Camille Deering is a Midwest based costume designer with experience designing for theatre, dance, film, and opera. She received her master’s degree from IU in 2023, and has since gone on to design multiple productions with Jacob’s School of Music. Her work on Jacob’s production of A STAR ON THE RISE, LA BAYADERE, REIMAGINED! was recently featured in the New York Times, lauded for its successful adaptation that placed the opera in golden age Hollywood. Her collaborations with prestigious and renowned costume designers have allowed her to create captivating and visually stunning costumes for a wide range of productions. With over twenty years of design experience, Camille prides herself on her passion for her craft, and her ability to bring vibrant looks to life on stage. She aims to continue to make inspiring contributions to the world of costume design, making her mark on the industry.  

Tell us a bit about yourself! As live entertainment technicians, we always talk about our work. But who are you, outside of your work in live entertainment? 

I hail from Boston and am lucky to have a wonderful husband named Jason, as well as my 10-year-old daughter, Alexandria, and my 8-year-old son, Dexter. Dance has been a significant part of my life for two decades and remains a true passion of mine. Cooking is another love of mine, particularly when I get to share my family's Italian recipes with my children. I also enjoy indulging in Historical Romance Novels and movies as a guilty pleasure. 😊

What sparked your interest in costume design?  

There are two responses to this inquiry. Growing up with a mother struggling with alcoholism, I sought refuge in music, allowing its melodies to transport me to alternate realms. Crafting costumes served as my vehicle for this escape. Moreover, costume design transcends mere outfit selection for performers; it entails immersing oneself in the intricate worlds inhabited by the characters. I have a deep appreciation for research, relishing the journey of uncovering the nuances that define each character.

If you could change something about the professional world of live entertainment, what would it be?

Costume designers and technicians work tirelessly to bring characters to life through their clothing, often facing tight deadlines and limited resources. Despite the vital role we play in the success of a production, our work is often undervalued and underpaid. It is time for this to change. Costume departments deserve fair compensation for the creativity, precision, and expertise we bring to every project. Our contributions are essential to creating a believable and immersive world on screen or stage, and it is only fair that we are recognized and rewarded accordingly. It is time for the industry to acknowledge the importance of the costume department and to properly compensate us for our invaluable skills and dedication.

USITT emphasizes collaboration across different disciplines in theatre. How do you collaborate with other members of a production team, such as designers, actors, and directors, to achieve a cohesive production? 

Collaboration with other members of the production team is essential for costume designers to achieve a cohesive and visually stunning production. By maintaining open communication, respecting each other's expertise, and staying true to the overall vision of the production, costume designers can work effectively with designers, actors, and directors to create costumes that enhance storytelling and bring characters to life on stage or screen.

You’ve worked on so many projects, including one that was recently featured in the New York Times! Do you have a favorite project you’d like to tell us about? Or a favorite “wow” moment in a show you helped conceptualize? 

Designing "A STAR ON THE RISE, LA BAYADERE, REIMAGINED!" was truly a dream project for me on multiple levels. As a former ballerina, the opportunity to create a world-premiere ballet production was a realization of a lifelong aspiration. Collaborating with the talented Phil Chan and Doug Fullington added a depth of expertise and creativity to the project that elevated it to new heights. The decision to reimagine LA BAYADERE within the context of a cowboy movie set in 1930s Hollywood was a bold and refreshing twist that brought a modern sensibility to a classic work. Not only was it a joy to design for such a dynamic and imaginative ballet, it was also a privilege to be part of a team that sought to breathe new life into a traditional piece for contemporary audiences.

The research journey for "CABARET" led me to The Kinsey Institute, a hub of knowledge and understanding of human sexuality and relationships. Exploring the history of prostitution in the Weimar era revealed a fascinating practice where prostitutes used different colored boot laces to subtly communicate their sexual specialties to potential clients. This historical detail resonated with me, and I made the creative decision to incorporate it as an Easter egg in the design of the Kit Kat ensemble. It was a way to pay homage to the complex and nuanced world of the Weimar era, adding a touch of authenticity and intrigue to the characters in the production. The visit to The Kinsey Institute not only enriched my research but also deepened my appreciation for the importance of historical preservation in understanding human behavior and societal norms.

