Who am I?
I create original, hand-drawn costume designs grounded in close reading of the text and research, and see them through to opening night: budget, orders, workroom, fittings, logistics. One person accountable for the costume, from the first pencil line to the final invoice.
Every design is a hand-drawn piece in its own right, rooted in the text, in research and in a solid command of the craft.
Budget, deadlines and logistics run alongside the design, just as they did during my three years on staff at a theatre.
costumes designed across 18 productions
costumes brought to the stage in 5 premieres
actors and dancers in a resident company under my costume care
annual theatre costume budget under my management
budgets for individual productions, from chamber pieces to large-scale shows
working languages: Polish, English, Italian
For directors and set designers looking for an original costume concept.
One person accountable for the costume, from the first sketch to opening night.
For productions that already have designs and need someone to bring them to the stage.
Budget
Delivered within the agreed budget, with a cost breakdown from day one.
Deadlines
A schedule built around rehearsals, fittings and the premiere date.
Communication
Clear and to the point, you always know where each costume stands.
Team
Close collaboration with performers and the creative team, visually and practically.
A staff position as costume coordinator and designer at Teatr Rozrywki in Chorzów, day-to-day care of a company of 120 actors and dancers, including 115 costume designs for “Misja Rozrywka”, the 29th New Year’s Eve Gala directed by Sławomir Banaś.
The costume budget for the whole theatre and for each individual production, from estimate to final accounts.
Ordering costumes and materials, with order and delivery logistics aligned to the rehearsal schedule.
Invoice processing and ongoing liaison with the theatre’s accounts department.
What to alter, what to reclaim, what to recycle, keeping costs down by drawing on the theatre’s own stock.
Tailoring costumes to each individual performer, their needs and physical demands.
Fittings, alterations and costume logistics in the daily rhythm of the theatre and on set.
Five stages in which every creative decision comes with its cost, deadline and maker attached from the outset. So what reaches the workroom is a design that has been tested, costed and is ready to be sewn.
Analysis of the text and characters. A collage moodboard: photographs, cuttings, drawings, shapes.
Cropping the moodboard and sampling colours, a palette for the whole production.
Material swatches and hands-on tests. Coherence across the whole design.
Hand-drawn designs with technical solutions, created with movement in mind.
Fittings, alterations, sign-off. A costume ready for the dress rehearsal.
“[Quote: the production’s director. 2–3 sentences on the collaboration, the quality of the designs and the budget.]”
“[Quote: theatre management or head of the workroom. On organisation and logistics.]”
“[Quote: an actor or dancer. On comfort and fittings.]”
I am a costume and set designer. Fabric and costume are closest to my heart, I work with a zero-waste mindset, in Polish, English and Italian.
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The questions theatres and directors ask most often before we start working together. Can’t see yours? Write to me, I’ll reply within [48 h].
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Title, premiere date, number of characters and budget, that’s all I need to come back within [48 h] with my first questions and a proposed scope.
designed as a work of art.
production.
