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Immersive Klimt

Website_ Camille Thomas - Illustration b

Camille Thomas

Copy of Mazur - Constantine Orbelian_edi

Constantine Orbelian


Hyde Park Center


Chicago Symphony


Josh Grossman


Pia Kleber, UofT


FFDN Festival


“The lifeblood of a “look” appears to flow through a show’s costume bible; this binder is an essential meeting point for the team.”

The shop windows of New York City’s Garment District are a sumptuous feast for the imagination. Beyond the glass, a dense jungle of color buzzes in the high-ceilinged canopies that flank narrow walkways, overflowing with texture; thread, ribbons, feathers, buttons, paints, trims, rhinestones, crystals, and towering rolls of sensuous fabrics stretch into oblivion. Dotted sporadically between 34th and 41st Street, these quirky stores burst with possibility; however, a new style of shop front is casting dark shadows across this historic district’s aesthetic. Wooden boards, dark blinds, and worn silver shutters have replaced many vibrant displays, serving as a relentless reminder that in many instances, these bright and brilliant businesses are gone for good.

COVID-19 ravaged New York’s costume industry. The ecosystem is built on small businesses, and when Broadway closed abruptly in March 2020, this cottage industry lost $26.6 million in gross revenue that year. Workers could rarely adapt their roles to fit a work from home model, and numerous shops closed permanently, removing familiar suppliers from the map. Experts with years of experience have said goodbye to their vocations, taking precious practical knowledge with them. Without those face-to-face interactions in the work room, demonstrating techniques and passing intelligence along, we may be losing more than we realize.

Kristy Gordon_edited.jpg

Kristy Gordon

Lynn Hersham Leeson_edited.jpg

Lynn H. Leeson

Robert LePage_edited.jpg

Robert Lepage


Art on theMART


The Joffrey Ballet


Dennis Watkins


Route 66


National Arts Centre

photos by Rebecca J Michelson

A look inside

New York’s “Showstoppers!” costume exhibition; how the designs move from page

to stage, and the intricate details

that hoist a costume from clothing

to character.

Clothes have immense power and presence, and can elevate a performance from moving to mesmeric. To the audience, they are the first impression we have of a person.

by Tash Cowley

A Close-Up On Costumes


Photography by Rebecca J Michelson

Issue No.7 features in-depth interview with artists and arts organizations across 10 cities. 

In the meantime, checkout Issue No.7.

Find this, and more, in the forthcoming print edition of Issue No.8

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