilliantly incorporated a ruffled plate that subtly bespoke traditional Spanish flamenco costume, honoring the geographical setting of the ballet.
The construction of this dancewear was a masterclass in specialized theatrical tailoring. The bodice, modeled by Alex Robinson, was expertly cut from a rigid black brocade. Katherine trimmed the edges in striking red pleather cording and utilized a soft cotton sateen interlining to protect the dancer’s skin. Recognizing the need for structural support that would not impede extreme athletic movement, she strategically placed synthetic boning at the side front and side back seams. The construction of the tutu itself required immense patience and traditional skill. The plate ruffles were precisely gathered and secured to a sturdy horsehair base. Katherine employed a highly traditional shoveling method to meticulously pleat the tiered, graduated layers of net that form the iconic tutu structure. These delicate layers were then securely stitched to quilted English bobbinet knickers, ensuring the entire garment remained secure and perfectly shaped throughout rigorous choreography.
However, the world of theatrical costume extends far beyond historical recreation and traditional dancewear. It frequently demands avant-garde experimentation and the manipulation of highly unconventional materials. Katherine’s collaborative spirit and innovative thinking were vividly displayed during the Summer 2023 exhibition “Flowers Meet Fashion: Inspired by Billy Porter,” held at the Phipps Conservatory in Pittsburgh. This botanical exhibition celebrated the hometown hero and Carnegie Mellon University alumnus through elaborate floral and fashion displays expressing the many facets of his life and groundbreaking work.
Participating as part of a specialized course taught by Susan Tsu, Katherine was partnered with costume designer Caifeng Hong to deeply explore themes derived from Billy Porter’s autobiography, Unprotected: A Memoir. The duo elected to focus intensely on the overarching themes of profound contrast and spiritual rebirth. Together, they designed and fabricated an extraordinary sculptural garment. Katherine describes the piece as an armor-like shell that seemingly rose organically from a complex foundation of fabric ruffles. These ruffles were designed to bespeak natural elements like lichen and fallen leaves. The structure was ingeniously designed to allow the viewer to perceive the human body beneath, while simultaneously keeping it visually protected and invulnerable.
The fabrication of this silhouette required an immense degree of careful planning and the physical manipulation of highly rigid, non-traditional materials to achieve an organic yet distinctly purposeful shape. Katherine spent countless hours working meticulously with zip ties and heavy clips, allowing her to physically drape this challenging sculpture on the form and slowly modify its dimensions. Once the exact, striking shape was finally determined, Katherine covered the underlying boning structure entirely in luxurious stretch velvet rouleaux. These individual pieces were then carefully laid flat onto a base of sheer silk organza. In a display of immense patience and technical precision, Katherine methodically hand-whip stitched the components, permanently holding the delicate organza to the rigid exterior structure. The final garment featured a sweeping train comprised of pearl-edged ruffles constructed from multiple contrasting fabrics. These ruffles were organically arranged and painstakingly hand-tacked to the back of the structure, resulting in a breathtaking piece of wearable art.
Katherine’s dedication to mastering every facet of costume embellishment is further evident in her specialized class projects at Carnegie Mellon. Under the instruction of Brian Russman in the Spring of 2024, Katherine executed a stunning fabric modification sample based on a design sketch by Youxuan. This intricate workroom sample is a testament to her precise hand skills, featuring a combination of delicate floss and ribbon embroidery, complex tambour beadwork, and heavy, top-applied beads and traditional bullion work. In another project with Russman, focusing on specialized armor creation, Katherine constructed a remarkable hood derived from traditional Japanese Kikko-style armor. This piece required a completely different skill set, featuring laser-cut, vegetable-tanned leather tiles meticulously linked together using heavy, twisted jump rings.
Once a show finally opens and the meticulously crafted garments, whether they be delicate lace dresses or heavy leather armor, step into the spotlight, the job of the costume department is far from over. As Katherine points out, costumes require constant, dedicated care throughout the entire run of a production. This ongoing maintenance includes daily cleaning to remove sweat and makeup, and immediate repairs to fix the inevitable wear and tear that occurs during live performances. Backstage, the wardrobe crew must manage the preset organization, ensuring every piece of clothing is exactly where it needs to be for rapid changes in the dark. Furthermore, they must be prepared for emergency fixes during the actual performances. Quick changes are a constant source of unseen backstage drama. Zippers break seconds before an actor’s crucial entrance, dressers must improvise structural repairs mid-show with safety pins and tape, and occasionally, actors must bravely step onto the stage in partially secured costumes. These adrenaline-fueled moments rarely reach the awareness of the audience, but they are legendary among theater crews and form a crucial part of the theatrical ecosystem. Key figures in this ongoing daily operation include the wardrobe crew, dressers, laundry specialists, and the wardrobe supervisor, all working under the coordination of the stage manager. Looking at the grand history of theatrical design, one can see how this massive, collaborative effort has resulted in some of the most iconic visual moments in entertainment history. Katherine notes that certain stage costumes have transcended the theater to become deeply embedded in global pop culture. A prime example is the 1986 production of The Phantom of the Opera. Designed by the visionary Maria Bjornson, the Phantom’s simple yet profound half mask and sweeping black cloak are instantly recognizable worldwide. Christine’s innocent white gown and the shockingly extravagant, intensely colorful masquerade costumes fundamentally defined the show’s unique gothic romantic aesthetic. What made these designs so spectacular was their lavish, almost operatic attention to detail and their seamless integration with the massive set pieces. The dramatic reveal of the Phantom during the masquerade scene, towering over the cast in a terrifyingly vibrant Red Death costume, remains one of Broadway’s most unforgettable visual moments. It is reported that audiences genuinely gasped the very first time they witnessed that specific costume transition. Similarly, the groundbreaking 2015 production of Hamilton, designed by Paul Tazewell, entirely redefined how historical costumes could function on a modern stage. Tazewell engineered a brilliant, clever mix of traditional 18th-century silhouettes merged seamlessly with modern minimalism. This specific design choice allowed the cast to execute highly athletic, fast-paced hip hop choreography while simultaneously maintaining distinct historical echoes of the founding fathers. The success of these costumes lay in their subtle storytelling through specific color palettes and fabric choices, essentially layering a very modern, accessible identity directly onto distant historical figures.
These iconic productions are built upon the legacies of legendary costume designers who fundamentally shaped the entire field. Figures like Edith Head, who dominated Hollywood but deeply influenced theatrical aesthetics; Sandy Powell, known for her remarkably bold, highly stylized work across both stage and film; Colleen Atwood, a master of theatrical fantasy and obsessive detail; and Milena Canonero, celebrated for her breathtaking historical richness and absolute precision.
The extraordinary world of stage costumes is an intricate ecosystem requiring the brilliant minds of designers, the sharp organizational skills of supervisors, and the masterful hands of artisans like Katherine Chung. From the first conceptual sketch to the final, frantic backstage repair, every single stitch, pleat, and hidden zipper serves the ultimate goal of theatrical storytelling. It is a profession demanding immense historical knowledge, complex spatial reasoning, unyielding patience, and an absolute passion for the collaborative art of illusion. Through the dedicated work of drapers and first hands, the delicate ideas born in a designer’s mind are transformed into the very real, very tangible architecture of the stage.
Social Media Handle: Instagram @ChungKatherine
Website: katherinechungcostume.com
