Kelsey Vidic
Kelsey is the Costume Shop Manager and Costume Designer for the Dance Department at 91ÌÒÉ«. Please find more information on her website:
- MFA in Costume Design from the University of Texas
- BA in Theatre from Florida State University
Other Training
- The Creative Gesture, Designing for Dance
- Costume Design Dance Intensive
- Led by: Stine Sjögren and Liz Vandal
- Banff Centre for Arts and Creativity, Banff, Canada
- ​Gomez-Gracia, London
- Fashion Intern under the direction of Patricia Gomez-Gracia
- London, UK
- ​Stitching/Wardrobe Apprentice, Santa Fe Opera
- Apprentice for two summer sessions in the Costume Shop
- Santa Fe Opera, Santa Fe, NM
- Stories From Home
- Evening Length Dance Work by Yvonne Montoya
- Costume Designer & Costume Technician
- Co Costume Designer: Mary Leopo
- Phoenix, Arizona
- Adrift, an installation
- MFA Thesis by Kelsey Vidic
- Museum of Human Achievement, Austin, TX
- Be Real
- Conceived and Directed by: Yago de Quay
- Costume Design: Kelsey Vidic
- Produced by Intel Corporation
- Consumer Electronics Showcase, Las Vegas, NV
- Soft Matter
- Independent Feature Film
- Directed by: Jim Hickcox
- Costume Design: Kelsey Vidic
- Austin, TX
- Not Every Mountain
- Directed by: Thomas Graves
- Rude Mechanicals
- Set Design: Thomas Graves, Kelsey Vidic
- Guthrie Theater, Minneapolis, MN
- Madama Butterfly
- Costume Design: Susan Mickey
- Associate Costume Designer: Kelsey Vidic
- Opera på Skäret, Kopparberg, Sweden
A Costume Designer is the collaborator that visually communicates a story, feeling or idea using textile, shape, color, line, texture and movement. The Costume Designer utilizes research, imagery, sketching, painting and textile research and any other medium necessary to communicate their design to the choreographer.
The designer begins by meetings with the choreographer and other collaborators (lighting designer, scenic designer, technical director, etc.) After the first meeting, the Costume Designer will do research (visual and textual), go to fabric stores for swatches (small pieces of fabric), do sketches of the dancers in costume and finally generate a costume rendering (sketched and colored drawing of the dancer with costume) for approval.
The Costume Shop takes this drawn rendering and brings it into real life! Costumes can either be built, pulled or bought. No matter where they come from, they all go through a process of fittings and alterations to change the costume to be as close to the rendering as possible.
Throughout this production process, the designer communicates with the costume shop, choreographer, dancers and fellow collaborators to stay up to date with any changes to choreography or other changes that happen along the way. This process is a balance of structure and fluidity to produce the best costume for the final performance.
