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"Too often, costume is declined the opportunity to play and be part of the world in collaboration with the actor and director. It makes my soul glow when costume design comes from a place of embodied connection and pleasure in it's extremes."

"To dress another (the other) is one of the most intimate acts and relationships that we have cultivated in this world we call theatre- and absolutely the most feared by the performer. This design role requires upmost communication, creativity, sensitivity, awareness training, problem solving and grace. You are offering the viewer the visible psychological world in which the actor is stepping into within the container of the text- the character. Meanwhile the actor will always be bringing their whole body and history to that work, however they are embodying it psychologically. At minimum, it is up to the costume designer to of course maintain relationships with current trends, historical benchmarks and culturally relevant details with curiosity- but in the end the actor is not to be feared, as they are your greatest collaborator."

"As the late Edith Head prescribes, ask an actor what colours and dimensions work best for them in terms of design. They are the experts on their own vessel, as they spend the most intimate time with and expressing their body through garments. With this, you will be able to put together a collaborative vision that both integrates and honours their physical being- in addition training you in the needs and demands that different bodies require of their costumes. This collaboration technique will not only hold the actor in a way that they can do their best embodied work, but will also push the limits on what work you are creating in the most unexpected and revolutionary ways."
-Alexa Fraser, 2022

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