For this production’s costumes, Santo Loquasto redesigned what was originally created by Jurgen Rose, who did the original costumes in 1965. Santo chose to redesign them because the material was fragile, and actually deteriorating!

I personally have had a long relationship with Santo that goes back to 22 years! He’s famous for layers and using lots of different fabrics to create layering on bodices and on tutus – he’s used this method for the Onegin costumes, too. He’s got multiple layers of net on the skirt, with beautiful embroidered lace and metallic thread. He uses organza underneath. The silhouette of the dress is very flattering! Santo kept the palette similar to the original design, but wanted the look to be more authentic; he wanted them to be more historically accurate.

With rented productions such as this one, one of our biggest challenges within the Wardrobe Department involves the varying sizes of the companies. Alterations are often necessary. (Luckily, the fabric in the designs are very forgiving.) The other challenge is that there are 4 sets of principal couples here, and Tatiana has 5 costume changes, alone!

We’ve also made our own nightgown for Tatiana out of extra scraps from National Ballet of Canada; it will live with the production moving forward.

Fittings started in October – we try to start them at least a few months in advance. I try to get ALL fittings done in the fall, with the exception of the occasional cast change in the season. There is a team of 3 people in the Wardrobe Department working on Onegin – we spent about 16 hours on fittings and 80 hours on alterations, which is typical for a rented production of this size.

Overall, I’m excited to see the production on Opening Night! The color palettes combined with the sets will be amazing. Santo has always been known for his comfortable, pleasing palettes. He really has that talent.

Xiao Nan Yu and Jiří Jelinek in Onegin; Photo by Aleksandar Antonijevic, courtesy of The National Ballet of Canada