The rendering process looks different for every designer. Do you have a favorite rendering style? Tell us about the process that works for you!

My favorite rendering style involves using a combination of traditional hand sketching and digital techniques. I start by sketching out my initial ideas on paper to quickly explore different concepts and compositions. Once I have a solid concept, I then scan my sketches into the computer and use software like Procreate to add color, texture, and refine the details.

I find that this process allows me to have the freedom and spontaneity of hand sketching while also taking advantage of the precision and flexibility that digital tools offer. It helps me to create dynamic and visually engaging renderings that bring my designs to life.

What do you consider the most rewarding aspect of being a costume designer? Conversely, what are some of the biggest challenges you face in this role? 

One of the most rewarding aspects of being a costume designer is the opportunity to collaborate with other creatives and bring a vision to life. Costume designers work closely with directors, producers, and actors to develop costumes that not only reflect the characters' personalities but also enhance the overall storytelling. This collaborative process allows me to contribute my unique perspective and creativity to the production, making me an integral part of the creative team. Furthermore, I have the opportunity to research different time periods, cultures, and styles to create authentic and visually stunning costumes. This research not only allows me to expand my knowledge but also enables me to create costumes that are both historically accurate and visually engaging. The ability to transport audiences to different eras and worlds through the art of costume design is truly rewarding and allows me to showcase their talent and creativity. 

Despite the many rewards of being a costume designer, there are also several challenges that come with the role. One of the biggest challenges I face is working within budget constraints. Costume designers often have to balance creative vision with financial limitations, making it challenging to source high-quality materials and create elaborate costumes. Finding creative solutions and alternative materials to stay within budget while still achieving the desired look can be a difficult task.

USITT offers numerous resources and opportunities for professional development. Can you share how being a member has benefited your career and artistic growth? 

USITT benefited my career and artistic growth by providing me with networking opportunities, access to educational resources, and professional development opportunities. Through USITT, I have been able to connect with industry professionals and expand my skills and knowledge. I highly recommend USITT to anyone looking to advance their career in the theatre industry and enhance their artistic development.

Costumes are something that every actor on stage interacts with, very directly! How do you balance creativity with practicality when you’re designing costumes for a project? 

When designing costumes for a project, it is essential to find a balance between creativity and practicality. Creativity allows me to bring the characters to life and enhance the overall aesthetic of the production. However, practicality is also crucial as costumes need to be functional for the actors to move comfortably on stage. To achieve this balance, I often start by researching the time period, setting, and characters of the production. This helps me understand the context in which the characters exist and the type of clothing they would wear. Then I use my creativity to interpret this information and come up with unique and visually appealing costume designs. At the same time, practical considerations such as the materials used, ease of movement, and durability of the costumes must also be taken into account. Costumes need to withstand the demands of live performances and quick changes, so choosing the right fabrics and construction techniques is crucial.

Ultimately, successful costume design involves finding the sweet spot where creativity meets practicality. This allows the costumes to not only look stunning on stage but also serve the needs of the actors and the production as a whole.

Do you have a favorite era to design in? Or a favorite style that you draw inspiration from?

What a challenging question to answer! I have a deep admiration for ancient civilizations like Egyptian, Greek, Roman, and Early Gothic. The elegance of Regency, Late Victorian, and the glamour of the 1930s and 1940s also capture my heart. Inspiration seems to find me from all corners of the world. My recent trip to Venice, Italy has left me in awe of the stunning architecture, art, and the timeless allure of Fortuny.

Are you working on any projects right now that you’re excited about?

I recently had the exciting role of being a key costumer for the short film, "The Ice Cream Man." Additionally, I had the privilege of assisting with research for a major motion picture. I am delighted to share that I will be taking on the role of costume assistant for "Yuletide" with the Indianapolis Symphony Orchestra. With more projects on the horizon, be sure to stay tuned for further updates!